clone-wars-season7-poster

Star Wars: A Fan Theory Suggests The Clone Wars Is Republic Propaganda

Star Wars: The Clone Wars, which is currently in the midst of its final season exclusively on Disney+, isn’t known for its morally complex heroes and villains. The series is told from the perspective of members of the Jedi council protecting the Republic, Anakin Skywalker, Obi-Wan Kenobi, and Ahsoka Tano. Nearly all of the villains featured in Star Wars: The Clone Wars are one-dimensional, even though the Republic was deeply flawed and served as a precursor for the Galactic Empire. A new fan theory on Reddit makes the convincing case that Star Wars: The Clone Wars is essentially Republic propaganda.

The Redditor notes that The Clone Wars essentially served as the foundation for the “militaristic xenophobic authoritarian Galactic Empire.” Despite that, the separatists are always portrayed in an antagonistic light while defenders of the Republic are always seen as the good guys. The Redditor mentions that whenever the Republic does something questionable, it is often overlooked. This includes invading Umbara and knocking out the power generator in Ondoron. In Star Wars: The Clone Wars, Chancellor Palpatine seems like an entirely different character with no sinister motives, while Count Dooku seems far more evil than his cinematic counterpart. The clones are also humanized in Star Wars: The Clone Wars in a way that is never seen in the prequel trilogy.

RELATED: Star Wars: 10 Best Story Arcs In Clone Wars

The Redditor ends by speculating that Star Wars: The Clone Wars is told through the perspective of Admiral Yularen following the fall of the Republic, who views the Jedi as flawed but generally good and the separatists as evil incarnate. The Redditor notes that every single episode starts with a WWII propagandaesque broadcast from a narrator. While the theory became extremely popular on the Fan Theories, many Redditors in the comment section disagreed with the original post and expressed their own points of view.

One Redditor mentioned there are multiple episodes in Star Wars: The Clone Wars in which the intentions of the Republic are morally questionable, making the claims of the original fan theory less credible. Another Redditor claimed that if Star Wars: The Clone Wars was Republic propaganda, there’s absolutely no way Ahsoka’s entire arc would be included on the show. A couple of Redditors poked holes into the original theory by pointing out that there are scenes in which the audience knows things that the characters don’t, and if the show was entirely Republic propaganda, then we wouldn’t be seeing these scenes. Redditors also made the point that not all of the separatists are portrayed as villains, as there are members of the Separatist Senate who don’t want the war to continue, but it is being engineered by Chancellor Palpatine and Count Dooku.

Star Wars: The Clone Wars protagonist Ahsoka Tano has been confirmed for the second season of Disney+’s hit series The Mandalorian and will be played by Daredevil star Rosario Dawson. In addition to Tano, Star Wars: The Clone Wars showrunner Dave Filoni hinted that The Clone Wars alum Captain Rex will appear in the second season of The Mandalorian.

Streaming on Disney+, the final season of Star Wars: The Clone Wars stars Matt Lanter as Anakin Skywalker, Ashley Eckstein as Ahsoka Tano, Dee Bradley Baker as Captain Rex and the clone troopers, James Arnold Taylor as Obi-Wan Kenobi, Katee Sackhoff as Bo-Katan and Sam Witwer as Maul. A new episode arrives each Friday.

NEXT: The Clone Wars Makes Us Question Han Solo’s Fabled Kessel Run… AGAIN

A new fan theory on Reddit made the convincing claim that Star Wars: The Clone Wars is Republic-propaganda.

harley-quinn-deadpool-birds-of-prey-feature-header

Birds of Prey and THAT Deadpool Comparison | CBR

Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn) drew quite a few comparisons to the Deadpool films leading up to and following its release. The biggest comparison was that both Harley Quinn and Wade Wilson often break the fourth wall to address the audience.

However, Birds of Prey director Cathy Yan isn’t concerned. She laughed off the comparison, saying that it was true to Harley’s character.

RELATED: Birds of Prey’s Prison Fight Originally Included a Double-Ended NSFW Weapon

“The entire concept of the movie was very much like “This is Harley Quinn’s story, and this is the way she’s telling the story,” Yan said in an interview with THR. “It’s going to be wacky, crazy and jump around in time, and it’s not going to make sense until it does.”

She went on to talk about why the idea appealed to her: “All of that was this wonderful concept that I fell in love with in the script because it was like, ‘Oh, wow, you’re actually playing with form in a way that is grounded in character.’ It’s so exciting to be able to tell a story and make a movie through Harley Quinn’s eyes. So, breaking the fourth wall was just an element of that.”

Wan also confirmed that the film was intended to be R-rated from inception, and stemmed from what star Margot Robbie and screenwriter Christina Hodson intended to do with the movie.

RELATED: Margot Robbie Did Her Own Birds of Prey Stunts – This Video Proves It

Directed by Cathy Yan and written by Christina Hudson, Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn) stars Margot Robbie, Mary Elizabeth Winstead, Jurnee Smollett-Bell, Rosie Perez, Chris Messina, Ella Jay Basco and Ewan McGregor. The film is now available on video-on-demand.

Director Cathy Yan addresses the comparison of Birds of Prey's narrative style to Deadpool's, and why it's only surface level.

platform

The Platform: Who Is the Message's Mystery Girl? | CBR

WARNING: The following contains spoilers for The Platform, now streaming on Netflix.

The Platform is a sci-fi and psychological thriller that wades deep into classism and elitism. It follows Goreng (Iván Massagué), who enters the mysterious Pit for a six-month study to earn a diploma involving studies of the human psyche. This tower consists of various levels with a majestic spread of food being sent from the top to the bottom on a moving table by the elites and their chefs. It’s up to each level to determine what should be left for below, thus it tests the compassion and empathy of society.

However, Goreng soon realizes the ultimate response would be to show the elites that mankind can stop killing each other and end the greed enjoyed by administrators of the Pit. He and his new level-mate on Level 6, Baharat (Emilio Buale Coka) bear arms and head down, warding off anyone trying to eat until Level 50 where they’ll start rationing food, as they know these levels have suffered. But as they descend, they discover a young girl who seems to be the answer to their overlords’ plans, although her identity and how she got there remain a mystery.

RELATED: The Platform Is a Beautifully Brutal Depiction of Class Warfare

Goreng has been through hell in the Pit, bumping from various levels, including the bottom where he barely had anything to eat and even had to kill people. He ate the flesh of some of his victims to survive, which is why he and Baharat believe if they send one pristine dish back up, in this case, it’s panna cotta, it’ll show the elites the people aren’t the monsters they’re manipulating them to be.

But as they fight off inmates to get to the bottom, they’re badly wounded after Goreng estimated wrong. He thought there’d be 250 levels but it reaches 333. They get off but the table with the plates heads down even more. They’re shocked because they have no clue what’s below but everything changes here when they meet a young girl. Goreng passes out from his wounds and has a fever dream with Baharat telling him the girl is the new message. When he wakes up, he finds Baharat dead and begins to believe she serves a higher purpose.

RELATED: Netflix’s Kingdom Handles Death Better Than The Walking Dead

Earlier, Goreng was saved from his cannibalistic level-mate, Trimagasi (Zorion Eguileor) by a crazy inmate known as Miharu (Alexandra Masangkay). He’s told she was looking for her daughter who was trapped in the Pit but no pregnant woman can enter, nor are kids allowed, which is confirmed by another level-mate, Imoguiri (Antonia San Juan), Goreng gets later on.

He trusts her because she was the person who admitted him and she’s now in the Pit as she has terminal cancer. She simply wants to spread decency amongst the inmates and remind them they can be kind. However, when she hangs herself after losing faith in people, Goreng’s hope begins to fade too. He meets Imoguiri on the next level but witnesses inmates killing her, and as he breaks mentally, he thinks she’s found peace. But with the girl now coming to light on 333, Goreng is adamant Imoguiri wasn’t crazy — this really is her daughter.

RELATED: The Letter For The King Falls Victim To The ‘Bury Your Gays’ Trope

She’s fed the panna cotta because she’s hungry, with Goreng believing she’s the true message for the chefs. Sending her back up top will prove how resilient humanity is, and it’ll show no one killed her as they believe in kids being the future. He takes her with him when the table arrives and they leave 333, heading down to the bottom of the Pit.

There, he hallucinates Trimagasi, with whom he had a lot of philosophical conversations. Trimagasi was in for manslaughter but they did form a bond, so when he tells Goreng “the message requires no bearer,” Goreng gets off and lets the girl head back up alone. It’s a pretty vague ending, though, because according to Imoguiri no pregnant women could have been here or even tried to raise kids with all the inmates around.

At this point, one has to wonder if she’s all in Goreng’s head as it seems he’s dying, walking off into the afterlife with Trimagasi. Maybe she’s blind hope manifesting in his mind because no one knows if she’ll be killed by the elites or even plucked off the table as it speeds back up. Some theorists posited she was a late entry into the pit, sent in as a test to see if the inmates would have killed and eaten her, with those who protected her gaining a shot at being pulled back up. Unfortunately, Goreng couldn’t have gone up even if he wanted to as it’s apparent he dies at the end. Viewers don’t see the girl’s final fate as director Galder Gaztelu-Urrutia removed the shot of her on Level 0 to leave it ambiguous and see who’s optimistic and who’s not.

Starring Ivan Massagué, Zorion Eguileor, Antonia San Juan, Emilio Buale and Alexandra Masangkay, The Platform is currently streaming on Netflix.

KEEP READING: The Letter For The King’s Ending, Explained

The Platform focuses on a scary tower with inmates fighting for food, but in the finale, there's a strange message in the form of a young girl.

steven-universe-future-header

Steven Universe: The Series Accomplished What Game of Thrones Couldn't

WARNING: The following contains spoilers for the finale of Steven Universe Future, which aired Friday on Cartoon Network

2019 saw the end of Marvel’s Infinity Saga, The Skywalker Saga and HBO’s Game of Thrones, while 2020 has seen the end of another beloved franchise. Steven Universe Future premiered it’s finale last week, and it successfully managed to do with Steven what Game of Thrones wanted to do with Daenerys.

Steven Universe Future ends with Steven transforming into a monster that can overpower the Crystal Gems and the Diamonds. His transformation is caused by seven seasons worth of trauma, but the gems, diamonds and his human loved ones are able to bring Steven back through compassion and love.

RELATED: Steven Universe Creator Talks About Crafting the Show’s End

Similarly, Game of Thrones ends with Daenerys becoming a metaphorical monster who kills thousands of innocent people and turns into a dictator. Her transformation is caused by trauma that stems back to her ancestors, but instead of receiving compassion from her allies, she is backstabbed by the man she loves.

There are a few key differences between these transformations, the first being how trauma is handled. In Steven Universe Future, the season is dedicated to Steven’s mental decay, revisiting his trauma from the past while addressing his current inability to communicate with loved ones and his desire to help everyone but himself. Even before this season, the original series Steven Universe addressed how Steven is suffering from trauma, best seen in episode 107, “Mindful Education.”

RELATED: Steven Universe Creator Rebecca Sugar Doesn’t See the Gems as Neurotypical

Game of Thrones, on the other hand, is not known for handling trauma well, exhibited in how Sansa is grateful for the abuse she’s endured and how Daenerys’s trauma is used as a catalyst for the show’s next “big bad.” Unlike Steven Universe, though, which revisits Steven’s trauma so audiences make the connection between his mental turmoil and his transformation, Game of Thrones rushes this process and assumes audiences will buy that Daenerys has also been mentally unstable and a threat.

A second difference is that both of these characters have genetic ties to “monstrous” people. Steven is related to the Diamonds, colonist oppressors, as well as Rose Quartz, a gem who lied to her allies and never answered for the consequences of her actions. Daenerys is a descendant of the Mad King, a man who killed thousands of innocent people and planned to kill more in a similar fashion to his daughter’s attack on King’s Landing.

RELATED: Steven Universe’s Final Gifts to the Crystal Gems Explained

While both have these relationships, Steven Universe focuses on how Steven is not his mother nor is he like the Diamonds, as explored in season five of the original series. His transformation is not about becoming like them. It’s about how the weight of his trauma has become too much. Throughout Game of Thrones, however, there’s been the implication that madness and violence are inherent traits of Targaryens. Daenerys tries to avoid this fate, proclaiming in season five, “I am not my father.” Despite her drive to be better, Daenerys ultimately finishes what her father started, razing King’s Landing and losing herself in the process.

The third difference comes down to their motives before and after their transformations. Steven and Daenerys are descendants of oppressive royals and desire to break the cycle of abuse. Where Steven succeeds by the final season, Daenerys has not. As a result, Steven transforms because he must face his trauma, but Daenerys uses her transformation as a means to “win,” creating the illusion that it’s for the greater good. Along with these differences, both transformations end on contrasting notes. Steven survives his transformation, has a support network and gets a chance to better himself. Daenerys dies alone and as a villain.

Game of Thrones ends on a tragic note for Daenerys. Her trauma turned her into what she hated most, which was apparently inevitable given her family. Her good heart and desire to end oppression meant nothing in the end, and she was abandoned despite the fact that she needed help, while Steven Universe Future does the opposite. Steven’s transformation is organic because the show dedicates the time to properly representing his trauma, never commodifying it for a final boss battle. The show lives up to its reputation by accurately discussing the pain those with trauma endure and showing that it’s okay to be vulnerable, that people don’t have to go through this alone and that there’s always hope.

KEEP READING: How Steven Universe’s Same-Sex Wedding Changed Every Cartoon Network Show

Steven's fate in Steven Universe Future bears some similarities to Daenerys's in Game of Thrones, but his is better handled.

screenshot-at-apr-04-17-03-42

New BossLogic Endgame Art Pits The Avengers Vs. COVID-19 | CBR

The final battle in Avengers: Endgame was an epic, complex whirlwind of the Marvel Cinematic Universe’s beloved characters facing off against Thanos, the greatest threat they had ever known. It’s not the kind of scene anyone would think to look for in the real world, but there are battles to be fought here, too.

Artist BossLogic made just that point with his latest artwork, which reimagines Thanos as the coronavirus (COVID-19) pandemic, and the Avengers as the medical professionals working to defeat it.

RELATED: Batmobile Patrols Spain’s Streets, Urging Self-Quarantining

Steve Rogers is in the foreground of the defense line, but instead of a captain he’s now Doctor America, with the iconic star on his helmet replaced with a red cross. Farther back, characters such as Thor and the Hulk are gathered, decked out in scrubs and masks.

The art was posted to BossLogic’s Instagram in two installments, along with the text “Thank you, for then, for now and for everything that has yet to come.” He also added the hashtags #nohandshakes and #WashYourHands as a reminder of what everyone can do to help stop the spread of coronavirus.

RELATED: BossLogic Recreates Rob Liefeld’s Captain America With Chris Evans

The message is clear: the medical professionals and healthcare workers who are saving lives and caring for the sick are the heroes in this time of the pandemic.

Directed by Joe and Anthony Russo, Avengers: Endgame stars Robert Downey Jr. as Iron Man, Chris Evans as Captain America, Mark Ruffalo as Bruce Banner, Chris Hemsworth as Thor, Scarlett Johansson as Black Widow, Jeremy Renner as Hawkeye, Brie Larson as Captain Marvel, Paul Rudd as Ant-Man, Don Cheadle as War Machine, Karen Gillan as Nebula, Danai Gurira as Okoye and Bradley Cooper as Rocket, with Gwyneth Paltrow Pepper Potts, Jon Favreau as Happy Hogan, Benedict Wong as Wong, Tessa Thompson as Valkyrie and Josh Brolin as Thanos. The film is now available on Digital HD, Blu-ray and 4K UHD

New fan art by BossLogic shows the Avengers as healthcare professionals facing off against a virus-headed Thanos for the final battle of Endgame.