Disney’s new 'gayest Star Wars ever' features first instance of trans pronouns in cinematic universe

While Star Wars: The Acolyte currently has an 83 percent average critic's rating on Rotten Tomatoes, the show's average audience score sits at an abysmal 14 percent. 

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Disney's new Star Wars series, "The Acolyte," has introduced a scene featuring the first instance of a Star Wars live-action project using so-called “proper pronouns” when referring to a character, generating significant attention and mixed reactions on social media. 

In a viral clip from the fourth episode titled “Day,” the protagonist Osha, played by Amandla Stenberg, is seen discussing with another female character about a third person in the scene. Stenberg’s character begins by asking “Who is that?” to which the other responds with the name “Bazil.” Stenberg then begins to ask “Is he-” before correcting herself to use gender-neutral pronouns, saying “-or they, with us?”

This marks the first time Disney's Star Wars franchise has emphasized gender-neutral pronouns in its live-action content. However, according to Bounding Into Comics, Disney has been making a conscious effort to highlight the pronouns of every character in its published content and comic books. The company has specifically included the pronouns of each character in the "Star Wars: The High Republic Character Encyclopedia," for example. 

"The Acolyte" has faced considerable backlash over the course of its release, particularly for its emphasis on LGBTQ content. The show features elements such as "lesbian space covens" capable of immaculate conception. The showrunner, Leslye Headland, has described it as the “gayest Star Wars ever.” 

In discussing the show, Headland, who is lesbian herself, has humorously acknowledged its LGBTQ themes, calling it “pretty gay.” She has been vocal about the necessity of including diverse content within the Star Wars franchise.

While Star Wars: The Acolyte currently has an 83 percent average critic's rating on Rotten Tomatoes, the show's average audience score sits at an abysmal 14 percent. 

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