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→Debatable Whether Liberal: split movie descriptions into smaller paragraphs
|1991
|1991
|G
|G
|A young woman overcomes a shallow society and finds true love. Although by comparison a powerful and immensely popular antidote to [[feminism]] to the [[liberal]] movies churned out by [[Disney]] since, as well as overall promoting redemption (as seen with the Beast's transformation), and also promoting some family values (such as Belle being loyal to her father), there were a few hints at feminist propaganda at the beginning of the film, such as Belle being different from the villagers because she can read, which is implied to not be supported by the villagers at all (feminist propaganda often falsely claims that women couldn't get an education until the 1960s), as well as Belle being unwilling to hold the role of housewife for Gaston or raising children, and later her blaming the titular Beast for her fleeing the castle despite most of the events leading up to and after that event being largely her fault and the story framing that as being a good thing she did. Then-Disney Chairman Jeffrey Katzenberg also mentioned that he wanted "a feminist twist" on the original fairy tale by creating a heroine who is "a departure from typical Disney female characters",<ref>http://articles.mcall.com/1991-11-22/features/2825583_1_beast-s-castle-fairy-tale-madame-gabrielle</ref> and the feminist writer [[Linda Woolverton]] made clear that she made Belle a feminist and based her on the women's liberation movement from the 1970s in order to avoid creating another insipid princess.<ref name="Beauty and Maleficent">{{Cite web|url = http://time.com/2798136/maleficent-beauty-beast-writer/|title = The Same Woman Wrote Maleficent and Beauty and the Beast—Here’s How They’re Linked|date = May 30, 2014|accessdate = January 16, 2014|website = Time|publisher = |last = Rothman|first = Lily}}</ref><ref>http://www.ew.com/article/2016/05/26/linda-woolverton-alice-belle-disney-heroines?xid=entertainment-weekly_socialflow_twitter</ref><ref>https://www.bustle.com/articles/163686-the-one-thing-beauty-and-the-beast-fans-probably-dont-know-about-the-creation-of-belle</ref><ref>http://www.mouseplanet.com/8500/Linda_Woolverton_and_Belle</ref><ref>http://articles.latimes.com/1992-01-19/entertainment/ca-544_1_disney-film</ref> Gaston is a conservative and hardworking hunter who is considered by the villagers to be their town hero, but is shown to be the main villain of the movie (it should also be noted that in the original screenplay for the film, Gaston was intended to be a Marquess [French nobleman], meaning the decision to make him a conservative and hardworking hunter was made after a rewrite). In addition, although not to the same degree as other Disney films that came after it (i.e., ''The Hunchback of Notre Dame'' and ''The Princess and the Frog''), the film also has a slight anti-Christian bent, as the villagers (strongly implied by various verses in the opening song and the mob song, as well as a failed wedding, to be practicing and devout Christians) were later briefly seen supporting a plan that went against God's teachings, as well as overall depicted as being idiots, while Belle, the character framed as an intellectual and a moral figure, is not even seen or even implied to believe in God at all. In addition, Belle's love for Beast (where it is implied that she was largely unaware of the Beast being formerly a human prince) could be seen as promoting bestiality. Also, it is the first Disney movie to neither show nor hint at the two love interests getting married, and in fact, the only "wedding" in the film was the one Belle ruined, creating negative implications about marriage as a result, as well as starting a string of movies that don't paint marriage in a positive light. Similarly, the only three females in the film who are implicitly supportive of marriage and Christianity are demeaned, depicted as dumb blondes with the script and credits explicitly referring to them derogatorily as "the bimbettes." There was also a slight anti-hunting sentiment in the film, due to the main villain, as aforementioned, explicitly being labelled as a hunter. There were also several overtones of a pro-homosexual agenda within the film, including the mob song late into the film, largely because of the executive producer, Howard Ashman, being gay and dying from AIDs at the time the film was made. One of the protagonistic characters, Lumiere, is briefly seen making out with a featherduster and was implied that the two weren't married, with some hints at Lumiere being an unrepentant womanizer. In addition, some elements of the film were later reused in the [[Essay:Worst Liberal Movies#Social|definitely liberal]] ''Maleficent'' movie.<ref name="Beauty and Maleficent" />
|A young woman overcomes a shallow society and finds true love. Although by comparison a powerful and immensely popular antidote to [[feminism]] to the [[liberal]] movies churned out by [[Disney]] since, as well as overall promoting redemption (as seen with the Beast's transformation), and also promoting some family values (such as Belle being loyal to her father), there were a few hints at feminist propaganda at the beginning of the film, such as Belle being different from the villagers because she can read, which is implied to not be supported by the villagers at all (feminist propaganda often falsely claims that women couldn't get an education until the 1960s), as well as Belle being unwilling to hold the role of housewife for Gaston or raising children, and later her blaming the titular Beast for her fleeing the castle despite most of the events leading up to and after that event being largely her fault and the story framing that as being a good thing she did. Then-Disney Chairman Jeffrey Katzenberg also mentioned that he wanted "a feminist twist" on the original fairy tale by creating a heroine who is "a departure from typical Disney female characters",<ref>http://articles.mcall.com/1991-11-22/features/2825583_1_beast-s-castle-fairy-tale-madame-gabrielle</ref> and the feminist writer [[Linda Woolverton]] made clear that she made Belle a feminist and based her on the women's liberation movement from the 1970s in order to avoid creating another insipid princess.<ref name="Beauty and Maleficent">{{Cite web|url = http://time.com/2798136/maleficent-beauty-beast-writer/|title = The Same Woman Wrote Maleficent and Beauty and the Beast—Here’s How They’re Linked|date = May 30, 2014|accessdate = January 16, 2014|website = Time|publisher = |last = Rothman|first = Lily}}</ref><ref>http://www.ew.com/article/2016/05/26/linda-woolverton-alice-belle-disney-heroines?xid=entertainment-weekly_socialflow_twitter</ref><ref>https://www.bustle.com/articles/163686-the-one-thing-beauty-and-the-beast-fans-probably-dont-know-about-the-creation-of-belle</ref><ref>http://www.mouseplanet.com/8500/Linda_Woolverton_and_Belle</ref><ref>http://articles.latimes.com/1992-01-19/entertainment/ca-544_1_disney-film</ref>
Gaston is a conservative and hardworking hunter who is considered by the villagers to be their town hero, but is shown to be the main villain of the movie (it should also be noted that in the original screenplay for the film, Gaston was intended to be a Marquess [French nobleman], meaning the decision to make him a conservative and hardworking hunter was made after a rewrite). In addition, although not to the same degree as other Disney films that came after it (i.e., ''The Hunchback of Notre Dame'' and ''The Princess and the Frog''), the film also has a slight anti-Christian bent, as the villagers (strongly implied by various verses in the opening song and the mob song, as well as a failed wedding, to be practicing and devout Christians) were later briefly seen supporting a plan that went against God's teachings, as well as overall depicted as being idiots, while Belle, the character framed as an intellectual and a moral figure, is not even seen or even implied to believe in God at all. In addition, Belle's love for Beast (where it is implied that she was largely unaware of the Beast being formerly a human prince) could be seen as promoting bestiality. Also, it is the first Disney movie to neither show nor hint at the two love interests getting married, and in fact, the only "wedding" in the film was the one Belle ruined, creating negative implications about marriage as a result, as well as starting a string of movies that don't paint marriage in a positive light.
Similarly, the only three females in the film who are implicitly supportive of marriage and Christianity are demeaned, depicted as dumb blondes with the script and credits explicitly referring to them derogatorily as "the bimbettes." There was also a slight anti-hunting sentiment in the film, due to the main villain, as aforementioned, explicitly being labelled as a hunter. There were also several overtones of a pro-homosexual agenda within the film, including the mob song late into the film, largely because of the executive producer, Howard Ashman, being gay and dying from AIDs at the time the film was made. One of the protagonistic characters, Lumiere, is briefly seen making out with a featherduster and was implied that the two weren't married, with some hints at Lumiere being an unrepentant womanizer. In addition, some elements of the film were later reused in the [[Essay:Worst Liberal Movies#Social|definitely liberal]] ''Maleficent'' movie.<ref name="Beauty and Maleficent" />
|$$218,967,620
|$$218,967,620
|-
|-
|2017
|2017
|PG
|PG
|On the one hand, the 2017 film version of ''Beauty and the Beast'' is the latest in the film trend of needlessly and shamelessly remaking animated films or children's stories for the sake of earning easy revenue and capitalizing on current film trends in the modern, soulless Hollywood studio system. Liberals also seized the opportunity with the remake to exploit diversity and promote some liberal values within the ''Beauty and the Beast'' universe. The final result of the diversity inclusion in the cast of characters is that it feels self-congratulatory in the sense of putting it all in for the sake of having it, rather than having it be just a part of the story and the film. One notable example is the filmmakers' decision to make LeFou, Gaston's diminutive and bumbling sidekick, a homosexual who is conflicted with his feelings for Gaston (although it should be noted that in the actual script, it was never actually specified that LeFou was homosexual.<ref>https://www.usatoday.com/story/life/entertainthis/2017/03/03/josh-gad-lefou-beauty-and-the-beast/98679284/</ref>). At the end of the film, LeFou is shown taking a romantic interest in a musketeer who is now a transgender woman after being transformed into one during Gaston's siege of the Beast's castle. Not only is it an atrocious and needless artistic decision of the filmmakers to needlessly incorporate diversity simply for the sake of it, but the 2017 film version of ''Beauty and the Beast'' also serves as an example that liberals can legitimately shoehorn the [[homosexual agenda]] into Disney films. Adding salt to the wound, the filmmakers also further changed history to suit their feminist agenda, similar to previous Disney films like ''Mulan'' (1998), ''Pocahontas'' (1995) and ''The Princess and the Frog'' (2009) (most infamously, the villagers are shown to be explicitly intolerant of Belle learning how to read and teaching girls to do the same, smashing her washing machine in the process, despite the fact that the namesake for the village in this film, Mdm. Gabrielle-Suzanne Barbot de Villeneuve, the original author for the fairy tale, was herself a woman). The 2017 film version of ''Beauty and the Beast'' is now even more of a feminist propaganda film than the 1991 animated film version ever was. There were also hints at an anti-war message due to Gaston being turned into a war veteran.
|On the one hand, the 2017 film version of ''Beauty and the Beast'' is the latest in the film trend of needlessly and shamelessly remaking animated films or children's stories for the sake of earning easy revenue and capitalizing on current film trends in the modern, soulless Hollywood studio system. Liberals also seized the opportunity with the remake to exploit diversity and promote some liberal values within the ''Beauty and the Beast'' universe. The final result of the diversity inclusion in the cast of characters is that it feels self-congratulatory in the sense of putting it all in for the sake of having it, rather than having it be just a part of the story and the film. One notable example is the filmmakers' decision to make LeFou, Gaston's diminutive and bumbling sidekick, a homosexual who is conflicted with his feelings for Gaston (although it should be noted that in the actual script, it was never actually specified that LeFou was homosexual.<ref>https://www.usatoday.com/story/life/entertainthis/2017/03/03/josh-gad-lefou-beauty-and-the-beast/98679284/</ref>). At the end of the film, LeFou is shown taking a romantic interest in a musketeer who is now a transgender woman after being transformed into one during Gaston's siege of the Beast's castle.
Not only is it an atrocious and needless artistic decision of the filmmakers to needlessly incorporate diversity simply for the sake of it, but the 2017 film version of ''Beauty and the Beast'' also serves as an example that liberals can legitimately shoehorn the [[homosexual agenda]] into Disney films. Adding salt to the wound, the filmmakers also further changed history to suit their feminist agenda, similar to previous Disney films like ''Mulan'' (1998), ''Pocahontas'' (1995) and ''The Princess and the Frog'' (2009) (most infamously, the villagers are shown to be explicitly intolerant of Belle learning how to read and teaching girls to do the same, smashing her washing machine in the process, despite the fact that the namesake for the village in this film, Mdm. Gabrielle-Suzanne Barbot de Villeneuve, the original author for the fairy tale, was herself a woman). The 2017 film version of ''Beauty and the Beast'' is now even more of a feminist propaganda film than the 1991 animated film version ever was. There were also hints at an anti-war message due to Gaston being turned into a war veteran.
On the other hand, there were also several surprisingly Conservative messages in the film, significantly more than in the 1991 version. Namely, Christianity is treated in a far more positive light in this film than in the 1991 version as one of the few friends Belle has in this version is the village Chaplain named Pere Robert who is shown to be sympathetic to her bibliophilic nature and also attempts to prevent Maurice from being sent to the Asylum, and later is shown to be horrified at the formation of the mob against the Beast (it is to be noted that in the original 1991 film, the character in question was merely a bookseller, not a priest, and most of the villagers, implied to be devout Christians, were demonized in the film), which was also surprisingly accurate to history despite the aforementioned changing of history in the film (in real history, Christianity, especially the Catholic Church, actively encouraged literacy, writing, and arithmetic among both genders, with girls being taught in convents or at the home.). In addition, Maurice actually is shown to be more proactive in this film, such as directly refusing Gaston's attempt at marrying Belle and even attempting to expose Gaston as an attempted murderer and psychopath, and also plays a direct role in saving Belle and himself from the paddywagon after she exposes Beast to the villagers (in the original film, although he does set out to try and find Belle and save her after trying to get the villagers to help failed, he ultimately required saving by her due to catching an illness during his trek, and ultimately needed saving alongside Belle via Chip). In addition, Lumiere as well as the featherduster (named Plumette in this version) are shown to be an actual loving couple (in the original film, it is heavily implied that Lumiere was a frequent womanizer and that the featherduster was also sexually loose), and the remake also doesn't demonize traditional marriage nearly as much as in the 1991 version (notably, the remake cut out Gaston's wedding proposal as well as Belle shoving Gaston into mud in front of attendees). The forgiveness and redemption theme was also significantly more emphasized in the remake, due to Beast ultimately forgiving Maurice after learning why he had tried to steal the rose and even allowing Belle to save Maurice specifically to make up for his past behavior, with Maurice also forgiving Beast upon Belle showing him the baby rattle (originally, Maurice was a bit more hesitant to forgive the Beast). It is also shown to be significantly more pro-family as well, as not only is Belle shown to be loyal to her father like in the 1991 original, but as noted above, Maurice himself took measures to protect Belle and notably agreed with Belle that Gaston would not have worked out for her (originally, Maurice also thought Gaston was alright for her), and he also was shown to be very protective of Belle after his wife had died from the plague, with Belle's mom specifically sacrificing herself by telling them to leave her behind to allow Belle a healthy life. In addition, the triplets (renamed to "Village Lasses") in the remake were depicted as having haughtiness, arrogance, being jealous of Belle, as well as overall being nasty people, including briefly smirking at Belle when she was locked up in the paddywagon as well as being actively involved in the arrest of Maurice as well as the later attack on Beast's castle (in the original film, the triplets were not shown to have any negative behavior to them besides their crushing on Gaston [not participating in the later arrest of Maurice, let alone the attack on Beast's castle shortly afterward during the climax, and also implying at one point that they were willing to give their blessing to Gaston marrying Belle when Belle refused him in the beginning of the film, and while they were present during the final lyrics for the Gaston reprise where Gaston explicitly divulged key details for his blackmail plan, the way it was framed could easily be interpreted as the triplets genuinely not knowing about the plan due to their absence from Maurice's arrival up to the scene where Gaston whispers the plan to LeFou.], and it is also heavily implied that they supported traditional marriage and were demeaned in the film by being referred to in the script as The Bimbettes and treated as dumb blondes for this reason). In addition, according to the film's director Bill Condon as well as one of the triplets' actresses, Rafaelle Cohen, the reason the triplets were intensely jealous and spiteful of Belle was because their mother neglected them while doting on Belle, showcasing the dangers of parental neglect.
On the other hand, there were also several surprisingly Conservative messages in the film, significantly more than in the 1991 version. Namely, Christianity is treated in a far more positive light in this film than in the 1991 version as one of the few friends Belle has in this version is the village Chaplain named Pere Robert who is shown to be sympathetic to her bibliophilic nature and also attempts to prevent Maurice from being sent to the Asylum, and later is shown to be horrified at the formation of the mob against the Beast (it is to be noted that in the original 1991 film, the character in question was merely a bookseller, not a priest, and most of the villagers, implied to be devout Christians, were demonized in the film), which was also surprisingly accurate to history despite the aforementioned changing of history in the film (in real history, Christianity, especially the Catholic Church, actively encouraged literacy, writing, and arithmetic among both genders, with girls being taught in convents or at the home.). In addition, Maurice actually is shown to be more proactive in this film, such as directly refusing Gaston's attempt at marrying Belle and even attempting to expose Gaston as an attempted murderer and psychopath, and also plays a direct role in saving Belle and himself from the paddywagon after she exposes Beast to the villagers (in the original film, although he does set out to try and find Belle and save her after trying to get the villagers to help failed, he ultimately required saving by her due to catching an illness during his trek, and ultimately needed saving alongside Belle via Chip).
In addition, Lumiere as well as the featherduster (named Plumette in this version) are shown to be an actual loving couple (in the original film, it is heavily implied that Lumiere was a frequent womanizer and that the featherduster was also sexually loose), and the remake also doesn't demonize traditional marriage nearly as much as in the 1991 version (notably, the remake cut out Gaston's wedding proposal as well as Belle shoving Gaston into mud in front of attendees). The forgiveness and redemption theme was also significantly more emphasized in the remake, due to Beast ultimately forgiving Maurice after learning why he had tried to steal the rose and even allowing Belle to save Maurice specifically to make up for his past behavior, with Maurice also forgiving Beast upon Belle showing him the baby rattle (originally, Maurice was a bit more hesitant to forgive the Beast). It is also shown to be significantly more pro-family as well, as not only is Belle shown to be loyal to her father like in the 1991 original, but as noted above, Maurice himself took measures to protect Belle and notably agreed with Belle that Gaston would not have worked out for her (originally, Maurice also thought Gaston was alright for her), and he also was shown to be very protective of Belle after his wife had died from the plague, with Belle's mom specifically sacrificing herself by telling them to leave her behind to allow Belle a healthy life.
In addition, the triplets (renamed to "Village Lasses") in the remake were depicted as having haughtiness, arrogance, being jealous of Belle, as well as overall being nasty people, including briefly smirking at Belle when she was locked up in the paddywagon as well as being actively involved in the arrest of Maurice as well as the later attack on Beast's castle (in the original film, the triplets were not shown to have any negative behavior to them besides their crushing on Gaston [not participating in the later arrest of Maurice, let alone the attack on Beast's castle shortly afterward during the climax, and also implying at one point that they were willing to give their blessing to Gaston marrying Belle when Belle refused him in the beginning of the film, and while they were present during the final lyrics for the Gaston reprise where Gaston explicitly divulged key details for his blackmail plan, the way it was framed could easily be interpreted as the triplets genuinely not knowing about the plan due to their absence from Maurice's arrival up to the scene where Gaston whispers the plan to LeFou.], and it is also heavily implied that they supported traditional marriage and were demeaned in the film by being referred to in the script as The Bimbettes and treated as dumb blondes for this reason). In addition, according to the film's director Bill Condon as well as one of the triplets' actresses, Rafaelle Cohen, the reason the triplets were intensely jealous and spiteful of Belle was because their mother neglected them while doting on Belle, showcasing the dangers of parental neglect.
|
|
|-
|-
|1977-1983 (Original Trilogy); 1999-2005 (Prequel Trilogy); 2015- (Sequel Trilogy)
|1977-1983 (Original Trilogy); 1999-2005 (Prequel Trilogy); 2015- (Sequel Trilogy)
|PG, PG-13 (Episode III & Episode VII)
|PG, PG-13 (Episode III & Episode VII)
|The well-known space opera series is mostly composed of simple truths about the triumph of good over evil, and in the case of ''Episode VI: Return of the Jedi'', redemption. However, ''Episode VI'' also contained some implied pro-[[Vietcong]] propaganda at George Lucas' behest via the Ewoks, as well as his later claiming that the entirety of the ''Star Wars'' saga from ''Episodes IV''-''VI'' was meant to be his means of protesting Vietnam (which is supported by a memo dating back to 1973 where he claimed the film was about "A large technological empire going after a small group of freedom fighters." It is also to be noted that this was not the first time he voiced support for the Vietcong as well as used film to push an anti-American/anti-War agenda, as he also initially played a role in the filming of ''Apocalypse Now''<ref>http://nypost.com/2014/09/21/how-star-wars-was-secretly-george-lucas-protest-of-vietnam/</ref>), and the re-release for ''Episode IV: A New Hope'' also had an infamous edit where it made it seem as though Greedo shot at Han first, with George Lucas later revealing he did the edit (or rather, falsely claimed it was always that way) as a means to promote gun control. The prequel trilogy also had some implied pot-shots at then-president George W. Bush and his War on Terror, and there was also an implied promotion of moral relativity in ''Revenge of the Sith'' (where Obi-Wan, when confronting Anakin Skywalker/Darth Vader in the climax, stated in reply to Anakin's declaration that Obi-Wan is his enemy if he's not with him that "only a Sith deals in absolutes."). A similar promotion of moral relativity and postmodernism was shown in ''Return of the Jedi'' where Obi-Wan admitted that his claim that Vader killed Anakin Skywalker was "true from a certain point of view." In addition, the Trade Federation and its motives in ''The Phantom Menace'' was crafted by George Lucas to be a negative response to the Republican Revolution of 1994, and in particular Newt Gingrich's Contract with America (with Gingrich himself being a partial namesake of the main villain, Viceroy Nute Gunray). ''Attack of the Clones'' and to a lesser extent ''Revenge of the Sith'' also had very blatant anti-war themes and a very negative portrayal of the military, as a large part of the plot involved creating a military for the republic (and in the case of ''Revenge of the Sith'', the near end of the Clone Wars), with the narrative strongly implying that even forming a military at all was somehow a threat to freedom. In addition, the director for ''Episode VII: The Force Awakens'', [[J.J. Abrams]], admitted in a press release that he deliberately made Finn black in order to ensure diversity among the characters, hinting at it pushing the leftist [[diversity]] agenda.<ref>http://www.cnet.com/news/director-j-j-abrams-weighs-in-on-diversity-in-the-star-wars-universe/?_escaped_fragment_=#!<br />Two audience members jointly asked Abrams whether -- given his track record of helping build a diverse cast as director of the "Star Trek" reboot films -- he could confirm if there will be more Asian characters in the Star Wars universe. Asian characters are few and far between in the Star Wars franchise -- one appears in the original trilogy's last film, ''Return of the Jedi'', but for only four seconds before dying in a fiery explosion. Abrams said that while he won't be casting future films in the franchise, because he's directing only ''Episode VII'', he did include Asian characters in ''The Force Awakens'', which opened December 18. "I think it's important people see themselves represented in film," Abrams said. "I think it's not a small thing."</ref> In addition, the film also hints at a militant [[feminist]] agenda by having Leia act as general and Rey not allowing anyone to save her, something that conservative commentator John Nolte mentioned was a detraction for the film.<ref>http://www.breitbart.com/big-hollywood/2015/12/17/star-wars-the-force-awakens-review-j-j-abrams-repents-for-the-sins-of-george-lucas/</ref> In addition, the ending award ceremony in ''A New Hope'' was deliberately modeled after the stadium scene from the infamous Nazi movie propaganda ''The Triumph of the Will''. Ian McDiarmid, the actor who played the saga's main villain [[Emperor Palpatine]], had also implied in an interview with ''The Guardian'' around the time ''Revenge of the Sith'' was released that George Lucas had deliberately made the films for primarily eight-year olds specifically to indoctrinate them into Lucas' leftist view of the world.<ref>https://www.theguardian.com/stage/2005/nov/07/theatre1<br />He [McDiarmid] also bristles at the notion that the Star Wars films are totally hollow entertainments. "I remember when I sat there in the Evil Emperor's swivel chair and George [Lucas] said things like 'does it remind you of the Oval office?' And I realised that at that time Richard Nixon was in his mind.<br />
|The well-known space opera series is mostly composed of simple truths about the triumph of good over evil, and in the case of ''Episode VI: Return of the Jedi'', redemption. However, ''Episode VI'' also contained some implied pro-[[Vietcong]] propaganda at George Lucas' behest via the Ewoks, as well as his later claiming that the entirety of the ''Star Wars'' saga from ''Episodes IV''-''VI'' was meant to be his means of protesting Vietnam (which is supported by a memo dating back to 1973 where he claimed the film was about "A large technological empire going after a small group of freedom fighters." It is also to be noted that this was not the first time he voiced support for the Vietcong as well as used film to push an anti-American/anti-War agenda, as he also initially played a role in the filming of ''Apocalypse Now''<ref>http://nypost.com/2014/09/21/how-star-wars-was-secretly-george-lucas-protest-of-vietnam/</ref>), and the re-release for ''Episode IV: A New Hope'' also had an infamous edit where it made it seem as though Greedo shot at Han first, with George Lucas later revealing he did the edit (or rather, falsely claimed it was always that way) as a means to promote gun control.
The prequel trilogy also had some implied pot-shots at then-president George W. Bush and his War on Terror, and there was also an implied promotion of moral relativity in ''Revenge of the Sith'' (where Obi-Wan, when confronting Anakin Skywalker/Darth Vader in the climax, stated in reply to Anakin's declaration that Obi-Wan is his enemy if he's not with him that "only a Sith deals in absolutes."). A similar promotion of moral relativity and postmodernism was shown in ''Return of the Jedi'' where Obi-Wan admitted that his claim that Vader killed Anakin Skywalker was "true from a certain point of view." In addition, the Trade Federation and its motives in ''The Phantom Menace'' was crafted by George Lucas to be a negative response to the Republican Revolution of 1994, and in particular Newt Gingrich's Contract with America (with Gingrich himself being a partial namesake of the main villain, Viceroy Nute Gunray). ''Attack of the Clones'' and to a lesser extent ''Revenge of the Sith'' also had very blatant anti-war themes and a very negative portrayal of the military, as a large part of the plot involved creating a military for the republic (and in the case of ''Revenge of the Sith'', the near end of the Clone Wars), with the narrative strongly implying that even forming a military at all was somehow a threat to freedom.
In addition, the director for ''Episode VII: The Force Awakens'', [[J.J. Abrams]], admitted in a press release that he deliberately made Finn black in order to ensure diversity among the characters, hinting at it pushing the leftist [[diversity]] agenda.<ref>http://www.cnet.com/news/director-j-j-abrams-weighs-in-on-diversity-in-the-star-wars-universe/?_escaped_fragment_=#!<br />Two audience members jointly asked Abrams whether -- given his track record of helping build a diverse cast as director of the "Star Trek" reboot films -- he could confirm if there will be more Asian characters in the Star Wars universe. Asian characters are few and far between in the Star Wars franchise -- one appears in the original trilogy's last film, ''Return of the Jedi'', but for only four seconds before dying in a fiery explosion. Abrams said that while he won't be casting future films in the franchise, because he's directing only ''Episode VII'', he did include Asian characters in ''The Force Awakens'', which opened December 18. "I think it's important people see themselves represented in film," Abrams said. "I think it's not a small thing."</ref> Also, the film also hints at a militant [[feminist]] agenda by having Leia act as general and Rey not allowing anyone to save her, something that conservative commentator John Nolte mentioned was a detraction for the film.<ref>http://www.breitbart.com/big-hollywood/2015/12/17/star-wars-the-force-awakens-review-j-j-abrams-repents-for-the-sins-of-george-lucas/</ref> In addition, the ending award ceremony in ''A New Hope'' was deliberately modeled after the stadium scene from the infamous Nazi movie propaganda ''The Triumph of the Will''. Ian McDiarmid, the actor who played the saga's main villain [[Emperor Palpatine]], had also implied in an interview with ''The Guardian'' around the time ''Revenge of the Sith'' was released that George Lucas had deliberately made the films for primarily eight-year olds specifically to indoctrinate them into Lucas' leftist view of the world.<ref>https://www.theguardian.com/stage/2005/nov/07/theatre1<br />He [McDiarmid] also bristles at the notion that the Star Wars films are totally hollow entertainments. "I remember when I sat there in the Evil Emperor's swivel chair and George [Lucas] said things like 'does it remind you of the Oval office?' And I realised that at that time Richard Nixon was in his mind.<br />
"And I see that in the Guardian's review of the DVD - not favourable, of course - mention is made of the fact that there are lines that sound really contemporary. But the reviewer decided that was by chance: no, no, no, no. Entirely by design.<br />
"And I see that in the Guardian's review of the DVD - not favourable, of course - mention is made of the fact that there are lines that sound really contemporary. But the reviewer decided that was by chance: no, no, no, no. Entirely by design.<br />