Eric Thompson

Audiences Reject Disney’s ‘Acolyte’: Record-Low Scores for Lesbian Witch Theme

Disney’s latest Star Wars series, “The Acolyte,” has faced unprecedented backlash, resulting in record-low audience scores. The series, which features a prominent storyline involving lesbian witches, has failed to resonate with viewers, scoring a dismal 14 percent approval rating on Rotten Tomatoes. This marks a significant drop from the previous low of 26 percent held by the same series just a week prior.

The series has been described as “the gayest Star Wars yet” and has faced criticism for its overt identity politics. According to John Nolte of Breitbart, “The Acolyte” attempts to integrate themes that many conservative viewers find off-putting. Nolte’s commentary highlights the stark contrast between the critical acclaim from mainstream media and the disapproval from general audiences. Critics have praised the series, giving it an 84 percent fresh rating, but the audience’s response tells a different story.

“The Acolyte” is set in a pre-Disney era of Star Wars lore and introduces new elements that deviate significantly from the original storyline. In the third episode, a significant lore change occurs where a lesbian witch uses the Force to bring to life embryos within her fellow witch. This alteration from established lore, originally centered on a powerful male character, has not sat well with longtime fans of the franchise.

Kathleen Kennedy, the president of Lucasfilm, has been a controversial figure in the Star Wars community. Her leadership has been blamed for the perceived decline in the franchise’s quality, particularly with decisions that many fans view as pandering to social justice agendas. Kennedy has defended these choices, arguing that the fanbase’s male dominance leads to unfair criticisms of female-led projects. However, this perspective fails to account for the broader discontent with content that prioritizes political messaging over storytelling.

Now we know why Kathleen Kennedy — the Woke Gestapo Commander responsible for killing Star Wars, Indiana Jones, and Willow — was out pre-blaming male fans for the Acolyte flopping:

“Operating within these giant franchises now, with social media and the level of expectation — it’s terrifying,” Kennedy continued. “I think Leslye has struggled a little bit with it. I think a lot of the women who step into ‘Star Wars’ struggle with this a bit more. Because of the fan base being so male dominated, they sometimes get attacked in ways that can be quite personal.”

The backlash against “The Acolyte” reflects a broader trend of audience dissatisfaction with entertainment that is perceived as overly political or agenda-driven. This series’ failure is not an isolated incident but part of a pattern seen in other Disney productions that have attempted to incorporate progressive themes at the expense of narrative coherence and traditional storytelling.

Conservative commentators have pointed to the success of other female-led films, such as “Inside Out 2,” which broke box office records without relying on controversial themes. This suggests that the issue is not the gender of the leads but rather the manner in which stories are told and the values they espouse. Films and series that manage to entertain without alienating large segments of the audience tend to fare better, reinforcing the notion that good storytelling trumps ideological messaging.

As Disney navigates this feedback, it will be crucial for the company to balance innovative storytelling with respect for the franchise’s history and fan expectations. The future of Star Wars and other major franchises may well depend on the ability to reconcile these competing demands.

“The Acolyte” has become a lightning rod in the ongoing cultural debate over the direction of popular entertainment. Its failure should prompt introspection among creators and executives about the priorities that drive their content. Whether future projects will heed these lessons remains to be seen, but the stark response to this series serves as a powerful reminder of the risks of disregarding the audience’s voice.

In the end, the record-low scores for “The Acolyte” reflect more than just a reaction to a single series. They are indicative of a broader discontent with the direction of contemporary media, where political agendas often overshadow the primary goal of storytelling: to entertain and engage.


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