Last month marked the second anniversary of the release of the then-much anticipated geek manifesto–and partial inspiration for this website–Fanboys. I remember in the long years leading up to this movie’s release there was much disturbance in the Force uncertainty. We knew the plot was about a guy with cancer whose friends take him to break into Skywalker Ranch to see Episode I before it was released, but then we heard they took out the cancer plot line to make it a buddy-romp. And then fans protested so it got put (clumsily) back in? Then it was finished but then Lucas liked it so much he gave rights to sound effects and other Star Wars trademarks, so they re-shot a lot to add those in? I didn’t follow the order of all that very closely, but I knew it was coming and the second it dropped, my fellow Star Wars fan friends and I raced to see it.
We were maybe a few of twenty people in a large theater but it was glorious–it had been so long since a movie just seemed to get me. When Linus and Eric, after not speaking to each other for years, get into a screaming match ostensibly about whether Luke knew Leia was his sister when they kissed, I just knew this movie understood that the nature of the fight was about something else; that these awkward boys were using this shared language or cultural touchstone to express themselves. That, after all, is a lot of what fandom means to me: having common affinities for certain kinds of narratives and choosing to interact with the world through the lens of those stories.
I probably annoyed everyone in the room off by leaping up when “Harry Knowles” asked Bottler what planet Chewbacca came from, and shouting “KASHYYYK!” I probably annoyed everyone more when I did it again when they asked the same trivia question later in the movie after the gang had been caught by the guard at Skywalker ranch. (Really, Fanboys, you couldn’t think of any other trivia about Star Wars to ask?) And then, yes, I cried at the end when Linus is gone. This movie didn’t have to try hard to pull me in, as a massive Star Wars fan, but it really did a good job of working for it anyway.
But.
There were still a handful of scenes that I had to cringe through in that theatre and that I invariably have to fast-forward through now that I own this film on DVD to make it the transcendental experience I’ve just described above. Because the thing about mainstream Star Wars fandom–and the thing about Star Wars fandom in the 1990s as the anticipation for the prequels was growing–is that it had (and to some extent still has) some pretty hardcore misogyny, homophobia, and yes, racism, at its root. Fanboys, for better or worse, is a movie painfully faithful to that tradition.
As a feminist, queer woman who still identifies pretty strongly with the fan perspective this movie offers up, I’ve tried to read some intentionality into its depiction of these offensive tendencies. However, it’s clear to me that its disdain for gayness and its really problematic conception of the place of women in fandom is offered up as the audience’s innate perspective without much critique. Look, it’s no coincidence that some of the key advertising of this movie parodied the advertising for the 40-Year-Old Virgin, the first in a series of wildly popular Judd Apatow and copy-cat flicks by, for, and of some straight, white, dudes.
So, Fanboys: I say this from a place of love–from a place where I wanted this movie to be about ME, to get ME, or at bare minimum, to not dismiss people who are not straight, white, men as a potential member of your audience wholesale–here’s a few places where you went horribly, horribly wrong: