The Liberal Radicalization of Disney: How progressive voters are built from youth

As I wrote this article it was during the election night of 2015. One year later we’d be electing the next President of the United States and several congressional and senate seats. As Ohio decided whether or not to legalize marijuana caving in to the endless amounts of money spent by progressive groups funded by George Soros types to essentially dumb down the public to the extent that there is no resistance to their global efforts—I can’t help but think of the American Indian who was given easy access to liquor to make them more easily conquerable. Pot advocating by progressives is intended to lower the morality of our nation so that we can be more easily conquered by global interest. It’s very clear that is the intention behind the effort and the money propelling it—the goal is to dismantle traditional America through drug induced emphasis followed by a progressive oriented government school program. And that radicalism is certainly present in the entertainment industry. That was the basis behind a discussion I recently had with Matt Clark on his WAAM radio show in Ann Arbor, Michigan. The topic was Star Wars and the Disney Corporation and how both were being shaped by progressive influences.

Lately I have been less interested with elections because they don’t have much effect currently. For instance, in Ohio if marijuana fails, it is a 100% chance that it will be back on the ballot likely within the year, just like school levies, and the casino issue from a few years ago. These idiots will keep putting it on the ballot until it passes—they will continue in spite of what voters indicate—their goal will be to wear down the public until they cave—so the effort should be viewed as a military exercise, not a democratic endeavor. I don’t see much hope in any of these elections until we get personalities in office who will stand up for the republic concept. Paul Ryan is a perfect example of this whole effort—he was elected a Tea Party darling, but has now moved toward establishment protector. He’s the new Speaker of the House based on his past reputation as a reformer, not as a current conquered personality. The process of lobbyists destroys good people and leaves us all yearning for authentic personalities which is too infrequent. I hope for a Donald Trump to shake up this mess. Without him, or someone like him—I don’t have much hope for the future of politics.

But I do find hope in Disney and the new Star Wars property, which Matt and I discussed in a way that should be very useful to all concerned minds. Disney doesn’t hear enough good criticism from their customer base to navigate by, and I sincerely hope that articles like this one, and the radio content that Matt and I provided helps them. The same lobbyists who bend politicians backwards, and constantly advocate on behalf of marijuana are those who push Disney as a company to move always to the political left—or to be threatened with lawsuits, boycotts and other types of radicalism designed to destroy a traditional social position. Disney out of all the production companies out there is best poised to stand for traditional American values, but there is a real risk that nutcases within the Disney organization will start populating Star Wars with gay characters and progressive tripe just to appease the elements of evil that are so prevalent in our present society.

I spent the last three articles on this topic because it is one of the most important of our time, a major movie is coming out that will touch just about everyone’s life in some way or another. But these filmmakers are not George Lucas of the 1980s, the conservative Ayn Rand type of dystopian individualist—it is the evolution of a tight group of friends from Kathy Kennedy all the way through Steven Spielberg who have mellowed over time and are now quite liberal in their activism. Wealth and the California culture have tamed their once conservative spirits. For instance, one of George Lucas’ best films is THX-1138 which was essentially a movie version of Ayn Rand’s Anthem. Lucas would not make a movie like that now—but when the first Star Wars came out, he was very much a limited government advocate where his Rebel Alliance would have been considered Tea Party Patriots in our contemporary world. Over time George become more like Darth Vader than Han Solo which was certainly reflected in the prequel films.

I actually think that Disney has become so radicalized that there is probably talk behind closed doors that two gay characters should have a legitimate romance in a future Star Wars movie. The reason Matt and I covered this topic on the radio is because there have been threats from more conservative groups looking at the new Star Wars and seeing the alarm signs that the new heroes are a woman, and a black guy, and the villains are mostly white males. While having women and dark-skinned protagonists isn’t a big deal to me, I can see why people would be concerned—because it certainly strays from the original formula—old white man, young white man, middle-aged white man, hairy beast that is a male—and a mouthy feminist. Then of course there are two male droids—unless R2D2 tries to pull a Bruce Jenner. Even worse is Kathy Kennedy’s comments to a women’s summit recently shown above where she specified that her goal as a CEO of Lucasfilm was to put more women in the movie making business.

Kennedy said she had been recently to a taping of a Saturday Night Live and noticed that most of the camera operators were men, not women. She attributed this to a possible union rules issue and bosses who hired men over women—which is a typical progressive belief. She went on to say that her goal was to inspire women to become more camera operators and behind the line talent. That was interesting. Then, if you consider recent statements by Carrie Fisher to the new young actress Daisy Ridley to not to allow herself to become sexualized in the future Star Wars films there is plenty of evidence that some serious progressive radicalism is percolating on the horizon of one of the most powerful entertainment vehicles in the history of the world.

What these old women represented by Fisher and Kennedy don’t understand about people is that a fair number of women want to be sexualized for the attention it gives them, and that the reason for that attention is biological. That is part of what made the original Star Wars films so powerful. Princess Leia went from a radical feminist to a conquered love interest. By the third film she was in a hot bikini looking very sexual and it went down in history as one of the most memorable costumes in history. If Kathy Kennedy thinks that she’ll expand the market share of Star Wars by going in reverse, she is sadly mistaken. Han Solo conquered Princess Leia through testosterone induced masculinity. When Lucas tried to soften the Han Solo character up for Return of the Jedi into being a nice, understanding equal to Princess Leia, the story doesn’t work. What did work was the metal bikini that Carrie Fisher wore. So there is a real risk that Kennedy is going to screw the whole thing up. I think people will still enjoy the movies, but they won’t be in the same passionate way. If Star Wars gets softened under progressive influence, there is a real risk of the whole thing being destroyed and with it, a major ray of hope that traditional families across the world have as an entertainment option that is safe for their children.

My interest in all this isn’t just because I like Star Wars or Disney. It’s because the release of this film is nearly on scale with the Biblical Armageddon. When this movie is released, it will soak up so much of the news cycle and the Christmas shopping efforts ahead of the Holiday that people will forget that Santa Clause and Jesus are central to the festivities. Star Wars will be all-encompassing. This is one of the biggest things to happen in our lifetimes. I know it’s only a movie, but it’s not. It’s much more than that. Only time will tell how well Disney navigates through this mine field. I’m not ready to boycott Disney over any of this. But if they try to cram gay rights, feminism, and gun control down our throats the way that marijuana, high taxes, and democratic tyranny through corrosive elections have been imposed on us, then I will drop Star Wars in less than a second as an entertainment option, and I know millions of others will as well. This year it’s not the elections that will determine our future—it’s a movie that comes out next month. And the fate of humanity literally hangs in the balance. We’ll see.

When the first Star Wars films were released, Nancy Reagan had a program urging children to say “NO” to drugs. Marijuana was used by kids—lots of kids, but it had a stigma against it imposed by the righteous forcing it underground. Now progressive parasites have put marijuana into the mainstream and they are seeking to break down the pillars of conservatism in Ohio hoping that all blocks of a delicate electorate will topple. If Issue 3 fails, activists will be right back at it for 2016, or 2017—however long it takes for them to impose their conquest. The foundation for the cause of that erosion comes from a lack of resolve established in the human understanding of good versus evil in a very black and white type of way. That is why Star Wars and the condition of Disney are more important than many of the ballot issues up for discussion during the 2015 election. If Disney fails and with it, Star Wars—there isn’t much for good-hearted people to put their effort behind. That is the risk that is before us and the merit of the pre-election coverage on WAAM radio with Matt Clark. The results of an election are less important than the condition of the minds of the people who vote in them. Cultural events, like the opening of a new Star Wars film and a corporation like Disney that was built on family values says a lot as to how elections will be conducted in the future—and that is what is at risk presently.

If you haven’t yet watched all the videos on this article, you should do that now, then read this article again.  It’s all very important to our future.

Rich “Cliffhanger” Hoffman


Listen to The Blaze Radio Network by CLICKING HERE.

Robert Tracinski, Rich Hoffman and Matt Clark on WAAM: Why ‘Star Wars’ is better than ‘Star Trek’

Matt Clark had me on his show to actually co-host with him as we spoke to Robert Tracinski who writes for The Federalist. He had written an interesting article about how it was unlikely that J.J. Abrams could screw up the new Star Wars film, The Force Awakens, so long as he stuck with the formula. There were some condescending aspects to Tracisnski’s article which I was willing to overlook, because he was right about a lot of things. But more than anything Tracisnski had been dismissive of the original trilogy as not being very good—which I thought was odd. So I was eager to talk to him. It only took a few moments into the interview however to learn the root of his issues—he was a Star Trek fan and had only come to Star Wars through his children. His position was that Star Trek was philosophically superior to Star Wars and that these new movies were kid stuff that he was enjoying with his children. Listen to that interview here:

I don’t care much for Star Trek, to me it is the United Nations in space. While Robert Tracinski is not a liberal and is a pretty committed Objectivist, which is Ayn Rand’s philosophy—it was clear to me quickly why Robert didn’t like Star Wars much in his article. I disagree with him on a number of topics regarding the formula of Star Wars, or its appeal. I think the Star Wars films are deeply philosophical; especially The Empire Strikes Back—much more so than Star Trek. I mean, people are not lining up across the world to see the latest Star Trek movie, and Star Wars isn’t as popular as it is because it’s just adults living out their childhoods once again through a movie. It’s more complicated than that. As we were talking to Tracinski, because of his background with Ayn Rand I kept wondering if I had met him someplace before, so I wanted to cut him some slack. Everyone comes to things in their own time and if he came to Star Wars late in life through his kids—so be it. One aspect that Tracinski got right in his article was the perception that Han Solo is the key to the franchise—so I stuck to that topic in our conversation.

Matt and I spent the first segment of his Saturday WAAM show talking about Disney and their progressive activism with a gentle warning about messing with the formula of Star Wars and the impact that might have on their massive investment. Matt and I love Disney—the Uncle Walt version. I love that Disney is a family friendly entertainment group—so I am willing to overlook a little of their liberal activism. Something that Robert Tracinski did bring up on his show that was true.  George Lucas and Steven Spielberg were the best conservative filmmakers coming out of the 80s. I personally think they were both seduced by Bill Clinton in the 90s and have lost their minds since. The reason their early films were so successful was because they all had conservative leanings to them. Once both directors had achieved their monstrous success and essentially stepped away from the Objectivist roots of their film careers, their movies started making a lot less money. Without question George Lucas was at least attracted to Ayn Rand in his early days—when she was at the height of her influence—and Han Solo was a character that represented that struggle within George. As he become more liberal with age and success—perhaps feeling a little guilty that all his liberal employees were constantly berating him for his capitalist tendencies, he softened up on his stance for individualism and began to accept collectivism to a much higher degree, which was clearly represented in the prequel  films—which were noticeably absent of the Han Solo type of character.

Where I disagree with Tracinski about the prequel films is that I don’t think George Lucas ever intended those films to be successes. They were dark movies about the failure of a Republic—and have great political merit to them. They are very philosophical from the position of how poorly constructed philosophies can destroy a body of government. Even though Lucas had been moving to the left—politically, his message about the failure of groups to detect evil, and how institutional failure is indicative of all government cycles is powerful stuff that set the stage for some pretty deep storytelling. As much as people dismiss the prequel films as silly, they are important in the larger scope of the intended message. The movies did lack heroics on the scale of a Han Solo, but that was on purpose. A lot of characters including Yoda and Obi-wan Kenobi made mistakes that they spent the rest of their lives correcting. So the films were never supposed to be heroic repeats of the original trilogy. For that story Han Solo was the savior, he kept Luke alive, married his sister Leia and that set up the events of these new films. Solo is an Ayn Rand character and Disney even with all their activism against conservative causes—can’t ignore that the magic of Star Wars isn’t Luke Skywalker, or anything about the Force—it’s about Han Solo’s position against hooky religions and ancient weapons not being as competent as a good blaster at your side.

Just a few days before Matt and I had our radio show together Harrison Ford was on with Jimmy Kimmel dressed up for Halloween as a hot dog. It was a funny segment and of course Ford was asked about the new Star Wars film. I thought his comments were interesting to say the least. He stated that nobody would be disappointed—at all. That was a remarkable statement considering what’s at stake. He knows the potential cost of over-anticipated hype—so his comments had me very curious in relation to Disney’s strategy going forward. Han Solo is going to be playing a larger role in Star Wars than he has in the past largely because the character tests well demographically. His children will without question be the subject of the new stories but Disney will find every opportunity to insert a younger Han Solo into the movies at every juncture. To be successful at that, Disney will have no choice but to adopt the obvious aspects of Han Solo’s Objectivism view points—his natural conservatism and love of capitalist endeavors if they want Star Wars to continue being successful.

After Matt’s show I spent time at my children’s house going trick or treating with my grandkids—and kids. Late into the night my oldest daughter and I spent time talking about Han Solo and how it seems obvious now that Disney will find a way to put him in the stand alone films as much as possible just to use him as a springboard to success. Like Robert Tracinski and I spoke about on Matt’s show, without Han Solo, I think the Star Wars saga crashes and burns. If they try to turn him into a sacrificial collectivist Disney will lose a lot of money because people will reject the premise. The ticket buying public will only accept the Objectivist Han Solo—and nothing less—the hero who acts in his own self-interest. Even though the moment at the end of A New Hope was intended to show that Solo was able to act for others, the need to save Luke at the last moment was out of Solo’s self-interest because he was starting to like the kid. Like I said, Star Wars is a lot more philosophical than people give it credit for, and I’d think that as much as Tracinski likes Ayn Rand, that he’d prefer Star Wars over the United Nations in space—Star Trek and all that “needs of the many outweigh the needs of the few” crap. Screw Spock and his pointy ears—he’s a damn collectivist. Solo is a rugged, gun slinging individualist who acts out of his own self-interest. That’s why Star Wars is better than Star Trek.

We’ll see what happens, time will tell. It was a good conversation that was worth listening to, especially given what Star Wars will mean when it opens in a few weeks. There will be no escape; the opening of The Force Awakens will impact just about everyone no matter where they live. It will be impossible to not notice something about it as the merchandising around Christmas will be everywhere. Just watch the Duracell commercial shown above. Star Wars will literally be everywhere in just a few weeks of this writing. There will be nothing like it ever—history is being made both commercially and philosophically. The question will be whether or not The Force Awakens will be as anticipated on the 19th of December as it was on the 18th after people start seeing the movie. To be as successful as Disney needs it to be people will need to see the film several times. And to have that kind of power over the mind of fans—Han Solo will have to be a part of it with an Objectivist approach—otherwise the whole thing falls apart. It’s not the lightsaber battles and space antics that make Star Wars so great—it’s the Objectivist leanings of its basic premise:

Han Solo—“marching into the detention area is not what I had in mind.”

Luke Skywalker—“but she’s rich.”

Han Solo—“How rich?”

Luke Skywalker—“More wealth than you can imagine.”

Han Solo—“I don’t know, I can imagine quite a bit.”

Luke Skywalker—“you’ll get it.”

Han Solo—“I better!”

Luke Skywalker—“You will!”

Han Solo—“Alright kid, what’s your plan?”

That’s Star Wars—it’s an Objectivist love fest designed before George Lucas was overly liberalized. It’s also why twice during the broadcast with Matt that I uttered to his millions and millions of listeners—“Han shot first!” When Lucas changed Star Wars in 1997 to have the bounty hunter Greedo shoot at Han first in the Mos Eisley cantina fans were angry. It was a liberalized mistake for Lucas to cave under the pressure from the liberal film community to make Han Solo not appear as such a blood thirsty killer. But Solo acting out of self-interest shot first because that is the nature of his character—he’s an Ayn Rand survivalist and the heart of what makes Star Wars great.

Rich “Cliffhanger” Hoffman


Listen to The Blaze Radio Network by CLICKING HERE.

The Best Thing About ‘The Force Awakens’: John Williams

Matt Clark and I over the weekend did a rather important show about the new Star Wars picture and the radicalism of Disney from its employees based on an article I wrote several weeks ago. You will be able to listen to that broadcast on WAAM radio soon. However, Matt had on a guest that was late to the call at the bottom of the hour and needed to fill some time while his producer got him on the phone. So we had to come up with a bit of off-script content to bridge the gap. I brought up something I had been thinking about a lot in anticipation of the new Force Awakens Star Wars film based on persistent fears that the expectations were just so high. There was a real danger of walking away disappointed. I realized after a lot of thought that the primary reason I was looking forward to the new Star Wars film was for one simple reason—I want to hear new Star Wars music from John Williams. Everything else is literally secondary. To understand why, watch this old 20/20 segment about John Williams from 1983.

I was a strange kid—which should have been assumed based on a casual reading of my millions and millions of words. There are a lot of people who get paid decent amounts of money for writing far less than I do about far, far fewer topics. Yet I know that I have to write otherwise my head would explode with too many thoughts. I have too many hobbies, too many passions, too many philosophical quandaries that reside at the root of politics that if I don’t get them out and onto some kind of page to look at I may well explode with enthusiasm. So I have to write because I opened the door to something when I was very young that I have never closed. I only wanted to be one thing when I grew up—but I was caught between two worlds really. There was no other job that I wanted to be involved with than a director of movies. The trouble was I also had a pretty powerful physical aptitude. Creative types tend to enjoy escaping from reality and creating what they do in a vacuum of contemplation—whereas I didn’t. I wanted to be in the thick of reality at all times, which flew in the face of the film industry. But at age 13 in 1983 when that 20/20 episode came out on John Williams I wanted to be a film director so that I could work with people like him. What I learned eventually, and much later that there really isn’t anyone like John Williams, the great composer and conductor for some of the most powerful and important movies our American culture has ever produced. So that 20/20 episode was very important to me—I watched it over and over again on a new device called a VHS video tape. I had recorded it and showed it to every member of my family whenever there was some gathering trying to share with them the passion I felt for John Williams music. Most of them didn’t understand.

John Williams is the most important musical personality of the millennia—more so than Beethoven, Mozart, Bach or anybody else. Many years later as I worked at Cincinnati Milicron in Oakley, just north of downtown Cincinnati I listened to all those composers religiously on NPR radio while I worked as a tear-down person for rebuilt machine lathes. The other workers had a typical unionized approach to work, they watched the break clock closely—paced out their day making sure not to produce too much too quickly, and they listened to a lot of classic rock. I wasn’t adverse to rock and roll—there is a certain magic to it blaring from a radio in a machine shop—a freedom that is healthy and defiant in all the right ways—but its not very intellectual. Rock music is very linier—which has never been something I was interested in—rock music equals a can of beer resulting in unstable personal relationships. I enjoyed it for its ambiance, not for the lifestyles that draped off it—the limited vision of the world and lack-luster ambition typical of its fans. So I listened to my radio tuned to NPR’s classical station in Cincinnati and listened to the greats for hours on end while I worked. I was the only one who did this within the entire facility which eventually was dismantled and is now covered by the upgraded development occurring around the Rockwood shopping complex. I have always thought that if more people listened to that classical station with me that the employees would have been smart enough to see the writing on the wall years ago, and Cincinnati Milicron would not have eventually closed down their Oakley facility—but that’s a story we’ve covered before. For this purpose, I considered classical music to be the supreme type of music a human being can listen to—and among them at the very top is John Williams. There is nobody better—and I’ve listened to them all.

Most classical composers wrote their music for some play centuries before they ever appeared on NPR radio. So to me it was not deficient to look at John Williams as one who will eventually surpass the memory of all the obvious musical minds in the future. Movies are modern plays, so a film score is tomorrow’s classical music that will play on NPR radio in the future, all the time. These days however if anybody happened to look at my iPod they would only see two primary names on the entire 10G device, John Williams and Hans Zimmer. There are a few others, but 95% of my iPod is filled with those two musical film composers. Of those two, Hans Zimmer is clearly the student of the master, John Williams. I don’t see them as comparable in any way—other than they both make music. Nobody writes music like John Williams—I listen to him nearly every day in some fashion or another and I never get tired of the way he strings together compositions.

As we were sitting at the bottom of the hour trying to get Matt’s guest on the air, I thought about why I was eager for The Force Awakens by thinking about what I liked most about the recently released trailer—the final one before the film opens on December 18th. It was the scene from a series of clips where the Millennium Falcon was entering hyperspace from the inverted direction speeding into blue light accompanied musically by an upgrade from the previous Han and Leia theme. That was fresh music made just for this trailer and it was stunning in how it helped invoke curiosity. John Williams understands just the right notes to put on a page for what is happening on the screen. The way he tells stories through music is extraordinary, and it was his music that I wanted to hear most regarding the new film.

I meant it when I said it on the air, the Disney Company could put hand puppets on the screen for The Force Awakens and I wouldn’t care so long as I had yet another opportunity to listen to a film score by the great John Williams. He enjoys making swashbuckler type of compositions and really thrives in the type of story that Star Wars is, so it typically brings out the best in him. If the story is not something I can get into, I will at least enjoy the John Williams music—which is what I am looking forward to most. It’s not often that the entire world will attend a musical concert that is classical in nature. Literally the entire planet will be attending a John Williams concert when The Force Awakens opens just ahead of Christmas 2015. And there is nothing negative about that.

Music doesn’t need language—it transcends social limitations and reaches for the pit of our very souls for understanding. Based on that 20/20 clip, it was obvious then that John Williams was on a crash course with destiny as the greatest composer of all time—at least over the last 1000 years—because there has been nobody like him ever. He’s just the right mix of everything musical. No matter how much I listened to Bach, or Mozart on NPR radio, when they would occasionally put on some John Williams music—from any movie—it was clear that a master had assembled the notes. With that in mind there isn’t much Disney can do to ruin Star Wars so long as John Williams is the man behind the music. Star Wars will always be good so long as the music from those movies are made by the 83-year-old composer who was always ahead of his time and is the best that ever occupied nostalgia. Film music is considered low-brow entertainment among the art critics of our day—but that’s because they’re in the back of the train. Eventually those art analyzers will catch up to what I’m saying today—that John Williams is the primary reason that millions will love the new film and it will be the largest and most diverse opening to an orchestral concert in the history of earth—and that is enough to give anyone goose bumps because the impact it will have on shaping our future generations will be paramount. I suspect that The Force Awakens score will be the grand fortissimo to a long and prosperous career.   But more than that, it will be the last act of a brilliant mind, who would rather write alone all day behind a piano than do anything else—which is why he has been and will always be the greatest.

Rich “Cliffhanger” Hoffman


Listen to The Blaze Radio Network by CLICKING HERE.

‘Star Wars’ is not a “Slam Dunk” for Disney: Chuck Wendig’s sticky seats with ‘Aftermath’

On Force Friday as my family was in acquisition mode for new Star Wars merchandise, my brother sent me a picture of the new book, Aftermath by Chuck Wendig to show that he had put his hands on the long-awaited book. I politely dismissed the innuendo that the novel was a “hot item” to purchase even though in our house we have EVERY single Star Wars novel ever produced up to this point. My family loves the Expanded Universe and is on the fence as to how much of ourselves we’ll invest in this new day under Disney. I’m personally hopeful. I think millions of young people will love it. I think it’s mostly a slam dunk of positive infusion culturally. But I’ll have to see how the movie turns out and how much they wreck the continuity of the story which at this point takes place over thousands of years. So I have not yet read Aftermath. I certainly will at some point, but not until I have some basic questions answered—such as, why is Chewbacca alive in the new film—those kinds of things.

However, apparently there is a gay character in Chuck Wendig’s new book, and while a galaxy filled with crazy aliens, species that convert to female when it comes time to mate, and literally thousands of primary and secondary characters—some of which are bound to have some unique sexual habits, Star Wars is NOT about sex. Not in the least. Yet Wendig chose to respond to criticism over his character the Imperial turncoat Sinjir Rath Velus with the following diatribe on his blog, Terrible Minds. Wendig hit back at readers who accused the author on Amazon of “blatantly pushing a gay agenda” and suggested that the franchise was no longer “children friendly”.

“If you’re upset because I put gay characters and a gay protagonist in the book, I got nothing for you,” Wendig wrote. “Sorry, you squawking saurian — meteor’s coming. And it’s a fabulously gay Nyan Cat meteor with a rainbow trailing behind it and your mode of thought will be extinct.”

“You’re not the Rebel Alliance. You’re not the good guys. You’re the fucking Empire, man. You’re the shitty, oppressive, totalitarian Empire. If you can imagine a world where Luke Skywalker would be irritated that there were gay people around him, you completely missed the point of Star Wars. It’s like trying to picture Jesus kicking lepers in the throat instead of curing them. Stop being the Empire. Join the Rebel Alliance. We have love and inclusion and great music and cute droids.”

He later told a reader who attacked his confrontational approach to his critics that he would not engage in a conversation on the issue. “Because on this, I am not interested in conversation. If your problem with the book is only the inclusion of gay characters, then no conversation is possible. Because that’s homophobia, that’s bigotry, and there’s nothing to be done or said. Someone wants to talk to me about the writing style or whatever, sure, I can have that discussion. On this, no.”

If I were Disney execs and Kathleen Kennedy at Lucasfilm, I’d be very concerned. You really can’t have an author for a kids series dropping “F” bombs and proposing that gay meteors are coming with trails of rainbows to follow. Because the use of a gay character in Star Wars clearly was political, and agenda based, otherwise he wouldn’t be so quick to come unglued. Also, it is disturbing that as a Star Wars author, Wendig assumes that the definition of Star Wars resides along the lines of inclusion of gay people within the Jedi Order of Luke Skywalker. While Star Wars can mean lots of things to a lot of different people, the space opera is about good, old-fashioned story telling based on the Saturday morning serials of George Lucas’s youth. They are westerns set in space and if they become anything less than that, then the profit-making machine Disney hopes the property to be will quickly fade away.   I’ve loved Star Wars all my life, but I will be the first one off the train if that’s the direction Disney decides to go. Star Wars is not about where one parks their male sex organs at night. Any romance that does emerge from the stories has direct connections to furthering family lineage. Star Wars is not Game of Thrones. If there is sex and romance, there has always been a point to it. Star Wars is not the Rocky Horror Picture Show, and if Disney thinks they can expand their market share by 2% then they’ll lose 40% who just will drop interest. Times have not changed as much as Wendig thinks based on his comment that conservative modes of thinking will soon be extinct. Miley Cyrus recently said something similar, and I’m sure around San Francisco, Los Angeles, New York and places where progressivism is rampant, it’s easy for them to think so. But in Kansas, Indianapolis, Atlanta, Dallas—people aren’t going to rush out to buy the next Star Wars product if they feel a gay agenda is being forced down their throat. They’ll drop interest before Episode 8 hits in May of 2017 and Disney will be in trouble.

Here’s how it works, Disney considers the Avengers: Age of Ultron to be a box office failure even though it made $1.4 billion dollars world-wide. While I enjoyed the movie, I walked out disappointed—I knew how Disney would view the profits from the movie. It wasn’t as good as the first film and it had noticeable progressive influences in the movie that just don’t play well with traditional audiences. Feminism and gay pride may be topics now because of the progressive influence of studio projects, but those are not enduring traits that will still be beloved many years from now. Star Wars is a mythology that should have the same resonance 100 years from now as it does in this decade. And I’ll bet money that 500 years from now, we will be laughed at as a culture for even entertaining all this gay pride stuff. For instance, the two best Star Wars movies are A New Hope and The Empire Strikes Back. Without those two movies, there wouldn’t be a franchise. Obviously the romance in those two stories was the one between Han Solo and Princess Leia. Leia in A New Hope was a raging feminist who was slowly conquered by a strong male archetype typical in most westerns, Han Solo. Over two films he melted her into submission and made a real woman out of her. That is a story point that will endure with human development for hundreds of years and will sustain the growth of billions of dollars in action figures. But if Princess Leia were to stave off Han Solo and start a sexual relationship with Mon Mothma, the whole mythology would have been rejected by the movie going public in seconds. If Disney turns Star Wars into Broke Back Mountain, then there will be hell to pay. They may gain 2% approval from the gay community and the rainbow weirdos who cheered when Obama colored the White House in pretty colors after a Supreme Court ruling on gay marriage. But straight people—who will always be in the majority based on biological function, will reject things that they are uncomfortable with. Disney will not be happy when they learn that Star Wars movies won’t make them $2 billion each and the book market dies from a lack of demand for the product. People go to Star Wars to get away from progressive politics, not to relish in it. For me it’s a traditional storyline that is similar to a western—so I love it. Take that traditional element away and I’m not interested. And there are millions who think just like I do.

Just a word of warning to Disney—I love the company and its products. Part of that love comes from the traditional family values that it represents. If traditional value is removed from the product, I’m not inclined to spend money on it. There have been many times where obvious gay people perform at Disney World, and I put up with it to be inclusive, but when they are flamboyant about being males pretending to be women with high-pitched tones to their sentence structures, it just gives me a headache. If some hot chick dressed up as Sleeping Beauty wants to stand next to me for a picture, I’m fine with it. But if a dude dressed up as Sleeping Beauty wants to cuddle up next to me to satisfy their own sexuality—that’s not OK. I don’t want to explain that kind of thing to the young people around me, and I don’t want to be put in that position if I’m spending a $1000 dollars a day at an amusement park. And I’m not going to rush out at midnight to buy a book about gay protagonists. Star Wars is not a sure thing. It can be screwed up, and based on the comments from Chuck Wendig, that apprehension is well justified.

I’m completely alright with expanding the role of women in Star Wars. Jaina Solo is bigger than God in our household. I’m also alright with heroes of different skin colors. But when it comes to sex, I don’t want to know about it. Heterosexual activity can be gross at times, but gay sex is just unappealing and I don’t want to be reminded of it when I look at an action figure. If Disney wants to kill Star Wars, then let these “artistic” types have their way with the traditions of Star Wars by turning it into the Rocky Horror Picture Show. Fans of the series will be turned off, but the real terror will come to Disney execs who measure box office receipts—when they find out that their cash cow just laid an egg—and that’s not something that’s supposed to happen in a galaxy far, far away.  Star Wars is not about gay pride, or inclusion. Sex is a “collective experience” something that is shared. Star Wars is about following the bliss of the individual and in saving yourself you save the galaxy. When many people follow their “bliss” evil is conquered and good resumes its work in the world. That has nothing to do with sex. But it has everything to do with what goes on in the human soul. Based on Wendig’s comments, he needs to go back to Star Wars school and Disney needs to re-think who they let drive the car of the franchise—because artists like Chuck are bringing that car back with lots of new dents, scratches, and sticky seats. And that’s just gross.

Rich Hoffman


Listen to The Blaze Radio Network by CLICKING HERE.

Dominic Basulto’s Scientific Frontiers: More Implications of Star Wars Land in Disney by the Washington Post

I normally don’t do this, but Dominic Basulto’s article from the Washington Post is so good about the future implications of Star Wars and the new Disney Lands dedicated to the famous movie franchise, that I am posting it in its entirety below along with the origin links, just because I worry that people might not click on the link to take the next step to read it. I want to make it as easy as possible—because it is that good. After reading, make sure to click on the links, check out the sponsors of the Washington Post, because they rely on that kind of revenue, and consider yourself enriched. I wrote about nearly the same type of topic a few days ago, but I thought that Basulto’s article went a bit more to the science implication as opposed to the mythic and was important.

Over the last week I have taken some time to enjoy some of the fun things in life, Star Wars being one of them, and enjoyed enormously the great news coming out of Disney not just for myself, but for many of the reasons that Dominic Basulto illustrated in his article. I spent an entire day catching up on news from the 2015 Gen Con and all the great Star Wars news coming from Fantasy Flight Games. Like the implication of Star Wars upon the world of science, I can see this whole generation exploding into a grand fortissimo that far exceeds politics and contemporary society. As obsessed as the world of politics is currently with Donald Trump, the sheer numbers of these Star Wars supporters pales every other demographic group in comparison, and is evidence of a world tomorrow that will be much different from the world of today. To understand that world I watched hours of footage coming from X-Wing matches at Gen Con and studied what was coming from Fantasy Flight Games. But all that will be quickly eclipsed with the announcement of a Star Wars Land in Disney World. To understand that—dive into Basulto’s world and take a mental snapshot of a world about to arrive.

Over the weekend at the D23 Expo, Disney announced that it planned to create two new 14-acre “Star Wars” theme lands as part of its Disneyland and Disney World parks. The news, predictably, met with approval from the ranks of “Star Wars” supporters at the event.

But the news of Disney’s new theme parks has a far larger significance: it shows the extent to which science fiction is eating the world. And that’s good news — science fiction’s growing mind share of the nation’s youth is creating a stable base of future innovators.

Think about it — the generation that grew up on the Disney animation classics of the post-War era — “Alice in Wonderland” (1951), “Peter Pan” (1953), and “Sleeping Beauty” (1959) — has been replaced by a generation that grew up with “Star Wars” and all the other classic science fiction films of the 1970s and early 1980s. In 1977, the blockbuster film “Star Wars” launched an amazing cult franchise that shows no signs of stopping anytime soon.

That’s one reason why Disney spent $4.05 billion to acquire Lucasfilm Ltd. back in 2012 — the bottom-line realization is that science fiction has come a long way from its early roots as a nerdy niche and is now a platform for future growth. It’s also at the leading edge of creating immersive new experiences. At this weekend’s D23 Expo, Disney chief executive Bob Iger told fans that, “We are creating a jaw-dropping new world” in which “guests will truly become part of a Star Wars story.”

Science fiction is now a family affair and a very lucrative one at that — while kids may outgrow their Cinderella dolls by adolescence, there’s growing proof that they never really outgrow their love of “Star Wars.” Science fiction is the gift that keeps on giving, especially if you’re a huge corporation able to license product after product. There’s enough demand, in fact, to support the creation of sprawling new “Star Wars” theme worlds within already sprawling theme parks.

As science fiction continues to eat the world, which has important implications for how future generations think about science, creativity and innovation.

First and most importantly, think about the new gender roles that science fiction opens up. In the classic Disney fairy tale, what are the roles played by women and girls? They are princesses who spend their whole lives pining for a kiss from Prince Charming. The reason why “Frozen” has been such a phenomenal success for Disney, some have argued, is because it brought forward a new type of heroine – Elsa – who’s okay with her magical ice powers and just wants to be left alone.

Now, contrast that to the roles played by the likes of another princess — the “Star Wars” princess Leia Organa of Alderaan. She’s talented, driven, forceful, a leader and a fighter – and she’s also beautiful and a style icon, by the way. This explosion of possible roles for women, one could argue, has been one of the factors behind the phenomenal success of events such as Comic-Con. The wonderful variety of science fiction roles for women has inspired girls to dress up like their favorite heroines. At this year’s Comic-Con, the male/female ratio was almost exactly 50-50.

Then, think about the technological innovations in your classic Disney fairy tale — you have magic kisses, magic wands and magic abilities such as the ability to fly. You could argue that “Star Wars” offers high-tech updates on these themes — think of the “Star Wars” light saber as the ultimate magic wand, the Millennium Falcon as a way cooler version of a flying elephant, and all the assorted droids, gadgets and intergalactic villains as high-tech versions of the all plot elements in a Disney fairy tale.

There’s a whole sub-genre of innovation that might be characterized as Star Wars innovations — all the amazing innovations that people are trying to bring to fruition because of having watched “Star Wars.” A short list of amazing innovations inspired by “Star Wars” would include laser technology, artificial intelligence, robotics, alternative energy, holograms, prosthetics, genetic engineering and, yes, force field technology.

The reason why science fiction is so powerful as an innovation stimulus is because it creates the need for high-end special effects to create ever more realistic worlds within a science fiction narrative framework. That’s where Lucasfilm plays such an important role — all of those special effects help to push along the narrative in ways that excite the mind. All the great Disney films have a complex narrative filled with great costumes, curses, grudges and family intrigues — but when they’re combined with intergalactic empires and cosmic enemies, science fiction films have much greater ability to win over impressionable hearts and minds.

Still not convinced that science fiction is eating the world? Just wait until Halloween this year. Check out how many people make “Star Wars” a family affair. For every Cinderella and Prince Charming, you’re bound to encounter a Princess Leia and Han Solo. It used to be you needed to go to an event such as Comic-Con to dress up as your favorite science fiction character, soon you’ll be able to do it any day of the year at Disneyland or Disney World.

Dominic Basulto is a futurist and blogger based in New York City

Rich Hoffman


Listen to The Blaze Radio Network by CLICKING HERE.

The Millennium Falcon is my Thing: Wonderful news from Disney’s D23 Expo

Stunning is all I have to say about the news out of Disney regarding Star Wars.  Everyone who reads here and knows me understands that I am a Star Wars fan.  They know that my primary love in life is that of mythology and the power of it.  That one of my great personal teachers was the maverick professor at Sarah Lawrence College—Joseph Campbell and that I spent many of my formative years associating with the Joseph Campbell Foundation of which George Lucas was one of the Board of Directors.  And I have said on many occasions that I think the new Star Wars films, and all the books and media that will follow will reshape our modern culture not only regionally, but globally. There is tremendous power in Star Wars and Disney’s marketing machine will only accentuate that in glorious ways that only capitalism can fully extract.  The news around the upcoming film The Force Awakens is exciting.  But that’s not all, a whole slate of new films following that one are upcoming.  All the mythology that the previous six Star Wars films have produced over the last 30 years will soon be eclipsed by the six new films in the pipeline produced over the next six years.  And supporting those will be all new novels, video games, commercial products but best of all a new Star Wars land at the Disney parks.  Click here to read some of my previous work on this topic.  I predicted this a long time ago in a galaxy not so far away. 

For me the biggest news of this century which has stirred in me a delight that is quite epic is the information that not only will Disney build a 14 acre Star Wars specific land in both the Anaheim location and Orlando location, but that a full-sized Millennium Falcon will be present.  That is a game changer in these films that I have been wanting to see my entire life.  And now I’m going to get to see it.   At the D23 Expo over this last weekend Bob Iger released the details and showed the concept art and that just did it for me.  I have been in love with the Millennium Falcon since I was very young and it may actually be stronger today than even when I was a kid because not only through the movies, but the many novels, I have spent a lot of time on that ship in my head—and I completely understand the world it traverses through.  I am very happy that Disney as a company has done precisely what I said they would do with the Star Wars acquisition when they first bought it in 2012 and at the heart of it they intend to keep the Millennium Falcon a central character to the entire saga.

Honestly if Jesus Christ came again to judge the living and the dead on judgment day and I had a chance to attend that or to go see the Millennium Falcon in real life, I would choose the Falcon.  I am pretty stoic when it comes to controlling my emotions.  I don’t get crazy about many things—especially sad things. But I do allow myself to feel elation over positive things, and I really don’t know how I will handle seeing a Millennium Falcon in real life—seriously.  When the place opens I may take a week of vacation just to reside in that land day after day soaking up everything—because I love the Star Wars mythology from top to bottom—and within that world I have a love of the Millennium Falcon that is central to that passion.  Still to this day, out of all the successes and experiences I’ve had—which are quite extraordinary, things I’ve won and achieved—one of the best memories I have ever had was seeing the real life model of the Millennium Falcon in the Smithsonian in 1997.  I really felt when I put my hands against the glass that I had died and gone to heaven.  It was one of the most beautiful things I’ve ever put my eyes on.  Given that context I really don’t know how I’ll react to seeing a model of the Falcon in full-scale that I can walk up to and see close.

Han Solo is the modern embodiment of the classic western cowboy.  His quick draw pistol is famous within the Star Wars storyline and his super fast Millennium Falcon gives a tip of the hat to two film genres, the classic car hot rod and a gun fighting cowboy.  Those two things are just impossible not to like—and to top that off, the Falcon was a pirate ship within that galaxy—so I’m not the only one who finds the Millennium Falcon appealing.  I was amazed to see Harrison Ford on stage at D23, and that it was Han Solo who made the cut on the new poster for The Force Awakens.  There will be a new film about specifically Han Solo as a young 20 something that will be exciting, so there is a lot of news coming from Disney to be excited about for—particularly for Millennium Falcon fans.  I know how I feel about all this information, so I can’t help but think of the scientific implications of it.

As recently as last week I was thinking of a way to build a real Millennium Falcon as a real usable space vessel moving to and from earth to explore the reaches of space.  I really don’t think we are that far away, and one design with sentimental value is as good as any other.  The Falcon offers a lot of options for deep space travel particularly in its circular design.  A change of scenery is important when spending a lot of time in space, and the Falcon is cleverly designed for just such an experience.

Also announced at D23 was the new photo for Rogue One which showed Felicity Jones as the main actress standing among a group of daredevils and hackers about to steal the Death Star plans leading up to the original Star Wars film,  A New Hope.  As I looked at that I couldn’t help but wonder if she wasn’t playing Bria Tharen who was one of Han Solo’s girl friends from the Expanded Universe.  If she was her back story could easily be a part of the stand alone Han Solo film coming on May 25th 2018.  I’m already in line!  Likely being that young, Han Solo wouldn’t yet have the Millennium Falcon, but I’m sure it will make an appearance in that film as the ship owned by Lando Calrissian.   It is obvious that Disney, knowing the popularity of the vessel is finding ways to put it in most of the new Star Wars films in some support role or another.  There will also be a Boba Fett film and in that story I’m sure he will be chasing around a younger Han Solo in the Millennium Falcon—so there is a theme emerging that is quite justifiable in placing a full-sized Falcon in the center of the new Star Wars land at Disney.

Knowing the effect the Falcon has had on me I shudder to think of what effect it will have on a new generation who can actually walk up and touch it.  I got goose bumps the first time I saw new footage of the Falcon in a hangar on the Star Tours ride in Orlando.  Part of the ride flies off behind the popular vessel in a dog fight and I was blasted with excitement in just seeing it sit there.  For my birthday this year we went to Dave & Busters just so I could fly the Falcon in the video game there exclusive to the popular gaming destination.  But these are all images that take imagination to enjoy.  They are not something you can put your hands on and feel.  Disney is now taking that step and I am emphatically excited about it.  I think the influence it will have on science for years to come will be extraordinary.  These new films will open up the mythology in ways that nobody thought was possible before and the effect they will have on civilization will be extremely powerful.  Being able to reach out and touch it will just make it that much more influential as a mythic device.  So yes, there is a lot of good news floating around out there.  But for me, nothing is more exciting than the D23 news coming out of Disney.  I would pay $100,000 just to see an actual movie prop of the Falcon on set.  I would spend unknown amounts to see one all dressed up at Disney World.  The Millennium Falcon is my thing—and I share that with a lot of other enthusiasts. It was probably the best thing that Disney could have done with Star Wars—and they are just getting started.  I can’t wait to see what’s next!

Rich Hoffman


Listen to The Blaze Radio Network by CLICKING HERE.

The Battle of Two Wolves: Mythic tales from Star Wars 2015 Celebration

It’s important, so I’ll keep talking about it—the Star Wars Celebration showed the outside world just how much potential there is in the Disney owned movie franchise. I’ve been covering that topic for quite some time—I write about the Star Wars video games, the books, the television shows, and the movies often—but the essence of it and the longevity, is the extreme power of the mythology to shape the modern world. Mythology is excessively important to human beings.   As thinking specimens of cell building technology, humans need mythology.   Our childhoods are often rich with mythology, but our adult and old age lives are often much more limited to tabloid type concerns. Our lives are shaped by the kind of mythology that we think about. Star Wars as shown in the videos below by the filmmakers’ themelves from the Celebration event is the best offering that human minds have created in the world of mythology. To understand a bit about the why and how let me bring to your mind a nice little Cherokee Indian legend passed from a wise man to his grandson.

A Native American Cherokee Story – Two Wolves

One evening an old Cherokee told his grandson about a battle that goes on inside people.

He said, “My son, the battle is between two wolves inside us all.

“One is Evil – It is anger, envy, jealousy, sorrow, regret, greed, arrogance, self-pity, guilt, resentment, inferiority, lies, false pride, superiority, and ego.

“The other is Good – It is joy, peace, love, hope, serenity, humility, kindness, benevolence, empathy, generosity, truth, compassion and faith.”

The grandson thought about it for a minute and then asked his grandfather: “Which wolf wins?”

The old Cherokee simply replied, “The one you feed.”

Star Wars is the modern update to stories like those old Indian legends. All cultures have some mythological comparison—so having a modern version is extremely important to young people—and old people. That is why the box office numbers for the next Star Wars film will be so outrageously high. There is a hunger for the type of mythology which places values into story form for humans to build their lives around.

Star Wars is essentially the story of the two wolves of Cherokee legend. It’s about feeding good and evil then watching the results. People are so desperately hungry for that type of story telling. There is a reason that westerns were so popular in American culture—because they were essentially about these perilous choices between the good wolf and the bad wolf. Mankind wants to know which one wins, because they want help in determining which wolf to feed.

I know, and have known a lot of bad wolves and I tried to starve the bad out of them in favor of the good. But so often the bad wolf eats the good wolf in these young people’s lives because behind my back they starve the good one and feed the bad. The bad wolf is the squeaky wheel in their life needing the most grease. Many from that side of the tracks of perpetual duality want to justify the actions and social perception of the evil wolf, the bad side of human sentiment, the anger, envy, jealousy, sorrow, regret, greed, arrogance, self-pity, guilt, resentment, inferiority, lies, false pride, superiority, and ego—as being misunderstood—as if understanding were required to justify the feeding of a bad wolf.

We live in an age where we are told not to judge others—we are told not to judge the good wolf or the bad wolf because they are all wolves and equal under the sky of mother earth. Well, they are not equal, and they cannot co-habitat on earth with one another in peace. Good and evil are at war and if there is any point to life in the realm of four-dimensional reality it is to determine which wolf people will feed—because that will determine the course of your very soul. That is the great test, which wolf will we feed?

Star Wars functions in a fashion as it puts the question toward mankind in the same way that the grandfather did for his grandson. The choice is ours always to make, Star Wars does not tell us which one to feed. It simply says what the results of one wolf will be over the other. That is the purpose of mythology and a society without it is lost—as we have all been for many years—in spite of a very rich culture of story telling. The quality of that story telling has not been very high. Star Wars however is very high quality story telling—it is mythology at its best.

Bob Iger the CEO of the Disney Corporation gave a surprisingly fluid clarification of his understanding of the Star Wars property. He understands quite clearly what his responsibility to mythology is as one of the largest entertainment companies in the world. As I heard him speak it was almost chilling because I can see how this will all play out and it will be earth shattering—just because there are so many people today who are such empty vessels. Star Wars will be like a drink in the desert for them, and it will fill them with choices. No longer will they wonder how to keep the two wolves from eating each other, they will learn to feed one and kill the other—and their lives will suddenly have meaning. That is the power of myth.

That is also why Star Wars: The Force Awakens will make so much money that the movie business will have to totally re-think how it does business. Next to Star Wars, average Hollywood movies will pale in comparison as the global measure made today will far surpass everything that many think are successes. Many bad wolves will speculate that Disney is evil and just out to make money, and that the world has had enough of Star Wars. Those will be those bad wolves who don’t want to share their food with the good—so of course they will say that. But Disney will increase their value to heights they never thought possible—and they’ll soon learn that the price they paid for Lucasfilm was a fraction of the real value. The power of myth is what drives Star Wars, and the hunger for it is in understanding which wolf to feed, the good one or the bad one. The world wants answers to those questions and these days only Star Wars is offering a clear answer. That’s why it is so successful and why I have so much to say about it.

Rich Hoffman


Listen to The Blaze Radio Network by CLICKING HERE.