The conversation with Spazz was caught up too much in defining the process and labeling it. When you define it, it becomes an ideology. My aim, when I was doing his for a purpose, was anti-ideology. I couldn't define myself politically because there are elements from many political sides that are relevant at some point. That's why I dislike the concept of 'party' politics, of freely elected representatives being coerced to vote the way their party expects.
There is often something in a work of fiction that is born of agenda, ideology or belief. And you can argue that it's even there when it wasn't excplicity intended, because the creator is bringing their life experiences to the work.
It would be there in Lucas' films, but you may not see it because it wasn't rammed down your throat as strongly as Kennedy's feminist ideology.
It's why I argue that TLJ is clumsy. The result of being pulled in too many directions due to a necessity to include an ideological perspective. It's at odds with the simple, yet powerful, storytelling Lucas began with ANH. The first film could be characterized by the birth of the hero, and his quest to make the right decisions at every turn.
Now with TLJ the distinctly male hero has been torn down, and replaced by a female leadership. Kennedy has created a new battleground in the story that has more to do with the real world than the story itself. Here we also see the disconnect between the path of the story in TFA and the change of direction in TLJ.
