Given the love and far-ranging fandom for Star Wars around the world, it is hardly surprising that The Force Awakens performed well in theatres; by any measure it is one of the highest grossing films of all time. That this occurred was perhaps predestined – everyone from fanatics to cautious optimists to detractors were curious to see what the ‘post-Lucas’ Star Wars era would look like now that Disney holds the reins.  It is fair to say reviews have been mostly positive, occasionally glowing.

My own reaction was one of disappointment that has since been overtaken by utter disdain as I continue to lend the subject more thought. I had kept my expectations quite low for the prequels films, and thus I didn’t feel the hammer blow so many others had when Episodes 1-3 failed to live up to the standards set by the original series. I also had many reservations about J. J. Abrams’ directorial proclivities that should have prepared me for a less than satisfying night at the movies.   Nevertheless, this recent letdown was a big one, and my only hope now lies with Mr. Abrams’ increased creative distance from the franchise that may allow for other directors/writers to steer the ship back on course.

A far greater disappointment, is the lack of criticism TFA is receiving. Box office success does not guarantee high praise – read any current or contemporary reviews of The Phantom Menace and one will see that immediately. Phantom was a painfully bad film and the majority of even the most devoted Star Wars fans were able to overcome their massive emotional pre-investment and call a spade a spade. TFA is a deeply flawed, highly unoriginal sequel (even by the standard of big-budget sequels) and yet seems immune from criticism on a wide front. As someone who disliked the movie, and yet can understand many of the things people enjoyed about it, the lack of honest reflection is puzzling.   Indeed I’ve noticed much of what is said in defence of any criticism of TFA comes off as more hyperbolic and over-reaching than the original criticism itself.

The main reason I don’t stand completely aghast at this state of affairs is tied directly to the aforementioned concept of emotional pre-investment. George Lucas himself had personally replaced Darth Vader as the greatest villain of all in Star Wars. Everyone unquestionably agreed that with him out of the picture, the future for the saga was bright – even with the spectre of Mickey Mouse standing in the wings. We all got what we wanted most of all, Star Wars without old lazy, grumpy, fuddy-duddy George to fowl it up…and so the emotional pre-investment was greater than ever before, even than during the prequel era. Much of the Star Wars audience were never going to be able to look at The Force Awakens critically, objectively or honestly, under these circumstances.

And yet cognitive dissonance, intellectual dishonesty, rose-coloured glasses etc. can’t alone explain The Force Awakens’ near impenetrable position. I would posit this situation relates deeper still, to those who the filmmakers see as the target audience for this current round of Star Wars films: The Millennials. The generation formerly known as “Gen Y” just happen to represent the largest group of frequent movie-goers at present. They also dominate the social media landscape and the ranks of its influencers and thought leaders.

And yet, you may say, sarcastically, of course the film appeals to Millennials – they love nostalgia: just retell the basic story of A New Hope over again and they’ll eat it up! My argument goes a step further – The Force Awakens doesn’t merely appeal to Millennials, it has been crafted purposefully to speak directly to their sensibilities, hopes, concerns and worldview. They will forgive in TFA some of the very sins previously committed by the prequels because the film is practically a reflection of their own DNA.

I present the following points for your consideration:

I don’t mean to quote The White Stripes man, but I can tell that we are gonna be friends!

That’s Not How Friendship Works

Much is made in commentary about TFA of the ‘bromance’ between characters Finn and Poe Dameron, the first onscreen friendship that develops. Audiences might rightly detect great chemistry between John Boyega and Oscar Isaac in their performances but nothing about this pairing makes any sense based on what has been depicted. After barely two or three minutes screen time together we are apparently to swallow that these guys should act like they’ve known one another for years.

Compare this to the logical, believable way in which Luke Skywalker and Halo Solo grow to be pals over the course of A New Hope. The older, more experiences man is initially impatient with the naive farm boy. They come to respect each other having gone through adversity, and surviving a climactic battle in which their comradeship is solidified. At the end of the film you know these two will be friends until their dying days, and that thread continues through the next two films.

Yet of course it follows that the depiction of friendship would be hastily, thoughtlessly constructed in a film aimed at Millennials as studies and strong anecdotal evidence shows they themselves have less appreciation of the concept and are in practice terrible and awkward at making friends. The complete lack of effort that goes into Poe and Finn’s successful buddy-buddy progression must make perfect sense to a generation so socially stunted they can barely be relied on to maintain lasting friendships.

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