Chapter 19 “I went back,” Fitz whispered. “I went back, Jude.” “Back where?” “For the fifth tin,” he answered. “The one I missed. Ping Ping Ping Ping. Remember I missed the fifth tin?”
Chapter 24 “You never got that fifth tin,” Webb called to Fitz just before they disappeared through the trees. “Not to worry,” he said with a wave. “I’ll go back for a shot on another day.”
Epilogue He sat in the tree, his mind overwhelmed by the idea that growing inside Tate was their baby. The cat purred alongside him, a co-conspirator in his contentment. Through the branches he could see Fitz coming his way, his gun balanced on his shoulders, whistling a tune.
Chapter 25 The boy leans over and tells me to explain to the Hermit that there is nothing to forgive and I do, and the look on the Hermit’s face is one of pure joy. They reminisce about Tate and Narnie and Jude. They talk about the Prayer Tree and of the messages they wrote on the trunk. They tell me about the tunnel and how they once timed themselves getting from one end to the other and how Webb fainted because he had never seen the world that dark. “We saw the devil down there,” the Hermit tells me, and they laugh so hard that I’m jealous that I can’t join in.
I kind of really wish I’d stop seeing the phrase “feminist movie” or “feminist book” applied to any piece of media that does a better than usual job of handling it’s female characters.
Feminism is not the absence of sexism, it’s a word for the movement dedicated to raising awareness of and eradicating institutionalized sexism. A feminist movie would be a movie ABOUT the feminist movement, or a movie that directly identifies and addresses issues of structural inquality between genders.
Just having a female character you don’t sexualize in a piece of media doesn’t make it a grand stand against the patriarchy. It literally just makes it a little less sexist than most everything else. It doesn’t make you a feminist film director for making it, it just makes you not a fucking asshole with his head so far up his ass he can’t see the way the world is actually built.
Is SW:TFA a feminist movie? No, not even close, not even a little tiny bit at all. The movie’s not ABOUT gender or related struggles, ideas and philosophies.
But is it a movie that respects its female characters, gives them usually-limited-to-men levels of agency and power over the plot, makes sure there are women in the background of shots, and doesn’t sexualize them? Yes, abso-fucking-lutely yes.
SW:TFA is a movie feminists will like (at least parts of it), it is a movie that demonstrates some of the basic, basic things Feminism wants from media, but it’s not a feminist movie.