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To clarify, I now know that there are different definitions of the word “ship”, but for the purposes of this article and to keep things simple I will use the definition of “a relationship that’s rushed and/or forced with no real development.” I hope you can understand as I do not know of any other single word to describe that concept. If you do, perhaps you can tell me. Also, fair warning, this is long form content (some 10 pages), if you like it but can’t read it all at once you can save it and come back to it over a period of time, or you can stop reading whenever you get tired of it and still discuss those parts of it with me that you have read. But keep it civil if you want a civil response.
With that, to qualify the title, no, Ezra and Sabine do NOT absolutely have to be a couple, but if they were to become one, it would NOT be a ship. Ezra and Sabine’s relationship has had years of development. Could they remain as simply friends? Yes, but ironically, it was their “friendship” that felt like more of a ship. It felt like the Ahsoka show, helmed by Dave Filoni, was going out of its way to tell us: “no, they’re not a couple, they’re just friends.”
I believe that Filoni made some very poor writing choices to stress something that didn’t really need to be stressed, such that it almost felt like he was in denial. The line “I love you like a sister” was never in Rebels, Filoni essentially had that retconned in, and like many I was put off by their (largely) emotionless reunion. Even if they were “just friends” I believe there would be a great deal more emotion displayed between two people that hadn’t seen each other in some ten years, especially when one of them was in a precarious situation when they parted. I also believe Ezra would be far more curious about Sabine being Force sensitive, perhaps even offering to help train her when she told him that her training hadn’t gone as well with Ahsoka. He did help to train her with the Darksaber, didn’t he? Why that never came up is another discussion, but for now, let’s focus on shipping.
In case you think I’m desperate to have them as a couple, no I’m not. I’m about the furthest thing from it. Like many millennials and Gen-Z’ers (and perhaps some Gen-Xers and boomers) I DESPISE shipping. Absolutely DESPISE it. With a flaming passion. Perhaps for this reason, and maybe some others, like many millennials and Gen-Z’ers (and perhaps some Gen-Xers and boomers), I’m generally wary of nearly all romance in fiction, and generally avoid it in my own work. The sad reality is that romance is perhaps the most abused genre in all of fiction, all throughout history. It has been so badly abused that many people, including myself for the longest time, have equated romance with shipping, though I’m slowly beginning to see that they are not the same thing, and one does not necessarily have to go with the other.
But sadly, many writers, through time immemorial, have not been able to separate them, going back into ancient times and perhaps even into pre-history, that is before languages were actually written down. Some of what is considered great literature; classics like Romeo and Juliet, are predicated on shipping, though at least the consequences of this “whirlwind romance” are shown to be fairly stark. Star Wars itself is no stranger to shipping, resulting in a very awkward incestuous kiss when Luke was shipped with Leia, then Leia was placed with Han and Lucas made Luke and Leia brother and sister, apparently having forgotten his original ship. Later Lucas essentially shipped Anakin and Padme, resulting in some of the most cringeworthy dialog in the history of film. Many fans of the Prequels even have been somewhat critical of Anakin’s portrayal, particularly in regards to the “romantic” scenes, with many describing them as “creepy”. Some have speculated that this was intentional, though personally I think it was just the result of bad writing on the part of George Lucas, and an impatience on his part for Anakin and Padme to become a couple, hence “shipping”.
One might wonder why this is so prevalent in fiction, and tragically, one does not have to look far. Fiction is merely a reflection of reality, therefore the reason that shipping is so common in our stories is that we fall so easily into it in real life. Indeed, entire cultures may be based around shipping, or at least very heavily wrapped up in it. Throughout history arranged marriages have been the norm, and the idea of marrying for “love” is something relatively new. To be fair, I’ve actually met people in arranged marriages who seemed to be fairly happy, but those same people were very open in telling me that many despise that aspect of their culture, and that it is quite normal for those in an arranged marriage to try to get out.
People might come together for “love” without marrying, but even then it often creates expectations that might turn into a burden. Even when a marriage is voluntary and for “love”, people are often left unsatisfied, such that today in the West the divorce rate is something like 50%. Happy, stable, long term relationships seem to be the exception across cultures and across the breadth and width of time. And yet pursuit of love and some kind of relationship seems to be the highest calling for many people, both in real life and in fiction. And it could be that the accumulated disgust is finally starting to boil over.
To be fair, this may not be the first time in history that the pendulum has shifted. You may recall that in Victorian times attitudes changed drastically, as compared to the previously bawdy Elizabethan times. Looking at a play from Shakespear, if you can understand the language, you’ll see all kinds of vulgar references, as well as what I believe are fairly sappy romances like in the aforementioned Romeo and Juliet, though I can’t say for certain whether Shakespear was actually endorsing that type of attitude towards “love” or presenting it as a cautionary tale, maybe even something to be ridiculed in some of his other plays.
But regardless, Victorians as you may well know had a very conservative attitude towards anything to do with romance, and would often avoid the subject in many places, or tread very carefully around it, as if walking on eggshells. It’s not that people stopped being romantic, in fiction or real life, but it was treated as something very serious and even dangerous, with many urges repressed or even suppressed entirely. This had all kinds of effects on society, both positive and negative. On the positive side, it reinforced the ideal of people being committed to their partners, and of marriage as a sacred institution rather than a “casual hookup” as was more common in Elizabethan times. Likewise it reinforced ideals of modesty and chastity, which may be coming back into vogue, though under different names. But just as there were positive aspects to these attitudes, so were there negative ones.
Just because the urges I described were repressed did not mean that they disappeared. In fact, they often morphed into things that many would consider “unhealthy”. From one statistic that I saw, in Victorian times about one in every 60 houses was a brothel, with the modern rate being closer to one in 6000. Additionally, the rights of women were often repressed, such that they could not fully express themselves and find their own identity, and path in life, as individuals. Just as Elizabethan ideals gave way to Victorian ones, so did the Victorian ideals gradually begin to erode.
Perhaps it began with the Jazz Age of the 1920’s (the “Roaring Twenties”), or with the increased interconnectivity of people traveling to different parts of the world during World War I, not to mention the cynicism that pervaded throughout the West in response to failed old ideals leading to the deadliest war in history up to that point, but many Victorian ideals began to be seen as a joke, and even resented for their “oppression”, which to be fair was not entirely unjustified. But regardless, people gradually, and at times not so gradually, became more and more “liberated” and promiscuous. This culminated in the Sexual Revolution in the late 1960’s, when what had previously been seen as a vice and even a sin was now seen as not only “normal” but as a healthy form of expression, a virtue even. And just as these ideas were embraced in real life, so too were they reflected in our films, TV shows, and other media, often to the consternation of older people and institutions, like the Vatican. The Catholic Church even went so far as to “ban” certain films, that is to declare them immoral for good Catholics to watch. Many of the films that were banned back then, or at least controversial, like The Graduate with Dustin Hoffman, are fairly tame by today’s standards.
It continued through the 70’s, at times warming and at times cooling through the rest of the century, until you could argue it reached a kind of crescendo in the early 21st century with the advent of so-called “dark romance” and the publication of books like Fifty Shades of Grey. (Ironically, many of the themes within this “dark romance” can trace their roots back to the Victorian era, yet another indication that repressing urges without addressing them often doesn’t work out as one might hope.) But as happens all too often, just as something reaches peak popularity is when it begins to go out of style, and that is what we may be experiencing right now. As weird as it may sound, we may actually have come full circle and may be on the cusp of a “New Victorian Age” (complete with “dark romance”, even). Web sites like Porn Hub and OnlyFans, as well as other similar sites, may be the new “brothels”, and what was once openly celebrated may be going underground, to an extent. The effects of this on society have been interesting to say the least, and at times I would even say bizarre.
Whilst many younger people seem content with these changes, many older people are concerned. I’ve seen a number of books, films, and other media receive positive reviews for example based specifically on their lack of romance. Many of these books/films, etc. fall into the “young adult” category, meaning that it is young adults obviously who mostly consume them. At the same time I’ve heard a number of older people, mostly boomers and Gen-Xers, criticize these same books/films for their lack of romance. Even some older millennials seem upset by the changes, as perhaps evidenced by Jennifer Lawrence’s latest film No Hard Feelings (though to be fair that film may be lampooning the older generation’s frustration as well as the younger generation’s frigidity). So just as in the past older people were concerned about the promiscuity of the youth, now it actually appears that many older people are concerned about the youth’s lack of promiscuity.
Who could have seen that coming? But to be fair, the younger generation hasn’t gone completely frigid. As stated earlier, much of the promiscuity has gone “underground”, or online, which many would argue is not very healthy as it might undermine actual relationships, whether they are romantic in nature or simple friendships. And speaking of that, friendships within stories nowadays often aren’t portrayed in a very authentic or compelling manner, perhaps because in ditching romance modern writers haven’t quite yet learned how to replace it with something else. In other words, the “New Victorian Age” may not be an exact repeat of the previous one, but may have its own twists and turns, for better and for worse.
This may all essentially be a manifestation of the Human Condition, in that we just can’t seem to find a happy medium, neither in real life nor in fiction. Thus we keep swinging from one extreme to the other, apparently getting wilder with each swing.
So where does all this leave us? What is it that we really want in our lives, and in our stories? Especially in regards to relationships? I think at some level we all want to see good and healthy relationships between people and/or characters, whether romantic or platonic. I believe at some point we would like to see good examples of both friendship and romance, and I would argue that the best examples of romance have them combined. Even a toxic relationship, if well portrayed or documented, can be instructive and serve as a good example of what to avoid in our lives that we might be happier and relate better to each other. A good relationship, by contrast, can give us something to aspire to and inspire us to not only look for the right kind of person to complement our lives, but to make ourselves worthy of that person. And here I’ll add that I’m perfectly aware that in real life (and thus in fiction) relationships can be very complicated and heavily nuanced, with elements of both “good” and “bad” in them. Just as people change over time so can the relationships between them change, at times getting better and at times worse, sometimes breaking entirely and sometimes growing stronger. Relationships can have just as many layers and dimensions as characters, more even perhaps, and a skilled writer should be able to reflect this complexity. At other times a relationship can be fairly straightforward, simplicity sometimes being the best approach. But regardless, the audience should be able to relate and identify with what they are seeing, such that hopefully they can incorporate the lessons from it in their own lives.
Where can we find good examples of relationships to study? There may be a number of them in the real world, but the trouble with studying real world relationships is that they’re often much more complicated than fictional ones (just as real people are more complicated than fictional characters), and for many of them it is almost impossible to know all the details and nuances because they are often kept private, understandably so, and even if they aren’t it can still be difficult, due to unique circumstances, to see how to relate them to our own lives. Additionally there may be far more disagreement about a real life situation than a fictional one, with many more points of view. To keep things simple, for the purpose of this article I would like to focus on fictional relationships. (And fair warning, there will be some spoilers.)
One of the best places to look, I would argue, would be the films of Hayao Miyazaki. (And this is pretty significant to Star Wars as you will see in a bit.) A film of his that stands out to me the most is Princess Mononoke. Like many of Miyazaki’s films it has elements of romance, and yet subverts them in a way that makes complete sense and feels very genuine, without taking away from any of the accompanying charm. It starts with two young people, San and Ashitaka, and as soon as they encounter each other there is a kind of expectation of romance. This may be inevitable to some degree when you have a man and a woman of about the same age encounter each other in a story, especially if they happen to be adolescents. The expectation may not be inherently bad, and Miyazaki does play with it. Both characters are thrust into dangerous situations, at various points end up saving each other’s lives, and at a certain point I think it is obvious that they have feelings for each other. I was certain that at the end of the film, they would be together, and if things had gone that way, it would make complete sense. Instead, they go in different directions, but remain good friends, and considering their backgrounds and differing worldviews, this ends up making even more sense to the story.
Essentially, Miyazaki could have gone for the more conventional, tried and true “love conquers all” narrative, where the characters’ feelings for each other would negate everything that comes between them, they would somehow find a common ground in spite of their differences, the romance would not only take over the narrative but somehow also solve all the problems in the story, and then the couple would live “happily ever after”. Such an approach is not inherently bad or wrong, and is fairly common in Western media and storytelling. We can see it in films like Fern Gully, and more recently James Cameron’s Avatar, both of which have been compared to Princess Mononoke. As you can probably guess, the problem is that at a certain point such a narrative can become fairly simplistic, and lack nuance.
Miyazaki’s films, by contrast, are very heavily nuanced, and are anything but simplistic. In Princess Mononoke the characters San and Ashitaka don’t help each other simply because they are “in love”, but because it is the right thing to do, regardless of how they might feel about each other. Yes, romantic feelings are certainly alluded to, but they are not essential to the plot, for it could have worked just as well without any romantic allusions. And ironically, this makes those allusions even more valid, even if they are unrequited. How so?
Consider that if love is essential to a given narrative, is it not relegated to being nothing more than a plot device? Again, this is quite common in Western media and storytelling, and is not inherently bad or wrong, but when it becomes a trope or cliche, I believe it is the essence of where shipping comes from. Many storytellers get caught up in this, usually without realizing it, and while a story can still work even with shipping, I believe that it usually works that much better without it.
This extends not only to Miyazaki’s handling of romance but also to other things like environmentalism, the conflict between man and nature, and the contrasting ideals of human progress vs. preserving the natural order. Movies like Fern Gully and Avatar, as already mentioned, handle these themes in a fairly simplistic and I would even say hamfisted manner, whereby all progress and technology is shown as being inherently “bad” and in service to “evil”, while everything that’s “natural” is shown to be inherently “good”. Even our notions of good and evil, and right vs. wrong, are challenged by Miyazaki, with nearly all of his characters having complex motives and multiple dimensions to them, as well as understandable reasons for doing the things that they do. Rarely can any one of his characters be branded as a simple “villain”, and rarely is any one individual the source of conflict in his stories, again in contrast to most Western narratives.
I’ll reiterate once more, a simple, straightforward narrative is not inherently a bad thing, whether the themes being dealt with are romantic or anything else. Sometimes it is in fact the best approach. But the best stories in my opinion are usually the most nuanced, that challenge our notions of what we believe to be true, and that force us to think about what we do with our lives and what we could do differently. To that end Miyazaki introduces all manner of themes and motifs within his films that are familiar to us but shows them in a light most of us might not have considered, thus giving more dimension to our understanding of things.
“How is any of this related to Star Wars?” you might ask. It is quite related, and you don’t even have to look all that closely to see it. A very influential figure within Star Wars was very heavily inspired by the works of Miyazaki, and that figure is Dave Filoni.
This video shows the connections in some detail:
https://youtu.be/Q_4L0BbSpHo?si=04jDo6qFCnZT135w
But to summarize if you’ve seen any of Miyazaki’s films, especially Princess Mononoke, I think the callbacks in Filoni’s work will be all too obvious, especially in Star Wars Rebels. Some of the scenes in Filoni’s work look like they were taken directly from Miyazki’s films, and many of the same themes and motifs often come up. The relationship between San and Ashitaka I would argue is very similar to the relationship between Ezra and Sabine, and not just because both couples rode wolves together.
Incidentally, Dave Filoni was also heavily involved in Avatar: The Last Airbender, which I would also argue was at least to some degree inspired if not by Miyazaki then by Japanese anime in general. The relationship between Aang and Katara was developed with great care and was allowed to build very slowly, as opposed to simply shipping them. Likewise other characters very gradually developed as individuals and in their relationships, at times stumbling as they did so, and making mistakes, before finding their way back to the right path.
All of this is in stark contrast to George Lucas, whose character development is often very rushed at best, and at times some might say almost non-existent. So essentially, even though Lucas has said that Filoni has been “like a son” to him, and I believe referred to Filoni as his “padawan”, I would argue that Filoni is ultimately as much a student of Miyazaki as he is of Lucas.
Again, you might ask, “What does all this mean for Star Wars?” It means a great many things. It means that Dave Filoni has taken Miyazaki’s lessons to heart, and can handle things like romance, as well as other kinds of relationships, quite well most of the time. Like Miyazaki he can play with romance, tease the audience with it at times even, leave the romance unrequited, and yet still have it feel satisfying. A prime example of this is the love triangle that Ahsoka was involved in with the young Separatist Senator, Lux Bonteri, and Steela Gerrera. As wary as I am of romance and as much as I despise shipping, love triangles I normally despise even more, but this one seemed to actually work. It never took over the main story, and even though Ahsoka’s feelings were ultimately not reciprocated, she still learned from the experience, and grew and developed further as a character because of it. The other characters involved in this triangle also grew and developed from their involvement, though unfortunately not all of them made it. All in all it was a good bit of storytelling and gave the audience something to consider.
When a relationship in one of Filoni’s stories does bloom into a full blown romance he also generally handles it quite well. For one Filoni is sparing with actual romance, so that when it does occur, it can be that much more appreciated. And rather than rushing or shipping it, Filoni normally takes his time to build it up. An example of this is the relationship between Kanan and Hera. Some might argue that this is perhaps the best developed romance in all of Star Wars, at least in Canon. Built up over four seasons, at times it wasn’t certain whether it was a romance or a friendship, or perhaps even a professional partnership. Perhaps even the characters themselves were not certain, though it was hinted all throughout the narrative that something was going on. To this day I don’t believe anyone can say definitively when it became an actual romance, and I believe Filoni did this intentionally because he wanted to be subtle, rather than making things too obvious and having the romance take over the narrative, as it usually does. When it finally did become obvious as to what was happening, it felt very much earned, in a way that is seldom accomplished in other works of fiction, including Star Wars.
The relationship between Ezra and Sabine was also fairly well written, for the most part anyway, at least in Star Wars Rebels. Ezra was almost immediately smitten with Sabine, but being a young teenage boy, it was understandable that he would feel that way about an attractive girl. Over time he learned to see her more respectfully, as a colleague and even as part of his adopted family, not just as a pretty face. Sabine for her part found Ezra annoying at first (c’mon, what teenage boy isn’t?), but as he matured and she found out more about him she came to understand and respect him more, and see him as a friend and almost a brother, with there being potential for something more.
There were times when the relationship could have been better written, like in the episode “Blood Sisters”, where Ezra was written to be a bit too immature to make Sabine look wiser. But overall, the bond between them developed fairly well; both saved one another at various times, and took risks and made sacrifices for each other’s sake. Both reassured and comforted the other when they needed it, and it was endearing to hear their banter when they became more familiar and trusting of each other.
So why then was I so disappointed in how they were portrayed in the Ahsoka show? The thing is, after how well their relationship was built up in Rebels, as I’ve already mentioned it was strange to see how lackluster and uninspired their reunion was.
Within the Ahsoka show itself Sabine was shown to be almost obsessed with finding Ezra, living in what used to be his home, watching a recording of him over and over again, and calling out his name as she woke up in the middle of the night. She even risked bringing Thrawn back into the Galaxy, which ultimately happened, just so she could see Ezra again. After all that, when she finally does encounter him, her reaction seems fairly casual, as does his, as if they’ve been apart for no more than a week, rather than 10 years. Not too much happens between them afterwards either. Like I said Ezra does not appear all that curious about what happened with Sabine, how she found him, and how it was that she was now Force sensitive. Sabine likewise did not seem curious about what had happened with Ezra, and how he had gotten away from Thrawn. And with Ezra rescued and returned home, suddenly it didn’t seem as though Sabine was all that interested in him anymore, nor he all that concerned with her, though they were just as far apart as they had been at the start of the show. To be completely honest it made me wonder what the point of the whole show was. Were they just working to set up Thrawn’s return to the Galaxy? As some have said, Ezra felt like nothing more than a Macguffin in the show. Was Sabine and Ahsoka’s search for him just a plot device?
Considering how skillfully Dave Filoni had written his stories in the past, what happened in this latest project of his does not make much sense. Was he so concerned about “shipping” and so desperate to avoid it that he inadvertently “shipped” them in the other direction? Was there some sort of external pressure on him about how to write this story to have more of an appeal to “modern audiences”? Maybe some combination of those factors?
And here I’ll add that when I say “modern audiences” I don’t mean that in a contemptuous sense, though you may think I do. If there is any contempt on my part it is for those in charge of telling our stories, or those in charge of those telling our stories, who do not seem to grasp these basic truths. The truth is that audiences at their core don’t really change throughout the ages, only superficially so. Trends come and go but certain truths and ideals are eternal, and universal. How people relate to each other fundamentally does not change, whether they are friends, or more than friends. And deep down, I believe everyone (or nearly everyone at least) wants the same things. Nearly everyone at some point wants some kind of a connection with another human being, to know that they are not alone in the world, and to know that there is someone else who sees and understands things as they do. While this desire can certainly lead to abuse, and absolutely has, it is still innate to us and is not inherently wrong. Finding ways of connecting and relating to other people is one of the great challenges of life, but many would argue it is the most worthwhile of challenges. It may be the whole point of life if you think about it. As complex as it may be, many would argue it is what makes life worth living, and likewise makes for the best stories. Just as it may be the whole point of life many would say that is what most stories are about at their core: people trying to relate to one another.
Sadly, just as in real life, most stories unfortunately don’t quite get it, and the Ahsoka show in my opinion was an example of this, made all the sadder by the fact that Dave Filoni had done quite well with these characters up to that point. We may never know for certain what exactly went wrong and why, or if it can ever be “fixed” at this point, but I can’t help but feel curious. Maybe in the future Filoni will find a way to make it make sense, but I’m not sure how. And to be completely honest I don’t feel quite as enthusiastic to find out as I used to.
Also for the record I would like to add here that there are other factors that put me off from the show, such as Sabine’s Force sensitivity, that came about without much build up. But in this article I specifically wanted to focus on shipping because there seems to be so much misunderstanding around it.
I hope that I was able to clarify some, if not most of this misunderstanding, so that people could better appreciate what shipping is, where it comes from, as well as what it isn’t. Many people today are understandably sick of shipping characters, myself included. But I hope people realize that in overcompensating for something, we often come back around into the very thing that we are overcompensating for. Or sometimes, into something even worse. This may apply to nearly every facet of life, by the way, not just shipping. Finding a happy medium in how we portray our fictional relationships may help us to better understand relationships in real life, as well as how to navigate them. Neither fictional nor actual relationships can ever be perfect but they can always be better. To this understanding then I hope that I was able to give my own modest contribution, and if nothing else I hope we can connect on that.

To clarify, I now know that there are different definitions of the word “ship”, but for the purposes of this article and to keep things simple I will use the definition of “a relationship that’s rushed and/or forced with no real development.” I hope you can understand as I do not know of any other single word to describe that concept. If you do, perhaps you can tell me. Also, fair warning, this is long form content (some 10 pages), if you like it but can’t read it all at once you can save it and come back to it over a period of time, or you can stop reading whenever you get tired of it and still discuss those parts of it with me that you have read. But keep it civil if you want a civil response.
With that, to qualify the title, no, Ezra and Sabine do NOT absolutely have to be a couple, but if they were to become one, it would NOT be a ship. Ezra and Sabine’s relationship has had years of development. Could they remain as simply friends? Yes, but ironically, it was their “friendship” that felt like more of a ship. It felt like the Ahsoka show, helmed by Dave Filoni, was going out of its way to tell us: “no, they’re not a couple, they’re just friends.”
I believe that Filoni made some very poor writing choices to stress something that didn’t really need to be stressed, such that it almost felt like he was in denial. The line “I love you like a sister” was never in Rebels, Filoni essentially had that retconned in, and like many I was put off by their (largely) emotionless reunion. Even if they were “just friends” I believe there would be a great deal more emotion displayed between two people that hadn’t seen each other in some ten years, especially when one of them was in a precarious situation when they parted. I also believe Ezra would be far more curious about Sabine being Force sensitive, perhaps even offering to help train her when she told him that her training hadn’t gone as well with Ahsoka. He did help to train her with the Darksaber, didn’t he? Why that never came up is another discussion, but for now, let’s focus on shipping.
In case you think I’m desperate to have them as a couple, no I’m not. I’m about the furthest thing from it. Like many millennials and Gen-Z’ers (and perhaps some Gen-Xers and boomers) I DESPISE shipping. Absolutely DESPISE it. With a flaming passion. Perhaps for this reason, and maybe some others, like many millennials and Gen-Z’ers (and perhaps some Gen-Xers and boomers), I’m generally wary of nearly all romance in fiction, and generally avoid it in my own work. The sad reality is that romance is perhaps the most abused genre in all of fiction, all throughout history. It has been so badly abused that many people, including myself for the longest time, have equated romance with shipping, though I’m slowly beginning to see that they are not the same thing, and one does not necessarily have to go with the other.
But sadly, many writers, through time immemorial, have not been able to separate them, going back into ancient times and perhaps even into pre-history, that is before languages were actually written down. Some of what is considered great literature; classics like Romeo and Juliet, are predicated on shipping, though at least the consequences of this “whirlwind romance” are shown to be fairly stark. Star Wars itself is no stranger to shipping, resulting in a very awkward incestuous kiss when Luke was shipped with Leia, then Leia was placed with Han and Lucas made Luke and Leia brother and sister, apparently having forgotten his original ship. Later Lucas essentially shipped Anakin and Padme, resulting in some of the most cringeworthy dialog in the history of film. Many fans of the Prequels even have been somewhat critical of Anakin’s portrayal, particularly in regards to the “romantic” scenes, with many describing them as “creepy”. Some have speculated that this was intentional, though personally I think it was just the result of bad writing on the part of George Lucas, and an impatience on his part for Anakin and Padme to become a couple, hence “shipping”.
One might wonder why this is so prevalent in fiction, and tragically, one does not have to look far. Fiction is merely a reflection of reality, therefore the reason that shipping is so common in our stories is that we fall so easily into it in real life. Indeed, entire cultures may be based around shipping, or at least very heavily wrapped up in it. Throughout history arranged marriages have been the norm, and the idea of marrying for “love” is something relatively new. To be fair, I’ve actually met people in arranged marriages who seemed to be fairly happy, but those same people were very open in telling me that many despise that aspect of their culture, and that it is quite normal for those in an arranged marriage to try to get out.
People might come together for “love” without marrying, but even then it often creates expectations that might turn into a burden. Even when a marriage is voluntary and for “love”, people are often left unsatisfied, such that today in the West the divorce rate is something like 50%. Happy, stable, long term relationships seem to be the exception across cultures and across the breadth and width of time. And yet pursuit of love and some kind of relationship seems to be the highest calling for many people, both in real life and in fiction. And it could be that the accumulated disgust is finally starting to boil over.
To be fair, this may not be the first time in history that the pendulum has shifted. You may recall that in Victorian times attitudes changed drastically, as compared to the previously bawdy Elizabethan times. Looking at a play from Shakespear, if you can understand the language, you’ll see all kinds of vulgar references, as well as what I believe are fairly sappy romances like in the aforementioned Romeo and Juliet, though I can’t say for certain whether Shakespear was actually endorsing that type of attitude towards “love” or presenting it as a cautionary tale, maybe even something to be ridiculed in some of his other plays.
But regardless, Victorians as you may well know had a very conservative attitude towards anything to do with romance, and would often avoid the subject in many places, or tread very carefully around it, as if walking on eggshells. It’s not that people stopped being romantic, in fiction or real life, but it was treated as something very serious and even dangerous, with many urges repressed or even suppressed entirely. This had all kinds of effects on society, both positive and negative. On the positive side, it reinforced the ideal of people being committed to their partners, and of marriage as a sacred institution rather than a “casual hookup” as was more common in Elizabethan times. Likewise it reinforced ideals of modesty and chastity, which may be coming back into vogue, though under different names. But just as there were positive aspects to these attitudes, so were there negative ones.
Just because the urges I described were repressed did not mean that they disappeared. In fact, they often morphed into things that many would consider “unhealthy”. From one statistic that I saw, in Victorian times about one in every 60 houses was a brothel, with the modern rate being closer to one in 6000. Additionally, the rights of women were often repressed, such that they could not fully express themselves and find their own identity, and path in life, as individuals. Just as Elizabethan ideals gave way to Victorian ones, so did the Victorian ideals gradually begin to erode.
Perhaps it began with the Jazz Age of the 1920’s (the “Roaring Twenties”), or with the increased interconnectivity of people traveling to different parts of the world during World War I, not to mention the cynicism that pervaded throughout the West in response to failed old ideals leading to the deadliest war in history up to that point, but many Victorian ideals began to be seen as a joke, and even resented for their “oppression”, which to be fair was not entirely unjustified. But regardless, people gradually, and at times not so gradually, became more and more “liberated” and promiscuous. This culminated in the Sexual Revolution in the late 1960’s, when what had previously been seen as a vice and even a sin was now seen as not only “normal” but as a healthy form of expression, a virtue even. And just as these ideas were embraced in real life, so too were they reflected in our films, TV shows, and other media, often to the consternation of older people and institutions, like the Vatican. The Catholic Church even went so far as to “ban” certain films, that is to declare them immoral for good Catholics to watch. Many of the films that were banned back then, or at least controversial, like The Graduate with Dustin Hoffman, are fairly tame by today’s standards.
It continued through the 70’s, at times warming and at times cooling through the rest of the century, until you could argue it reached a kind of crescendo in the early 21st century with the advent of so-called “dark romance” and the publication of books like Fifty Shades of Grey. (Ironically, many of the themes within this “dark romance” can trace their roots back to the Victorian era, yet another indication that repressing urges without addressing them often doesn’t work out as one might hope.) But as happens all too often, just as something reaches peak popularity is when it begins to go out of style, and that is what we may be experiencing right now. As weird as it may sound, we may actually have come full circle and may be on the cusp of a “New Victorian Age” (complete with “dark romance”, even). Web sites like Porn Hub and OnlyFans, as well as other similar sites, may be the new “brothels”, and what was once openly celebrated may be going underground, to an extent. The effects of this on society have been interesting to say the least, and at times I would even say bizarre.
Whilst many younger people seem content with these changes, many older people are concerned. I’ve seen a number of books, films, and other media receive positive reviews for example based specifically on their lack of romance. Many of these books/films, etc. fall into the “young adult” category, meaning that it is young adults obviously who mostly consume them. At the same time I’ve heard a number of older people, mostly boomers and Gen-Xers, criticize these same books/films for their lack of romance. Even some older millennials seem upset by the changes, as perhaps evidenced by Jennifer Lawrence’s latest film No Hard Feelings (though to be fair that film may be lampooning the older generation’s frustration as well as the younger generation’s frigidity). So just as in the past older people were concerned about the promiscuity of the youth, now it actually appears that many older people are concerned about the youth’s lack of promiscuity.
Who could have seen that coming? But to be fair, the younger generation hasn’t gone completely frigid. As stated earlier, much of the promiscuity has gone “underground”, or online, which many would argue is not very healthy as it might undermine actual relationships, whether they are romantic in nature or simple friendships. And speaking of that, friendships within stories nowadays often aren’t portrayed in a very authentic or compelling manner, perhaps because in ditching romance modern writers haven’t quite yet learned how to replace it with something else. In other words, the “New Victorian Age” may not be an exact repeat of the previous one, but may have its own twists and turns, for better and for worse.
This may all essentially be a manifestation of the Human Condition, in that we just can’t seem to find a happy medium, neither in real life nor in fiction. Thus we keep swinging from one extreme to the other, apparently getting wilder with each swing.
So where does all this leave us? What is it that we really want in our lives, and in our stories? Especially in regards to relationships? I think at some level we all want to see good and healthy relationships between people and/or characters, whether romantic or platonic. I believe at some point we would like to see good examples of both friendship and romance, and I would argue that the best examples of romance have them combined. Even a toxic relationship, if well portrayed or documented, can be instructive and serve as a good example of what to avoid in our lives that we might be happier and relate better to each other. A good relationship, by contrast, can give us something to aspire to and inspire us to not only look for the right kind of person to complement our lives, but to make ourselves worthy of that person. And here I’ll add that I’m perfectly aware that in real life (and thus in fiction) relationships can be very complicated and heavily nuanced, with elements of both “good” and “bad” in them. Just as people change over time so can the relationships between them change, at times getting better and at times worse, sometimes breaking entirely and sometimes growing stronger. Relationships can have just as many layers and dimensions as characters, more even perhaps, and a skilled writer should be able to reflect this complexity. At other times a relationship can be fairly straightforward, simplicity sometimes being the best approach. But regardless, the audience should be able to relate and identify with what they are seeing, such that hopefully they can incorporate the lessons from it in their own lives.
Where can we find good examples of relationships to study? There may be a number of them in the real world, but the trouble with studying real world relationships is that they’re often much more complicated than fictional ones (just as real people are more complicated than fictional characters), and for many of them it is almost impossible to know all the details and nuances because they are often kept private, understandably so, and even if they aren’t it can still be difficult, due to unique circumstances, to see how to relate them to our own lives. Additionally there may be far more disagreement about a real life situation than a fictional one, with many more points of view. To keep things simple, for the purpose of this article I would like to focus on fictional relationships. (And fair warning, there will be some spoilers.)
One of the best places to look, I would argue, would be the films of Hayao Miyazaki. (And this is pretty significant to Star Wars as you will see in a bit.) A film of his that stands out to me the most is Princess Mononoke. Like many of Miyazaki’s films it has elements of romance, and yet subverts them in a way that makes complete sense and feels very genuine, without taking away from any of the accompanying charm. It starts with two young people, San and Ashitaka, and as soon as they encounter each other there is a kind of expectation of romance. This may be inevitable to some degree when you have a man and a woman of about the same age encounter each other in a story, especially if they happen to be adolescents. The expectation may not be inherently bad, and Miyazaki does play with it. Both characters are thrust into dangerous situations, at various points end up saving each other’s lives, and at a certain point I think it is obvious that they have feelings for each other. I was certain that at the end of the film, they would be together, and if things had gone that way, it would make complete sense. Instead, they go in different directions, but remain good friends, and considering their backgrounds and differing worldviews, this ends up making even more sense to the story.
Essentially, Miyazaki could have gone for the more conventional, tried and true “love conquers all” narrative, where the characters’ feelings for each other would negate everything that comes between them, they would somehow find a common ground in spite of their differences, the romance would not only take over the narrative but somehow also solve all the problems in the story, and then the couple would live “happily ever after”. Such an approach is not inherently bad or wrong, and is fairly common in Western media and storytelling. We can see it in films like Fern Gully, and more recently James Cameron’s Avatar, both of which have been compared to Princess Mononoke. As you can probably guess, the problem is that at a certain point such a narrative can become fairly simplistic, and lack nuance.
Miyazaki’s films, by contrast, are very heavily nuanced, and are anything but simplistic. In Princess Mononoke the characters San and Ashitaka don’t help each other simply because they are “in love”, but because it is the right thing to do, regardless of how they might feel about each other. Yes, romantic feelings are certainly alluded to, but they are not essential to the plot, for it could have worked just as well without any romantic allusions. And ironically, this makes those allusions even more valid, even if they are unrequited. How so?
Consider that if love is essential to a given narrative, is it not relegated to being nothing more than a plot device? Again, this is quite common in Western media and storytelling, and is not inherently bad or wrong, but when it becomes a trope or cliche, I believe it is the essence of where shipping comes from. Many storytellers get caught up in this, usually without realizing it, and while a story can still work even with shipping, I believe that it usually works that much better without it.
This extends not only to Miyazaki’s handling of romance but also to other things like environmentalism, the conflict between man and nature, and the contrasting ideals of human progress vs. preserving the natural order. Movies like Fern Gully and Avatar, as already mentioned, handle these themes in a fairly simplistic and I would even say hamfisted manner, whereby all progress and technology is shown as being inherently “bad” and in service to “evil”, while everything that’s “natural” is shown to be inherently “good”. Even our notions of good and evil, and right vs. wrong, are challenged by Miyazaki, with nearly all of his characters having complex motives and multiple dimensions to them, as well as understandable reasons for doing the things that they do. Rarely can any one of his characters be branded as a simple “villain”, and rarely is any one individual the source of conflict in his stories, again in contrast to most Western narratives.
I’ll reiterate once more, a simple, straightforward narrative is not inherently a bad thing, whether the themes being dealt with are romantic or anything else. Sometimes it is in fact the best approach. But the best stories in my opinion are usually the most nuanced, that challenge our notions of what we believe to be true, and that force us to think about what we do with our lives and what we could do differently. To that end Miyazaki introduces all manner of themes and motifs within his films that are familiar to us but shows them in a light most of us might not have considered, thus giving more dimension to our understanding of things.
“How is any of this related to Star Wars?” you might ask. It is quite related, and you don’t even have to look all that closely to see it. A very influential figure within Star Wars was very heavily inspired by the works of Miyazaki, and that figure is Dave Filoni.
This video shows the connections in some detail:
https://youtu.be/Q_4L0BbSpHo?si=04jDo6qFCnZT135w
But to summarize if you’ve seen any of Miyazaki’s films, especially Princess Mononoke, I think the callbacks in Filoni’s work will be all too obvious, especially in Star Wars Rebels. Some of the scenes in Filoni’s work look like they were taken directly from Miyazki’s films, and many of the same themes and motifs often come up. The relationship between San and Ashitaka I would argue is very similar to the relationship between Ezra and Sabine, and not just because both couples rode wolves together.
Incidentally, Dave Filoni was also heavily involved in Avatar: The Last Airbender, which I would also argue was at least to some degree inspired if not by Miyazaki then by Japanese anime in general. The relationship between Aang and Katara was developed with great care and was allowed to build very slowly, as opposed to simply shipping them. Likewise other characters very gradually developed as individuals and in their relationships, at times stumbling as they did so, and making mistakes, before finding their way back to the right path.
All of this is in stark contrast to George Lucas, whose character development is often very rushed at best, and at times some might say almost non-existent. So essentially, even though Lucas has said that Filoni has been “like a son” to him, and I believe referred to Filoni as his “padawan”, I would argue that Filoni is ultimately as much a student of Miyazaki as he is of Lucas.
Again, you might ask, “What does all this mean for Star Wars?” It means a great many things. It means that Dave Filoni has taken Miyazaki’s lessons to heart, and can handle things like romance, as well as other kinds of relationships, quite well most of the time. Like Miyazaki he can play with romance, tease the audience with it at times even, leave the romance unrequited, and yet still have it feel satisfying. A prime example of this is the love triangle that Ahsoka was involved in with the young Separatist Senator, Lux Bonteri, and Steela Gerrera. As wary as I am of romance and as much as I despise shipping, love triangles I normally despise even more, but this one seemed to actually work. It never took over the main story, and even though Ahsoka’s feelings were ultimately not reciprocated, she still learned from the experience, and grew and developed further as a character because of it. The other characters involved in this triangle also grew and developed from their involvement, though unfortunately not all of them made it. All in all it was a good bit of storytelling and gave the audience something to consider.
When a relationship in one of Filoni’s stories does bloom into a full blown romance he also generally handles it quite well. For one Filoni is sparing with actual romance, so that when it does occur, it can be that much more appreciated. And rather than rushing or shipping it, Filoni normally takes his time to build it up. An example of this is the relationship between Kanan and Hera. Some might argue that this is perhaps the best developed romance in all of Star Wars, at least in Canon. Built up over four seasons, at times it wasn’t certain whether it was a romance or a friendship, or perhaps even a professional partnership. Perhaps even the characters themselves were not certain, though it was hinted all throughout the narrative that something was going on. To this day I don’t believe anyone can say definitively when it became an actual romance, and I believe Filoni did this intentionally because he wanted to be subtle, rather than making things too obvious and having the romance take over the narrative, as it usually does. When it finally did become obvious as to what was happening, it felt very much earned, in a way that is seldom accomplished in other works of fiction, including Star Wars.
The relationship between Ezra and Sabine was also fairly well written, for the most part anyway, at least in Star Wars Rebels. Ezra was almost immediately smitten with Sabine, but being a young teenage boy, it was understandable that he would feel that way about an attractive girl. Over time he learned to see her more respectfully, as a colleague and even as part of his adopted family, not just as a pretty face. Sabine for her part found Ezra annoying at first (c’mon, what teenage boy isn’t?), but as he matured and she found out more about him she came to understand and respect him more, and see him as a friend and almost a brother, with there being potential for something more.
There were times when the relationship could have been better written, like in the episode “Blood Sisters”, where Ezra was written to be a bit too immature to make Sabine look wiser. But overall, the bond between them developed fairly well; both saved one another at various times, and took risks and made sacrifices for each other’s sake. Both reassured and comforted the other when they needed it, and it was endearing to hear their banter when they became more familiar and trusting of each other.
So why then was I so disappointed in how they were portrayed in the Ahsoka show? The thing is, after how well their relationship was built up in Rebels, as I’ve already mentioned it was strange to see how lackluster and uninspired their reunion was.
Within the Ahsoka show itself Sabine was shown to be almost obsessed with finding Ezra, living in what used to be his home, watching a recording of him over and over again, and calling out his name as she woke up in the middle of the night. She even risked bringing Thrawn back into the Galaxy, which ultimately happened, just so she could see Ezra again. After all that, when she finally does encounter him, her reaction seems fairly casual, as does his, as if they’ve been apart for no more than a week, rather than 10 years. Not too much happens between them afterwards either. Like I said Ezra does not appear all that curious about what happened with Sabine, how she found him, and how it was that she was now Force sensitive. Sabine likewise did not seem curious about what had happened with Ezra, and how he had gotten away from Thrawn. And with Ezra rescued and returned home, suddenly it didn’t seem as though Sabine was all that interested in him anymore, nor he all that concerned with her, though they were just as far apart as they had been at the start of the show. To be completely honest it made me wonder what the point of the whole show was. Were they just working to set up Thrawn’s return to the Galaxy? As some have said, Ezra felt like nothing more than a Macguffin in the show. Was Sabine and Ahsoka’s search for him just a plot device?
Considering how skillfully Dave Filoni had written his stories in the past, what happened in this latest project of his does not make much sense. Was he so concerned about “shipping” and so desperate to avoid it that he inadvertently “shipped” them in the other direction? Was there some sort of external pressure on him about how to write this story to have more of an appeal to “modern audiences”? Maybe some combination of those factors?
And here I’ll add that when I say “modern audiences” I don’t mean that in a contemptuous sense, though you may think I do. If there is any contempt on my part it is for those in charge of telling our stories, or those in charge of those telling our stories, who do not seem to grasp these basic truths. The truth is that audiences at their core don’t really change throughout the ages, only superficially so. Trends come and go but certain truths and ideals are eternal, and universal. How people relate to each other fundamentally does not change, whether they are friends, or more than friends. And deep down, I believe everyone (or nearly everyone at least) wants the same things. Nearly everyone at some point wants some kind of a connection with another human being, to know that they are not alone in the world, and to know that there is someone else who sees and understands things as they do. While this desire can certainly lead to abuse, and absolutely has, it is still innate to us and is not inherently wrong. Finding ways of connecting and relating to other people is one of the great challenges of life, but many would argue it is the most worthwhile of challenges. It may be the whole point of life if you think about it. As complex as it may be, many would argue it is what makes life worth living, and likewise makes for the best stories. Just as it may be the whole point of life many would say that is what most stories are about at their core: people trying to relate to one another.
Sadly, just as in real life, most stories unfortunately don’t quite get it, and the Ahsoka show in my opinion was an example of this, made all the sadder by the fact that Dave Filoni had done quite well with these characters up to that point. We may never know for certain what exactly went wrong and why, or if it can ever be “fixed” at this point, but I can’t help but feel curious. Maybe in the future Filoni will find a way to make it make sense, but I’m not sure how. And to be completely honest I don’t feel quite as enthusiastic to find out as I used to.
Also for the record I would like to add here that there are other factors that put me off from the show, such as Sabine’s Force sensitivity, that came about without much build up. But in this article I specifically wanted to focus on shipping because there seems to be so much misunderstanding around it.
I hope that I was able to clarify some, if not most of this misunderstanding, so that people could better appreciate what shipping is, where it comes from, as well as what it isn’t. Many people today are understandably sick of shipping characters, myself included. But I hope people realize that in overcompensating for something, we often come back around into the very thing that we are overcompensating for. Or sometimes, into something even worse. This may apply to nearly every facet of life, by the way, not just shipping. Finding a happy medium in how we portray our fictional relationships may help us to better understand relationships in real life, as well as how to navigate them. Neither fictional nor actual relationships can ever be perfect but they can always be better. To this understanding then I hope that I was able to give my own modest contribution, and if nothing else I hope we can connect on that.

Nestled in the northernmost part of India, the Kashmir Valley is a region renowned for its breathtaking landscapes and rich cultural heritage. Among its many natural treasures, the Kashmir Tulip stands out as a vibrant symbol of beauty and resilience. This striking flower not only enhances the valley's aesthetic appeal but also represents the deep cultural connections and historical significance intertwined with the region's identity.
Historical Significance of the Kashmir Tulip
The tulip is not native to Kashmir; it originated in the Ottoman Empire and made its way to the valley through Central Asian traders. Its cultivation in Kashmir dates back to the Mughal era, when emperors like Jahangir and Shah Jahan, known for their love of gardens, introduced a variety of flowers, including tulips, to the region. The Mughals’ passion for gardening transformed Kashmir into a floral paradise, and tulips became a symbol of regal elegance and natural beauty.
Cultural Impact
The tulip holds a special place in Kashmiri culture, symbolizing the arrival of spring and the renewal of life. The flower’s bloom is a harbinger of the end of harsh winters and the beginning of a season of hope and beauty. This transformation is celebrated with enthusiasm and joy by the local people, who regard the tulip as a reflection of their cultural and historical legacy.
The Tulip Garden: An Icon of Kashmir
Indira Gandhi Memorial Tulip Garden, located in Srinagar, is the largest tulip garden in Asia. Established in 2007, it spans over 30 hectares and boasts a stunning variety of tulips in every conceivable color. The garden is strategically placed against the backdrop of the majestic Zabarwan Range, with the pristine Dal Lake adding to its charm. This garden is not just a tourist attraction but a symbol of the region's botanical richness and artistic heritage.
Tulip Festival: A Celebration of Life
Every year, the Tulip Festival in Srinagar attracts thousands of visitors from around the world. Held in April, this festival showcases over 1.5 million tulip bulbs of more than 60 varieties. It is a celebration of the valley’s natural beauty and cultural vibrancy, featuring local handicrafts, traditional Kashmiri music, and culinary delights. The festival not only promotes tourism but also provides a platform for local artisans and performers to showcase their talents.
Tulip Festival Tour Package
To experience the full splendor of the Tulip Festival, many travel agencies offer comprehensive tour packages. A typical Tulip Festival Tour Package includes:
- Accommodation: Stay in luxury houseboats or heritage hotels in Srinagar.
- Sightseeing: Guided tours of the Tulip Garden, Mughal Gardens, Dal Lake, and Shankaracharya Temple.
- Cultural Experiences: Attend live performances of traditional Kashmiri music and dance, and participate in local craft workshops.
- Culinary Delights: Enjoy authentic Kashmiri cuisine with traditional Wazwan feasts.
- Transportation: Comfortable transfers from Srinagar airport to various tourist spots.
Jammu and Kashmir Tour Packages
For those looking to explore beyond the tulips, Jammu and Kashmir offer a plethora of tour packages that cover various aspects of the region’s beauty and heritage. Popular packages include:
- Kashmir Valley Tour: Includes visits to Srinagar, Gulmarg, Pahalgam, and Sonamarg, showcasing stunning landscapes, skiing resorts, and lush valleys.
- Pilgrimage Tour: Focuses on religious sites like Vaishno Devi Temple in Jammu and Amarnath Cave in Kashmir, offering spiritual solace and scenic beauty.
- Adventure Tour: Features trekking in the Himalayas, river rafting in Lidder River, and skiing in Gulmarg.
Conclusion
The Kashmir Tulip is more than just a flower; it is a vibrant testament to the region's cultural heritage and natural splendor. The Tulip Festival in Srinagar not only celebrates this beautiful bloom but also the rich traditions and resilient spirit of the Kashmiri people. With thoughtfully curated tour packages, visitors can immerse themselves in the valley's breathtaking beauty and profound cultural experiences, making their journey to Jammu and Kashmir truly unforgettable.

This is my attempt at a re-submission due to some misunderstandings on the first attempt. I now know that there are different definitions of the word “ship”, but for the purposes of this article and to keep things simple I will use the definition of “a relationship that’s rushed and/or forced with no real development.” I hope you can understand as I do not know of any other single word to describe that concept. If you do, perhaps you can tell me. Also, fair warning, this is long form content (some 10 pages), if you like it but can’t read it all at once you can save it and come back to it over a period of time, or you can stop reading whenever you get tired of it and still discuss those parts of it with me that you have read. But keep it civil if you want a civil response.
With that, to qualify the title, no, Ezra and Sabine do NOT absolutely have to be a couple, but if they were to become one, it would NOT be a ship. Ezra and Sabine’s relationship has had years of development. Could they remain as simply friends? Yes, but ironically, it was their “friendship” that felt like more of a ship. It felt like the Ahsoka show, helmed by Dave Filoni, was going out of its way to tell us: “no, they’re not a couple, they’re just friends.”
I believe that Filoni made some very poor writing choices to stress something that didn’t really need to be stressed, such that it almost felt like he was in denial. The line “I love you like a sister” was never in Rebels, Filoni essentially had that retconned in, and like many I was put off by their (largely) emotionless reunion. Even if they were “just friends” I believe there would be a great deal more emotion displayed between two people that hadn’t seen each other in some ten years, especially when one of them was in a precarious situation when they parted. I also believe Ezra would be far more curious about Sabine being Force sensitive, perhaps even offering to help train her when she told him that her training hadn’t gone as well with Ahsoka. He did help to train her with the Darksaber, didn’t he? Why that never came up is another discussion, but for now, let’s focus on shipping.
In case you think I’m desperate to have them as a couple, no I’m not. I’m about the furthest thing from it. Like many millennials and Gen-Z’ers (and perhaps some Gen-Xers and boomers) I DESPISE shipping. Absolutely DESPISE it. With a flaming passion. Perhaps for this reason, and maybe some others, like many millennials and Gen-Z’ers (and perhaps some Gen-Xers and boomers), I’m generally wary of nearly all romance in fiction, and generally avoid it in my own work. The sad reality is that romance is perhaps the most abused genre in all of fiction, all throughout history. It has been so badly abused that many people, including myself for the longest time, have equated romance with shipping, though I’m slowly beginning to see that they are not the same thing, and one does not necessarily have to go with the other.
But sadly, many writers, through time immemorial, have not been able to separate them, going back into ancient times and perhaps even into pre-history, that is before languages were actually written down. Some of what is considered great literature; classics like Romeo and Juliet, are predicated on shipping, though at least the consequences of this “whirlwind romance” are shown to be fairly stark. Star Wars itself is no stranger to shipping, resulting in a very awkward incestuous kiss when Luke was shipped with Leia, then Leia was placed with Han and Lucas made Luke and Leia brother and sister, apparently having forgotten his original ship. Later Lucas essentially shipped Anakin and Padme, resulting in some of the most cringeworthy dialog in the history of film. Many fans of the Prequels even have been somewhat critical of Anakin’s portrayal, particularly in regards to the “romantic” scenes, with many describing them as “creepy”. Some have speculated that this was intentional, though personally I think it was just the result of bad writing on the part of George Lucas, and an impatience on his part for Anakin and Padme to become a couple, hence “shipping”.
One might wonder why this is so prevalent in fiction, and tragically, one does not have to look far. Fiction is merely a reflection of reality, therefore the reason that shipping is so common in our stories is that we fall so easily into it in real life. Indeed, entire cultures may be based around shipping, or at least very heavily wrapped up in it. Throughout history arranged marriages have been the norm, and the idea of marrying for “love” is something relatively new. To be fair, I’ve actually met people in arranged marriages who seemed to be fairly happy, but those same people were very open in telling me that many despise that aspect of their culture, and that it is quite normal for those in an arranged marriage to try to get out.
People might come together for “love” without marrying, but even then it often creates expectations that might turn into a burden. Even when a marriage is voluntary and for “love”, people are often left unsatisfied, such that today in the West the divorce rate is something like 50%. Happy, stable, long term relationships seem to be the exception across cultures and across the breadth and width of time. And yet pursuit of love and some kind of relationship seems to be the highest calling for many people, both in real life and in fiction. And it could be that the accumulated disgust is finally starting to boil over.
To be fair, this may not be the first time in history that the pendulum has shifted. You may recall that in Victorian times attitudes changed drastically, as compared to the previously bawdy Elizabethan times. Looking at a play from Shakespear, if you can understand the language, you’ll see all kinds of vulgar references, as well as what I believe are fairly sappy romances like in the aforementioned Romeo and Juliet, though I can’t say for certain whether Shakespear was actually endorsing that type of attitude towards “love” or presenting it as a cautionary tale, maybe even something to be ridiculed in some of his other plays.
But regardless, Victorians as you may well know had a very conservative attitude towards anything to do with romance, and would often avoid the subject in many places, or tread very carefully around it, as if walking on eggshells. It’s not that people stopped being romantic, in fiction or real life, but it was treated as something very serious and even dangerous, with many urges repressed or even suppressed entirely. This had all kinds of effects on society, both positive and negative. On the positive side, it reinforced the ideal of people being committed to their partners, and of marriage as a sacred institution rather than a “casual hookup” as was more common in Elizabethan times. Likewise it reinforced ideals of modesty and chastity, which may be coming back into vogue, though under different names. But just as there were positive aspects to these attitudes, so were there negative ones.
Just because the urges I described were repressed did not mean that they disappeared. In fact, they often morphed into things that many would consider “unhealthy”. From one statistic that I saw, in Victorian times about one in every 60 houses was a brothel, with the modern rate being closer to one in 6000. Additionally, the rights of women were often repressed, such that they could not fully express themselves and find their own identity, and path in life, as individuals. Just as Elizabethan ideals gave way to Victorian ones, so did the Victorian ideals gradually begin to erode.
Perhaps it began with the Jazz Age of the 1920’s (the “Roaring Twenties”), or with the increased interconnectivity of people traveling to different parts of the world during World War I, not to mention the cynicism that pervaded throughout the West in response to failed old ideals leading to the deadliest war in history up to that point, but many Victorian ideals began to be seen as a joke, and even resented for their “oppression”, which to be fair was not entirely unjustified. But regardless, people gradually, and at times not so gradually, became more and more “liberated” and promiscuous. This culminated in the Sexual Revolution in the late 1960’s, when what had previously been seen as a vice and even a sin was now seen as not only “normal” but as a healthy form of expression, a virtue even. And just as these ideas were embraced in real life, so too were they reflected in our films, TV shows, and other media, often to the consternation of older people and institutions, like the Vatican. The Catholic Church even went so far as to “ban” certain films, that is to declare them immoral for good Catholics to watch. Many of the films that were banned back then, or at least controversial, like The Graduate with Dustin Hoffman, are fairly tame by today’s standards.
It continued through the 70’s, at times warming and at times cooling through the rest of the century, until you could argue it reached a kind of crescendo in the early 21st century with the advent of so-called “dark romance” and the publication of books like Fifty Shades of Grey. (Ironically, many of the themes within this “dark romance” can trace their roots back to the Victorian era, yet another indication that repressing urges without addressing them often doesn’t work out as one might hope.) But as happens all too often, just as something reaches peak popularity is when it begins to go out of style, and that is what we may be experiencing right now. As weird as it may sound, we may actually have come full circle and may be on the cusp of a “New Victorian Age” (complete with “dark romance”, even). Web sites like Porn Hub and OnlyFans, as well as other similar sites, may be the new “brothels”, and what was once openly celebrated may be going underground, to an extent. The effects of this on society have been interesting to say the least, and at times I would even say bizarre.
Whilst many younger people seem content with these changes, many older people are concerned. I’ve seen a number of books, films, and other media receive positive reviews for example based specifically on their lack of romance. Many of these books/films, etc. fall into the “young adult” category, meaning that it is young adults obviously who mostly consume them. At the same time I’ve heard a number of older people, mostly boomers and Gen-Xers, criticize these same books/films for their lack of romance. Even some older millennials seem upset by the changes, as perhaps evidenced by Jennifer Lawrence’s latest film No Hard Feelings (though to be fair that film may be lampooning the older generation’s frustration as well as the younger generation’s frigidity). So just as in the past older people were concerned about the promiscuity of the youth, now it actually appears that many older people are concerned about the youth’s lack of promiscuity.
Who could have seen that coming? But to be fair, the younger generation hasn’t gone completely frigid. As stated earlier, much of the promiscuity has gone “underground”, or online, which many would argue is not very healthy as it might undermine actual relationships, whether they are romantic in nature or simple friendships. And speaking of that, friendships within stories nowadays often aren’t portrayed in a very authentic or compelling manner, perhaps because in ditching romance modern writers haven’t quite yet learned how to replace it with something else. In other words, the “New Victorian Age” may not be an exact repeat of the previous one, but may have its own twists and turns, for better and for worse.
This may all essentially be a manifestation of the Human Condition, in that we just can’t seem to find a happy medium, neither in real life nor in fiction. Thus we keep swinging from one extreme to the other, apparently getting wilder with each swing.
So where does all this leave us? What is it that we really want in our lives, and in our stories? Especially in regards to relationships? I think at some level we all want to see good and healthy relationships between people and/or characters, whether romantic or platonic. I believe at some point we would like to see good examples of both friendship and romance, and I would argue that the best examples of romance have them combined. Even a toxic relationship, if well portrayed or documented, can be instructive and serve as a good example of what to avoid in our lives that we might be happier and relate better to each other. A good relationship, by contrast, can give us something to aspire to and inspire us to not only look for the right kind of person to complement our lives, but to make ourselves worthy of that person. And here I’ll add that I’m perfectly aware that in real life (and thus in fiction) relationships can be very complicated and heavily nuanced, with elements of both “good” and “bad” in them. Just as people change over time so can the relationships between them change, at times getting better and at times worse, sometimes breaking entirely and sometimes growing stronger. Relationships can have just as many layers and dimensions as characters, more even perhaps, and a skilled writer should be able to reflect this complexity. At other times a relationship can be fairly straightforward, simplicity sometimes being the best approach. But regardless, the audience should be able to relate and identify with what they are seeing, such that hopefully they can incorporate the lessons from it in their own lives.
Where can we find good examples of relationships to study? There may be a number of them in the real world, but the trouble with studying real world relationships is that they’re often much more complicated than fictional ones (just as real people are more complicated than fictional characters), and for many of them it is almost impossible to know all the details and nuances because they are often kept private, understandably so, and even if they aren’t it can still be difficult, due to unique circumstances, to see how to relate them to our own lives. Additionally there may be far more disagreement about a real life situation than a fictional one, with many more points of view. To keep things simple, for the purpose of this article I would like to focus on fictional relationships. (And fair warning, there will be some spoilers.)
One of the best places to look, I would argue, would be the films of Hayao Miyazaki. (And this is pretty significant to Star Wars as you will see in a bit.) A film of his that stands out to me the most is Princess Mononoke. Like many of Miyazaki’s films it has elements of romance, and yet subverts them in a way that makes complete sense and feels very genuine, without taking away from any of the accompanying charm. It starts with two young people, San and Ashitaka, and as soon as they encounter each other there is a kind of expectation of romance. This may be inevitable to some degree when you have a man and a woman of about the same age encounter each other in a story, especially if they happen to be adolescents. The expectation may not be inherently bad, and Miyazaki does play with it. Both characters are thrust into dangerous situations, at various points end up saving each other’s lives, and at a certain point I think it is obvious that they have feelings for each other. I was certain that at the end of the film, they would be together, and if things had gone that way, it would make complete sense. Instead, they go in different directions, but remain good friends, and considering their backgrounds and differing worldviews, this ends up making even more sense to the story.
Essentially, Miyazaki could have gone for the more conventional, tried and true “love conquers all” narrative, where the characters’ feelings for each other would negate everything that comes between them, they would somehow find a common ground in spite of their differences, the romance would not only take over the narrative but somehow also solve all the problems in the story, and then the couple would live “happily ever after”. Such an approach is not inherently bad or wrong, and is fairly common in Western media and storytelling. We can see it in films like Fern Gully, and more recently James Cameron’s Avatar, both of which have been compared to Princess Mononoke. As you can probably guess, the problem is that at a certain point such a narrative can become fairly simplistic, and lack nuance.
Miyazaki’s films, by contrast, are very heavily nuanced, and are anything but simplistic. In Princess Mononoke the characters San and Ashitaka don’t help each other simply because they are “in love”, but because it is the right thing to do, regardless of how they might feel about each other. Yes, romantic feelings are certainly alluded to, but they are not essential to the plot, for it could have worked just as well without any romantic allusions. And ironically, this makes those allusions even more valid, even if they are unrequited. How so?
Consider that if love is essential to a given narrative, is it not relegated to being nothing more than a plot device? Again, this is quite common in Western media and storytelling, and is not inherently bad or wrong, but when it becomes a trope or cliche, I believe it is the essence of where shipping comes from. Many storytellers get caught up in this, usually without realizing it, and while a story can still work even with shipping, I believe that it usually works that much better without it.
This extends not only to Miyazaki’s handling of romance but also to other things like environmentalism, the conflict between man and nature, and the contrasting ideals of human progress vs. preserving the natural order. Movies like Fern Gully and Avatar, as already mentioned, handle these themes in a fairly simplistic and I would even say hamfisted manner, whereby all progress and technology is shown as being inherently “bad” and in service to “evil”, while everything that’s “natural” is shown to be inherently “good”. Even our notions of good and evil, and right vs. wrong, are challenged by Miyazaki, with nearly all of his characters having complex motives and multiple dimensions to them, as well as understandable reasons for doing the things that they do. Rarely can any one of his characters be branded as a simple “villain”, and rarely is any one individual the source of conflict in his stories, again in contrast to most Western narratives.
I’ll reiterate once more, a simple, straightforward narrative is not inherently a bad thing, whether the themes being dealt with are romantic or anything else. Sometimes it is in fact the best approach. But the best stories in my opinion are usually the most nuanced, that challenge our notions of what we believe to be true, and that force us to think about what we do with our lives and what we could do differently. To that end Miyazaki introduces all manner of themes and motifs within his films that are familiar to us but shows them in a light most of us might not have considered, thus giving more dimension to our understanding of things.
“How is any of this related to Star Wars?” you might ask. It is quite related, and you don’t even have to look all that closely to see it. A very influential figure within Star Wars was very heavily inspired by the works of Miyazaki, and that figure is Dave Filoni.
This video shows the connections in some detail:
https://youtu.be/Q_4L0BbSpHo?si=04jDo6qFCnZT135w
But to summarize if you’ve seen any of Miyazaki’s films, especially Princess Mononoke, I think the callbacks in Filoni’s work will be all too obvious, especially in Star Wars Rebels. Some of the scenes in Filoni’s work look like they were taken directly from Miyazki’s films, and many of the same themes and motifs often come up. The relationship between San and Ashitaka I would argue is very similar to the relationship between Ezra and Sabine, and not just because both couples rode wolves together.
Incidentally, Dave Filoni was also heavily involved in Avatar: The Last Airbender, which I would also argue was at least to some degree inspired if not by Miyazaki then by Japanese anime in general. The relationship between Aang and Katara was developed with great care and was allowed to build very slowly, as opposed to simply shipping them. Likewise other characters very gradually developed as individuals and in their relationships, at times stumbling as they did so, and making mistakes, before finding their way back to the right path.
All of this is in stark contrast to George Lucas, whose character development is often very rushed at best, and at times some might say almost non-existent. So essentially, even though Lucas has said that Filoni has been “like a son” to him, and I believe referred to Filoni as his “padawan”, I would argue that Filoni is ultimately as much a student of Miyazaki as he is of Lucas.
Again, you might ask, “What does all this mean for Star Wars?” It means a great many things. It means that Dave Filoni has taken Miyazaki’s lessons to heart, and can handle things like romance, as well as other kinds of relationships, quite well most of the time. Like Miyazaki he can play with romance, tease the audience with it at times even, leave the romance unrequited, and yet still have it feel satisfying. A prime example of this is the love triangle that Ahsoka was involved in with the young Separatist Senator, Lux Bonteri, and Steela Gerrera. As wary as I am of romance and as much as I despise shipping, love triangles I normally despise even more, but this one seemed to actually work. It never took over the main story, and even though Ahsoka’s feelings were ultimately not reciprocated, she still learned from the experience, and grew and developed further as a character because of it. The other characters involved in this triangle also grew and developed from their involvement, though unfortunately not all of them made it. All in all it was a good bit of storytelling and gave the audience something to consider.
When a relationship in one of Filoni’s stories does bloom into a full blown romance he also generally handles it quite well. For one Filoni is sparing with actual romance, so that when it does occur, it can be that much more appreciated. And rather than rushing or shipping it, Filoni normally takes his time to build it up. An example of this is the relationship between Kanan and Hera. Some might argue that this is perhaps the best developed romance in all of Star Wars, at least in Canon. Built up over four seasons, at times it wasn’t certain whether it was a romance or a friendship, or perhaps even a professional partnership. Perhaps even the characters themselves were not certain, though it was hinted all throughout the narrative that something was going on. To this day I don’t believe anyone can say definitively when it became an actual romance, and I believe Filoni did this intentionally because he wanted to be subtle, rather than making things too obvious and having the romance take over the narrative, as it usually does. When it finally did become obvious as to what was happening, it felt very much earned, in a way that is seldom accomplished in other works of fiction, including Star Wars.
The relationship between Ezra and Sabine was also fairly well written, for the most part anyway, at least in Star Wars Rebels. Ezra was almost immediately smitten with Sabine, but being a young teenage boy, it was understandable that he would feel that way about an attractive girl. Over time he learned to see her more respectfully, as a colleague and even as part of his adopted family, not just as a pretty face. Sabine for her part found Ezra annoying at first (c’mon, what teenage boy isn’t?), but as he matured and she found out more about him she came to understand and respect him more, and see him as a friend and almost a brother, with there being potential for something more.
There were times when the relationship could have been better written, like in the episode “Blood Sisters”, where Ezra was written to be a bit too immature to make Sabine look wiser. But overall, the bond between them developed fairly well; both saved one another at various times, and took risks and made sacrifices for each other’s sake. Both reassured and comforted the other when they needed it, and it was endearing to hear their banter when they became more familiar and trusting of each other.
So why then was I so disappointed in how they were portrayed in the Ahsoka show? The thing is, after how well their relationship was built up in Rebels, as I’ve already mentioned it was strange to see how lackluster and uninspired their reunion was.
Within the Ahsoka show itself Sabine was shown to be almost obsessed with finding Ezra, living in what used to be his home, watching a recording of him over and over again, and calling out his name as she woke up in the middle of the night. She even risked bringing Thrawn back into the Galaxy, which ultimately happened, just so she could see Ezra again. After all that, when she finally does encounter him, her reaction seems fairly casual, as does his, as if they’ve been apart for no more than a week, rather than 10 years. Not too much happens between them afterwards either. Like I said Ezra does not appear all that curious about what happened with Sabine, how she found him, and how it was that she was now Force sensitive. Sabine likewise did not seem curious about what had happened with Ezra, and how he had gotten away from Thrawn. And with Ezra rescued and returned home, suddenly it didn’t seem as though Sabine was all that interested in him anymore, nor he all that concerned with her, though they were just as far apart as they had been at the start of the show. To be completely honest it made me wonder what the point of the whole show was. Were they just working to set up Thrawn’s return to the Galaxy? As some have said, Ezra felt like nothing more than a Macguffin in the show. Was Sabine and Ahsoka’s search for him just a plot device?
Considering how skillfully Dave Filoni had written his stories in the past, what happened in this latest project of his does not make much sense. Was he so concerned about “shipping” and so desperate to avoid it that he inadvertently “shipped” them in the other direction? Was there some sort of external pressure on him about how to write this story to have more of an appeal to “modern audiences”? Maybe some combination of those factors?
And here I’ll add that when I say “modern audiences” I don’t mean that in a contemptuous sense, though you may think I do. If there is any contempt on my part it is for those in charge of telling our stories, or those in charge of those telling our stories, who do not seem to grasp these basic truths. The truth is that audiences at their core don’t really change throughout the ages, only superficially so. Trends come and go but certain truths and ideals are eternal, and universal. How people relate to each other fundamentally does not change, whether they are friends, or more than friends. And deep down, I believe everyone (or nearly everyone at least) wants the same things. Nearly everyone at some point wants some kind of a connection with another human being, to know that they are not alone in the world, and to know that there is someone else who sees and understands things as they do. While this desire can certainly lead to abuse, and absolutely has, it is still innate to us and is not inherently wrong. Finding ways of connecting and relating to other people is one of the great challenges of life, but many would argue it is the most worthwhile of challenges. It may be the whole point of life if you think about it. As complex as it may be, many would argue it is what makes life worth living, and likewise makes for the best stories. Just as it may be the whole point of life many would say that is what most stories are about at their core: people trying to relate to one another.
Sadly, just as in real life, most stories unfortunately don’t quite get it, and the Ahsoka show in my opinion was an example of this, made all the sadder by the fact that Dave Filoni had done quite well with these characters up to that point. We may never know for certain what exactly went wrong and why, or if it can ever be “fixed” at this point, but I can’t help but feel curious. Maybe in the future Filoni will find a way to make it make sense, but I’m not sure how. And to be completely honest I don’t feel quite as enthusiastic to find out as I used to.
Also for the record I would like to add here that there are other factors that put me off from the show, such as Sabine’s Force sensitivity, that came about without much build up. But in this article I specifically wanted to focus on shipping because there seems to be so much misunderstanding around it.
I hope that I was able to clarify some, if not most of this misunderstanding, so that people could better appreciate what shipping is, where it comes from, as well as what it isn’t. Many people today are understandably sick of shipping characters, myself included. But I hope people realize that in overcompensating for something, we often come back around into the very thing that we are overcompensating for. Or sometimes, into something even worse. This may apply to nearly every facet of life, by the way, not just shipping. Finding a happy medium in how we portray our fictional relationships may help us to better understand relationships in real life, as well as how to navigate them. Neither fictional nor actual relationships can ever be perfect but they can always be better. To this understanding then I hope that I was able to give my own modest contribution, and if nothing else I hope we can connect on that.

This is my attempt at a re-submission due to some misunderstandings on the first attempt. I now know that there are different definitions of the word “ship”, but for the purposes of this article and to keep things simple I will use the definition of “a relationship that’s rushed and/or forced with no real development.” I hope you can understand as I do not know of any other single word to describe that concept. If you do, perhaps you can tell me. Also, fair warning, this is long form content (some 10 pages), if you like it but can’t read it all at once you can save it and come back to it over a period of time, or you can stop reading whenever you get tired of it and still discuss those parts of it with me that you have read. But keep it civil if you want a civil response.
With that, to qualify the title, no, Ezra and Sabine do NOT absolutely have to be a couple, but if they were to become one, it would NOT be a ship. Ezra and Sabine’s relationship has had years of development. Could they remain as simply friends? Yes, but ironically, it was their “friendship” that felt like more of a ship. It felt like the Ahsoka show, helmed by Dave Filoni, was going out of its way to tell us: “no, they’re not a couple, they’re just friends.”
I believe that Filoni made some very poor writing choices to stress something that didn’t really need to be stressed, such that it almost felt like he was in denial. The line “I love you like a sister” was never in Rebels, Filoni essentially had that retconned in, and like many I was put off by their (largely) emotionless reunion. Even if they were “just friends” I believe there would be a great deal more emotion displayed between two people that hadn’t seen each other in some ten years, especially when one of them was in a precarious situation when they parted. I also believe Ezra would be far more curious about Sabine being Force sensitive, perhaps even offering to help train her when she told him that her training hadn’t gone as well with Ahsoka. He did help to train her with the Darksaber, didn’t he? Why that never came up is another discussion, but for now, let’s focus on shipping.
In case you think I’m desperate to have them as a couple, no I’m not. I’m about the furthest thing from it. Like many millennials and Gen-Z’ers (and perhaps some Gen-Xers and boomers) I DESPISE shipping. Absolutely DESPISE it. With a flaming passion. Perhaps for this reason, and maybe some others, like many millennials and Gen-Z’ers (and perhaps some Gen-Xers and boomers), I’m generally wary of nearly all romance in fiction, and generally avoid it in my own work. The sad reality is that romance is perhaps the most abused genre in all of fiction, all throughout history. It has been so badly abused that many people, including myself for the longest time, have equated romance with shipping, though I’m slowly beginning to see that they are not the same thing, and one does not necessarily have to go with the other.
But sadly, many writers, through time immemorial, have not been able to separate them, going back into ancient times and perhaps even into pre-history, that is before languages were actually written down. Some of what is considered great literature; classics like Romeo and Juliet, are predicated on shipping, though at least the consequences of this “whirlwind romance” are shown to be fairly stark. Star Wars itself is no stranger to shipping, resulting in a very awkward incestuous kiss when Luke was shipped with Leia, then Leia was placed with Han and Lucas made Luke and Leia brother and sister, apparently having forgotten his original ship. Later Lucas essentially shipped Anakin and Padme, resulting in some of the most cringeworthy dialog in the history of film. Many fans of the Prequels even have been somewhat critical of Anakin’s portrayal, particularly in regards to the “romantic” scenes, with many describing them as “creepy”. Some have speculated that this was intentional, though personally I think it was just the result of bad writing on the part of George Lucas, and an impatience on his part for Anakin and Padme to become a couple, hence “shipping”.
One might wonder why this is so prevalent in fiction, and tragically, one does not have to look far. Fiction is merely a reflection of reality, therefore the reason that shipping is so common in our stories is that we fall so easily into it in real life. Indeed, entire cultures may be based around shipping, or at least very heavily wrapped up in it. Throughout history arranged marriages have been the norm, and the idea of marrying for “love” is something relatively new. To be fair, I’ve actually met people in arranged marriages who seemed to be fairly happy, but those same people were very open in telling me that many despise that aspect of their culture, and that it is quite normal for those in an arranged marriage to try to get out.
People might come together for “love” without marrying, but even then it often creates expectations that might turn into a burden. Even when a marriage is voluntary and for “love”, people are often left unsatisfied, such that today in the West the divorce rate is something like 50%. Happy, stable, long term relationships seem to be the exception across cultures and across the breadth and width of time. And yet pursuit of love and some kind of relationship seems to be the highest calling for many people, both in real life and in fiction. And it could be that the accumulated disgust is finally starting to boil over.
To be fair, this may not be the first time in history that the pendulum has shifted. You may recall that in Victorian times attitudes changed drastically, as compared to the previously bawdy Elizabethan times. Looking at a play from Shakespear, if you can understand the language, you’ll see all kinds of vulgar references, as well as what I believe are fairly sappy romances like in the aforementioned Romeo and Juliet, though I can’t say for certain whether Shakespear was actually endorsing that type of attitude towards “love” or presenting it as a cautionary tale, maybe even something to be ridiculed in some of his other plays.
But regardless, Victorians as you may well know had a very conservative attitude towards anything to do with romance, and would often avoid the subject in many places, or tread very carefully around it, as if walking on eggshells. It’s not that people stopped being romantic, in fiction or real life, but it was treated as something very serious and even dangerous, with many urges repressed or even suppressed entirely. This had all kinds of effects on society, both positive and negative. On the positive side, it reinforced the ideal of people being committed to their partners, and of marriage as a sacred institution rather than a “casual hookup” as was more common in Elizabethan times. Likewise it reinforced ideals of modesty and chastity, which may be coming back into vogue, though under different names. But just as there were positive aspects to these attitudes, so were there negative ones.
Just because the urges I described were repressed did not mean that they disappeared. In fact, they often morphed into things that many would consider “unhealthy”. From one statistic that I saw, in Victorian times about one in every 60 houses was a brothel, with the modern rate being closer to one in 6000. Additionally, the rights of women were often repressed, such that they could not fully express themselves and find their own identity, and path in life, as individuals. Just as Elizabethan ideals gave way to Victorian ones, so did the Victorian ideals gradually begin to erode.
Perhaps it began with the Jazz Age of the 1920’s (the “Roaring Twenties”), or with the increased interconnectivity of people traveling to different parts of the world during World War I, not to mention the cynicism that pervaded throughout the West in response to failed old ideals leading to the deadliest war in history up to that point, but many Victorian ideals began to be seen as a joke, and even resented for their “oppression”, which to be fair was not entirely unjustified. But regardless, people gradually, and at times not so gradually, became more and more “liberated” and promiscuous. This culminated in the Sexual Revolution in the late 1960’s, when what had previously been seen as a vice and even a sin was now seen as not only “normal” but as a healthy form of expression, a virtue even. And just as these ideas were embraced in real life, so too were they reflected in our films, TV shows, and other media, often to the consternation of older people and institutions, like the Vatican. The Catholic Church even went so far as to “ban” certain films, that is to declare them immoral for good Catholics to watch. Many of the films that were banned back then, or at least controversial, like The Graduate with Dustin Hoffman, are fairly tame by today’s standards.
It continued through the 70’s, at times warming and at times cooling through the rest of the century, until you could argue it reached a kind of crescendo in the early 21st century with the advent of so-called “dark romance” and the publication of books like Fifty Shades of Grey. (Ironically, many of the themes within this “dark romance” can trace their roots back to the Victorian era, yet another indication that repressing urges without addressing them often doesn’t work out as one might hope.) But as happens all too often, just as something reaches peak popularity is when it begins to go out of style, and that is what we may be experiencing right now. As weird as it may sound, we may actually have come full circle and may be on the cusp of a “New Victorian Age” (complete with “dark romance”, even). Web sites like Porn Hub and OnlyFans, as well as other similar sites, may be the new “brothels”, and what was once openly celebrated may be going underground, to an extent. The effects of this on society have been interesting to say the least, and at times I would even say bizarre.
Whilst many younger people seem content with these changes, many older people are concerned. I’ve seen a number of books, films, and other media receive positive reviews for example based specifically on their lack of romance. Many of these books/films, etc. fall into the “young adult” category, meaning that it is young adults obviously who mostly consume them. At the same time I’ve heard a number of older people, mostly boomers and Gen-Xers, criticize these same books/films for their lack of romance. Even some older millennials seem upset by the changes, as perhaps evidenced by Jennifer Lawrence’s latest film No Hard Feelings (though to be fair that film may be lampooning the older generation’s frustration as well as the younger generation’s frigidity). So just as in the past older people were concerned about the promiscuity of the youth, now it actually appears that many older people are concerned about the youth’s lack of promiscuity.
Who could have seen that coming? But to be fair, the younger generation hasn’t gone completely frigid. As stated earlier, much of the promiscuity has gone “underground”, or online, which many would argue is not very healthy as it might undermine actual relationships, whether they are romantic in nature or simple friendships. And speaking of that, friendships within stories nowadays often aren’t portrayed in a very authentic or compelling manner, perhaps because in ditching romance modern writers haven’t quite yet learned how to replace it with something else. In other words, the “New Victorian Age” may not be an exact repeat of the previous one, but may have its own twists and turns, for better and for worse.
This may all essentially be a manifestation of the Human Condition, in that we just can’t seem to find a happy medium, neither in real life nor in fiction. Thus we keep swinging from one extreme to the other, apparently getting wilder with each swing.
So where does all this leave us? What is it that we really want in our lives, and in our stories? Especially in regards to relationships? I think at some level we all want to see good and healthy relationships between people and/or characters, whether romantic or platonic. I believe at some point we would like to see good examples of both friendship and romance, and I would argue that the best examples of romance have them combined. Even a toxic relationship, if well portrayed or documented, can be instructive and serve as a good example of what to avoid in our lives that we might be happier and relate better to each other. A good relationship, by contrast, can give us something to aspire to and inspire us to not only look for the right kind of person to complement our lives, but to make ourselves worthy of that person. And here I’ll add that I’m perfectly aware that in real life (and thus in fiction) relationships can be very complicated and heavily nuanced, with elements of both “good” and “bad” in them. Just as people change over time so can the relationships between them change, at times getting better and at times worse, sometimes breaking entirely and sometimes growing stronger. Relationships can have just as many layers and dimensions as characters, more even perhaps, and a skilled writer should be able to reflect this complexity. At other times a relationship can be fairly straightforward, simplicity sometimes being the best approach. But regardless, the audience should be able to relate and identify with what they are seeing, such that hopefully they can incorporate the lessons from it in their own lives.
Where can we find good examples of relationships to study? There may be a number of them in the real world, but the trouble with studying real world relationships is that they’re often much more complicated than fictional ones (just as real people are more complicated than fictional characters), and for many of them it is almost impossible to know all the details and nuances because they are often kept private, understandably so, and even if they aren’t it can still be difficult, due to unique circumstances, to see how to relate them to our own lives. Additionally there may be far more disagreement about a real life situation than a fictional one, with many more points of view. To keep things simple, for the purpose of this article I would like to focus on fictional relationships. (And fair warning, there will be some spoilers.)
One of the best places to look, I would argue, would be the films of Hayao Miyazaki. (And this is pretty significant to Star Wars as you will see in a bit.) A film of his that stands out to me the most is Princess Mononoke. Like many of Miyazaki’s films it has elements of romance, and yet subverts them in a way that makes complete sense and feels very genuine, without taking away from any of the accompanying charm. It starts with two young people, San and Ashitaka, and as soon as they encounter each other there is a kind of expectation of romance. This may be inevitable to some degree when you have a man and a woman of about the same age encounter each other in a story, especially if they happen to be adolescents. The expectation may not be inherently bad, and Miyazaki does play with it. Both characters are thrust into dangerous situations, at various points end up saving each other’s lives, and at a certain point I think it is obvious that they have feelings for each other. I was certain that at the end of the film, they would be together, and if things had gone that way, it would make complete sense. Instead, they go in different directions, but remain good friends, and considering their backgrounds and differing worldviews, this ends up making even more sense to the story.
Essentially, Miyazaki could have gone for the more conventional, tried and true “love conquers all” narrative, where the characters’ feelings for each other would negate everything that comes between them, they would somehow find a common ground in spite of their differences, the romance would not only take over the narrative but somehow also solve all the problems in the story, and then the couple would live “happily ever after”. Such an approach is not inherently bad or wrong, and is fairly common in Western media and storytelling. We can see it in films like Fern Gully, and more recently James Cameron’s Avatar, both of which have been compared to Princess Mononoke. As you can probably guess, the problem is that at a certain point such a narrative can become fairly simplistic, and lack nuance.
Miyazaki’s films, by contrast, are very heavily nuanced, and are anything but simplistic. In Princess Mononoke the characters San and Ashitaka don’t help each other simply because they are “in love”, but because it is the right thing to do, regardless of how they might feel about each other. Yes, romantic feelings are certainly alluded to, but they are not essential to the plot, for it could have worked just as well without any romantic allusions. And ironically, this makes those allusions even more valid, even if they are unrequited. How so?
Consider that if love is essential to a given narrative, is it not relegated to being nothing more than a plot device? Again, this is quite common in Western media and storytelling, and is not inherently bad or wrong, but when it becomes a trope or cliche, I believe it is the essence of where shipping comes from. Many storytellers get caught up in this, usually without realizing it, and while a story can still work even with shipping, I believe that it usually works that much better without it.
This extends not only to Miyazaki’s handling of romance but also to other things like environmentalism, the conflict between man and nature, and the contrasting ideals of human progress vs. preserving the natural order. Movies like Fern Gully and Avatar, as already mentioned, handle these themes in a fairly simplistic and I would even say hamfisted manner, whereby all progress and technology is shown as being inherently “bad” and in service to “evil”, while everything that’s “natural” is shown to be inherently “good”. Even our notions of good and evil, and right vs. wrong, are challenged by Miyazaki, with nearly all of his characters having complex motives and multiple dimensions to them, as well as understandable reasons for doing the things that they do. Rarely can any one of his characters be branded as a simple “villain”, and rarely is any one individual the source of conflict in his stories, again in contrast to most Western narratives.
I’ll reiterate once more, a simple, straightforward narrative is not inherently a bad thing, whether the themes being dealt with are romantic or anything else. Sometimes it is in fact the best approach. But the best stories in my opinion are usually the most nuanced, that challenge our notions of what we believe to be true, and that force us to think about what we do with our lives and what we could do differently. To that end Miyazaki introduces all manner of themes and motifs within his films that are familiar to us but shows them in a light most of us might not have considered, thus giving more dimension to our understanding of things.
“How is any of this related to Star Wars?” you might ask. It is quite related, and you don’t even have to look all that closely to see it. A very influential figure within Star Wars was very heavily inspired by the works of Miyazaki, and that figure is Dave Filoni.
This video shows the connections in some detail:
https://youtu.be/Q_4L0BbSpHo?si=04jDo6qFCnZT135w
But to summarize if you’ve seen any of Miyazaki’s films, especially Princess Mononoke, I think the callbacks in Filoni’s work will be all too obvious, especially in Star Wars Rebels. Some of the scenes in Filoni’s work look like they were taken directly from Miyazki’s films, and many of the same themes and motifs often come up. The relationship between San and Ashitaka I would argue is very similar to the relationship between Ezra and Sabine, and not just because both couples rode wolves together.
Incidentally, Dave Filoni was also heavily involved in Avatar: The Last Airbender, which I would also argue was at least to some degree inspired if not by Miyazaki then by Japanese anime in general. The relationship between Aang and Katara was developed with great care and was allowed to build very slowly, as opposed to simply shipping them. Likewise other characters very gradually developed as individuals and in their relationships, at times stumbling as they did so, and making mistakes, before finding their way back to the right path.
All of this is in stark contrast to George Lucas, whose character development is often very rushed at best, and at times some might say almost non-existent. So essentially, even though Lucas has said that Filoni has been “like a son” to him, and I believe referred to Filoni as his “padawan”, I would argue that Filoni is ultimately as much a student of Miyazaki as he is of Lucas.
Again, you might ask, “What does all this mean for Star Wars?” It means a great many things. It means that Dave Filoni has taken Miyazaki’s lessons to heart, and can handle things like romance, as well as other kinds of relationships, quite well most of the time. Like Miyazaki he can play with romance, tease the audience with it at times even, leave the romance unrequited, and yet still have it feel satisfying. A prime example of this is the love triangle that Ahsoka was involved in with the young Separatist Senator, Lux Bonteri, and Steela Gerrera. As wary as I am of romance and as much as I despise shipping, love triangles I normally despise even more, but this one seemed to actually work. It never took over the main story, and even though Ahsoka’s feelings were ultimately not reciprocated, she still learned from the experience, and grew and developed further as a character because of it. The other characters involved in this triangle also grew and developed from their involvement, though unfortunately not all of them made it. All in all it was a good bit of storytelling and gave the audience something to consider.
When a relationship in one of Filoni’s stories does bloom into a full blown romance he also generally handles it quite well. For one Filoni is sparing with actual romance, so that when it does occur, it can be that much more appreciated. And rather than rushing or shipping it, Filoni normally takes his time to build it up. An example of this is the relationship between Kanan and Hera. Some might argue that this is perhaps the best developed romance in all of Star Wars, at least in Canon. Built up over four seasons, at times it wasn’t certain whether it was a romance or a friendship, or perhaps even a professional partnership. Perhaps even the characters themselves were not certain, though it was hinted all throughout the narrative that something was going on. To this day I don’t believe anyone can say definitively when it became an actual romance, and I believe Filoni did this intentionally because he wanted to be subtle, rather than making things too obvious and having the romance take over the narrative, as it usually does. When it finally did become obvious as to what was happening, it felt very much earned, in a way that is seldom accomplished in other works of fiction, including Star Wars.
The relationship between Ezra and Sabine was also fairly well written, for the most part anyway, at least in Star Wars Rebels. Ezra was almost immediately smitten with Sabine, but being a young teenage boy, it was understandable that he would feel that way about an attractive girl. Over time he learned to see her more respectfully, as a colleague and even as part of his adopted family, not just as a pretty face. Sabine for her part found Ezra annoying at first (c’mon, what teenage boy isn’t?), but as he matured and she found out more about him she came to understand and respect him more, and see him as a friend and almost a brother, with there being potential for something more.
There were times when the relationship could have been better written, like in the episode “Blood Sisters”, where Ezra was written to be a bit too immature to make Sabine look wiser. But overall, the bond between them developed fairly well; both saved one another at various times, and took risks and made sacrifices for each other’s sake. Both reassured and comforted the other when they needed it, and it was endearing to hear their banter when they became more familiar and trusting of each other.
So why then was I so disappointed in how they were portrayed in the Ahsoka show? The thing is, after how well their relationship was built up in Rebels, as I’ve already mentioned it was strange to see how lackluster and uninspired their reunion was.
Within the Ahsoka show itself Sabine was shown to be almost obsessed with finding Ezra, living in what used to be his home, watching a recording of him over and over again, and calling out his name as she woke up in the middle of the night. She even risked bringing Thrawn back into the Galaxy, which ultimately happened, just so she could see Ezra again. After all that, when she finally does encounter him, her reaction seems fairly casual, as does his, as if they’ve been apart for no more than a week, rather than 10 years. Not too much happens between them afterwards either. Like I said Ezra does not appear all that curious about what happened with Sabine, how she found him, and how it was that she was now Force sensitive. Sabine likewise did not seem curious about what had happened with Ezra, and how he had gotten away from Thrawn. And with Ezra rescued and returned home, suddenly it didn’t seem as though Sabine was all that interested in him anymore, nor he all that concerned with her, though they were just as far apart as they had been at the start of the show. To be completely honest it made me wonder what the point of the whole show was. Were they just working to set up Thrawn’s return to the Galaxy? As some have said, Ezra felt like nothing more than a Macguffin in the show. Was Sabine and Ahsoka’s search for him just a plot device?
Considering how skillfully Dave Filoni had written his stories in the past, what happened in this latest project of his does not make much sense. Was he so concerned about “shipping” and so desperate to avoid it that he inadvertently “shipped” them in the other direction? Was there some sort of external pressure on him about how to write this story to have more of an appeal to “modern audiences”? Maybe some combination of those factors?
And here I’ll add that when I say “modern audiences” I don’t mean that in a contemptuous sense, though you may think I do. If there is any contempt on my part it is for those in charge of telling our stories, or those in charge of those telling our stories, who do not seem to grasp these basic truths. The truth is that audiences at their core don’t really change throughout the ages, only superficially so. Trends come and go but certain truths and ideals are eternal, and universal. How people relate to each other fundamentally does not change, whether they are friends, or more than friends. And deep down, I believe everyone (or nearly everyone at least) wants the same things. Nearly everyone at some point wants some kind of a connection with another human being, to know that they are not alone in the world, and to know that there is someone else who sees and understands things as they do. While this desire can certainly lead to abuse, and absolutely has, it is still innate to us and is not inherently wrong. Finding ways of connecting and relating to other people is one of the great challenges of life, but many would argue it is the most worthwhile of challenges. It may be the whole point of life if you think about it. As complex as it may be, many would argue it is what makes life worth living, and likewise makes for the best stories. Just as it may be the whole point of life many would say that is what most stories are about at their core: people trying to relate to one another.
Sadly, just as in real life, most stories unfortunately don’t quite get it, and the Ahsoka show in my opinion was an example of this, made all the sadder by the fact that Dave Filoni had done quite well with these characters up to that point. We may never know for certain what exactly went wrong and why, or if it can ever be “fixed” at this point, but I can’t help but feel curious. Maybe in the future Filoni will find a way to make it make sense, but I’m not sure how. And to be completely honest I don’t feel quite as enthusiastic to find out as I used to.
Also for the record I would like to add here that there are other factors that put me off from the show, such as Sabine’s Force sensitivity, that came about without much build up. But in this article I specifically wanted to focus on shipping because there seems to be so much misunderstanding around it.
I hope that I was able to clarify some, if not most of this misunderstanding, so that people could better appreciate what shipping is, where it comes from, as well as what it isn’t. Many people today are understandably sick of shipping characters, myself included. But I hope people realize that in overcompensating for something, we often come back around into the very thing that we are overcompensating for. Or sometimes, into something even worse. This may apply to nearly every facet of life, by the way, not just shipping. Finding a happy medium in how we portray our fictional relationships may help us to better understand relationships in real life, as well as how to navigate them. Neither fictional nor actual relationships can ever be perfect but they can always be better. To this understanding then I hope that I was able to give my own modest contribution, and if nothing else I hope we can connect on that.

This is my attempt at a re-submission due to some misunderstandings on the first attempt. I now know that there are different definitions of the word “ship”, but for the purposes of this article and to keep things simple I will use the definition of “a relationship that’s rushed and/or forced with no real development.” I hope you can understand as I do not know of any other single word to describe that concept. If you do, perhaps you can tell me. Also, fair warning, this is long form content (some 10 pages), if you like it but can’t read it all at once you can save it and come back to it over a period of time, or you can stop reading whenever you get tired of it and still discuss those parts of it with me that you have read. But keep it civil if you want a civil response.
With that, to qualify the title, no, Ezra and Sabine do NOT absolutely have to be a couple, but if they were to become one, it would NOT be a ship. Ezra and Sabine’s relationship has had years of development. Could they remain as simply friends? Yes, but ironically, it was their “friendship” that felt like more of a ship. It felt like the Ahsoka show, helmed by Dave Filoni, was going out of its way to tell us: “no, they’re not a couple, they’re just friends.”
I believe that Filoni made some very poor writing choices to stress something that didn’t really need to be stressed, such that it almost felt like he was in denial. The line “I love you like a sister” was never in Rebels, Filoni essentially had that retconned in, and like many I was put off by their (largely) emotionless reunion. Even if they were “just friends” I believe there would be a great deal more emotion displayed between two people that hadn’t seen each other in some ten years, especially when one of them was in a precarious situation when they parted. I also believe Ezra would be far more curious about Sabine being Force sensitive, perhaps even offering to help train her when she told him that her training hadn’t gone as well with Ahsoka. He did help to train her with the Darksaber, didn’t he? Why that never came up is another discussion, but for now, let’s focus on shipping.
In case you think I’m desperate to have them as a couple, no I’m not. I’m about the furthest thing from it. Like many millennials and Gen-Z’ers (and perhaps some Gen-Xers and boomers) I DESPISE shipping. Absolutely DESPISE it. With a flaming passion. Perhaps for this reason, and maybe some others, like many millennials and Gen-Z’ers (and perhaps some Gen-Xers and boomers), I’m generally wary of nearly all romance in fiction, and generally avoid it in my own work. The sad reality is that romance is perhaps the most abused genre in all of fiction, all throughout history. It has been so badly abused that many people, including myself for the longest time, have equated romance with shipping, though I’m slowly beginning to see that they are not the same thing, and one does not necessarily have to go with the other.
But sadly, many writers, through time immemorial, have not been able to separate them, going back into ancient times and perhaps even into pre-history, that is before languages were actually written down. Some of what is considered great literature; classics like Romeo and Juliet, are predicated on shipping, though at least the consequences of this “whirlwind romance” are shown to be fairly stark. Star Wars itself is no stranger to shipping, resulting in a very awkward incestuous kiss when Luke was shipped with Leia, then Leia was placed with Han and Lucas made Luke and Leia brother and sister, apparently having forgotten his original ship. Later Lucas essentially shipped Anakin and Padme, resulting in some of the most cringeworthy dialog in the history of film. Many fans of the Prequels even have been somewhat critical of Anakin’s portrayal, particularly in regards to the “romantic” scenes, with many describing them as “creepy”. Some have speculated that this was intentional, though personally I think it was just the result of bad writing on the part of George Lucas, and an impatience on his part for Anakin and Padme to become a couple, hence “shipping”.
One might wonder why this is so prevalent in fiction, and tragically, one does not have to look far. Fiction is merely a reflection of reality, therefore the reason that shipping is so common in our stories is that we fall so easily into it in real life. Indeed, entire cultures may be based around shipping, or at least very heavily wrapped up in it. Throughout history arranged marriages have been the norm, and the idea of marrying for “love” is something relatively new. To be fair, I’ve actually met people in arranged marriages who seemed to be fairly happy, but those same people were very open in telling me that many despise that aspect of their culture, and that it is quite normal for those in an arranged marriage to try to get out.
People might come together for “love” without marrying, but even then it often creates expectations that might turn into a burden. Even when a marriage is voluntary and for “love”, people are often left unsatisfied, such that today in the West the divorce rate is something like 50%. Happy, stable, long term relationships seem to be the exception across cultures and across the breadth and width of time. And yet pursuit of love and some kind of relationship seems to be the highest calling for many people, both in real life and in fiction. And it could be that the accumulated disgust is finally starting to boil over.
To be fair, this may not be the first time in history that the pendulum has shifted. You may recall that in Victorian times attitudes changed drastically, as compared to the previously bawdy Elizabethan times. Looking at a play from Shakespear, if you can understand the language, you’ll see all kinds of vulgar references, as well as what I believe are fairly sappy romances like in the aforementioned Romeo and Juliet, though I can’t say for certain whether Shakespear was actually endorsing that type of attitude towards “love” or presenting it as a cautionary tale, maybe even something to be ridiculed in some of his other plays.
But regardless, Victorians as you may well know had a very conservative attitude towards anything to do with romance, and would often avoid the subject in many places, or tread very carefully around it, as if walking on eggshells. It’s not that people stopped being romantic, in fiction or real life, but it was treated as something very serious and even dangerous, with many urges repressed or even suppressed entirely. This had all kinds of effects on society, both positive and negative. On the positive side, it reinforced the ideal of people being committed to their partners, and of marriage as a sacred institution rather than a “casual hookup” as was more common in Elizabethan times. Likewise it reinforced ideals of modesty and chastity, which may be coming back into vogue, though under different names. But just as there were positive aspects to these attitudes, so were there negative ones.
Just because the urges I described were repressed did not mean that they disappeared. In fact, they often morphed into things that many would consider “unhealthy”. From one statistic that I saw, in Victorian times about one in every 60 houses was a brothel, with the modern rate being closer to one in 6000. Additionally, the rights of women were often repressed, such that they could not fully express themselves and find their own identity, and path in life, as individuals. Just as Elizabethan ideals gave way to Victorian ones, so did the Victorian ideals gradually begin to erode.
Perhaps it began with the Jazz Age of the 1920’s (the “Roaring Twenties”), or with the increased interconnectivity of people traveling to different parts of the world during World War I, not to mention the cynicism that pervaded throughout the West in response to failed old ideals leading to the deadliest war in history up to that point, but many Victorian ideals began to be seen as a joke, and even resented for their “oppression”, which to be fair was not entirely unjustified. But regardless, people gradually, and at times not so gradually, became more and more “liberated” and promiscuous. This culminated in the Sexual Revolution in the late 1960’s, when what had previously been seen as a vice and even a sin was now seen as not only “normal” but as a healthy form of expression, a virtue even. And just as these ideas were embraced in real life, so too were they reflected in our films, TV shows, and other media, often to the consternation of older people and institutions, like the Vatican. The Catholic Church even went so far as to “ban” certain films, that is to declare them immoral for good Catholics to watch. Many of the films that were banned back then, or at least controversial, like The Graduate with Dustin Hoffman, are fairly tame by today’s standards.
It continued through the 70’s, at times warming and at times cooling through the rest of the century, until you could argue it reached a kind of crescendo in the early 21st century with the advent of so-called “dark romance” and the publication of books like Fifty Shades of Grey. (Ironically, many of the themes within this “dark romance” can trace their roots back to the Victorian era, yet another indication that repressing urges without addressing them often doesn’t work out as one might hope.) But as happens all too often, just as something reaches peak popularity is when it begins to go out of style, and that is what we may be experiencing right now. As weird as it may sound, we may actually have come full circle and may be on the cusp of a “New Victorian Age” (complete with “dark romance”, even). Web sites like Porn Hub and OnlyFans, as well as other similar sites, may be the new “brothels”, and what was once openly celebrated may be going underground, to an extent. The effects of this on society have been interesting to say the least, and at times I would even say bizarre.
Whilst many younger people seem content with these changes, many older people are concerned. I’ve seen a number of books, films, and other media receive positive reviews for example based specifically on their lack of romance. Many of these books/films, etc. fall into the “young adult” category, meaning that it is young adults obviously who mostly consume them. At the same time I’ve heard a number of older people, mostly boomers and Gen-Xers, criticize these same books/films for their lack of romance. Even some older millennials seem upset by the changes, as perhaps evidenced by Jennifer Lawrence’s latest film No Hard Feelings (though to be fair that film may be lampooning the older generation’s frustration as well as the younger generation’s frigidity). So just as in the past older people were concerned about the promiscuity of the youth, now it actually appears that many older people are concerned about the youth’s lack of promiscuity.
Who could have seen that coming? But to be fair, the younger generation hasn’t gone completely frigid. As stated earlier, much of the promiscuity has gone “underground”, or online, which many would argue is not very healthy as it might undermine actual relationships, whether they are romantic in nature or simple friendships. And speaking of that, friendships within stories nowadays often aren’t portrayed in a very authentic or compelling manner, perhaps because in ditching romance modern writers haven’t quite yet learned how to replace it with something else. In other words, the “New Victorian Age” may not be an exact repeat of the previous one, but may have its own twists and turns, for better and for worse.
This may all essentially be a manifestation of the Human Condition, in that we just can’t seem to find a happy medium, neither in real life nor in fiction. Thus we keep swinging from one extreme to the other, apparently getting wilder with each swing.
So where does all this leave us? What is it that we really want in our lives, and in our stories? Especially in regards to relationships? I think at some level we all want to see good and healthy relationships between people and/or characters, whether romantic or platonic. I believe at some point we would like to see good examples of both friendship and romance, and I would argue that the best examples of romance have them combined. Even a toxic relationship, if well portrayed or documented, can be instructive and serve as a good example of what to avoid in our lives that we might be happier and relate better to each other. A good relationship, by contrast, can give us something to aspire to and inspire us to not only look for the right kind of person to complement our lives, but to make ourselves worthy of that person. And here I’ll add that I’m perfectly aware that in real life (and thus in fiction) relationships can be very complicated and heavily nuanced, with elements of both “good” and “bad” in them. Just as people change over time so can the relationships between them change, at times getting better and at times worse, sometimes breaking entirely and sometimes growing stronger. Relationships can have just as many layers and dimensions as characters, more even perhaps, and a skilled writer should be able to reflect this complexity. At other times a relationship can be fairly straightforward, simplicity sometimes being the best approach. But regardless, the audience should be able to relate and identify with what they are seeing, such that hopefully they can incorporate the lessons from it in their own lives.
Where can we find good examples of relationships to study? There may be a number of them in the real world, but the trouble with studying real world relationships is that they’re often much more complicated than fictional ones (just as real people are more complicated than fictional characters), and for many of them it is almost impossible to know all the details and nuances because they are often kept private, understandably so, and even if they aren’t it can still be difficult, due to unique circumstances, to see how to relate them to our own lives. Additionally there may be far more disagreement about a real life situation than a fictional one, with many more points of view. To keep things simple, for the purpose of this article I would like to focus on fictional relationships. (And fair warning, there will be some spoilers.)
One of the best places to look, I would argue, would be the films of Hayao Miyazaki. (And this is pretty significant to Star Wars as you will see in a bit.) A film of his that stands out to me the most is Princess Mononoke. Like many of Miyazaki’s films it has elements of romance, and yet subverts them in a way that makes complete sense and feels very genuine, without taking away from any of the accompanying charm. It starts with two young people, San and Ashitaka, and as soon as they encounter each other there is a kind of expectation of romance. This may be inevitable to some degree when you have a man and a woman of about the same age encounter each other in a story, especially if they happen to be adolescents. The expectation may not be inherently bad, and Miyazaki does play with it. Both characters are thrust into dangerous situations, at various points end up saving each other’s lives, and at a certain point I think it is obvious that they have feelings for each other. I was certain that at the end of the film, they would be together, and if things had gone that way, it would make complete sense. Instead, they go in different directions, but remain good friends, and considering their backgrounds and differing worldviews, this ends up making even more sense to the story.
Essentially, Miyazaki could have gone for the more conventional, tried and true “love conquers all” narrative, where the characters’ feelings for each other would negate everything that comes between them, they would somehow find a common ground in spite of their differences, the romance would not only take over the narrative but somehow also solve all the problems in the story, and then the couple would live “happily ever after”. Such an approach is not inherently bad or wrong, and is fairly common in Western media and storytelling. We can see it in films like Fern Gully, and more recently James Cameron’s Avatar, both of which have been compared to Princess Mononoke. As you can probably guess, the problem is that at a certain point such a narrative can become fairly simplistic, and lack nuance.
Miyazaki’s films, by contrast, are very heavily nuanced, and are anything but simplistic. In Princess Mononoke the characters San and Ashitaka don’t help each other simply because they are “in love”, but because it is the right thing to do, regardless of how they might feel about each other. Yes, romantic feelings are certainly alluded to, but they are not essential to the plot, for it could have worked just as well without any romantic allusions. And ironically, this makes those allusions even more valid, even if they are unrequited. How so?
Consider that if love is essential to a given narrative, is it not relegated to being nothing more than a plot device? Again, this is quite common in Western media and storytelling, and is not inherently bad or wrong, but when it becomes a trope or cliche, I believe it is the essence of where shipping comes from. Many storytellers get caught up in this, usually without realizing it, and while a story can still work even with shipping, I believe that it usually works that much better without it.
This extends not only to Miyazaki’s handling of romance but also to other things like environmentalism, the conflict between man and nature, and the contrasting ideals of human progress vs. preserving the natural order. Movies like Fern Gully and Avatar, as already mentioned, handle these themes in a fairly simplistic and I would even say hamfisted manner, whereby all progress and technology is shown as being inherently “bad” and in service to “evil”, while everything that’s “natural” is shown to be inherently “good”. Even our notions of good and evil, and right vs. wrong, are challenged by Miyazaki, with nearly all of his characters having complex motives and multiple dimensions to them, as well as understandable reasons for doing the things that they do. Rarely can any one of his characters be branded as a simple “villain”, and rarely is any one individual the source of conflict in his stories, again in contrast to most Western narratives.
I’ll reiterate once more, a simple, straightforward narrative is not inherently a bad thing, whether the themes being dealt with are romantic or anything else. Sometimes it is in fact the best approach. But the best stories in my opinion are usually the most nuanced, that challenge our notions of what we believe to be true, and that force us to think about what we do with our lives and what we could do differently. To that end Miyazaki introduces all manner of themes and motifs within his films that are familiar to us but shows them in a light most of us might not have considered, thus giving more dimension to our understanding of things.
“How is any of this related to Star Wars?” you might ask. It is quite related, and you don’t even have to look all that closely to see it. A very influential figure within Star Wars was very heavily inspired by the works of Miyazaki, and that figure is Dave Filoni.
This video shows the connections in some detail:
https://youtu.be/Q_4L0BbSpHo?si=04jDo6qFCnZT135w
But to summarize if you’ve seen any of Miyazaki’s films, especially Princess Mononoke, I think the callbacks in Filoni’s work will be all too obvious, especially in Star Wars Rebels. Some of the scenes in Filoni’s work look like they were taken directly from Miyazki’s films, and many of the same themes and motifs often come up. The relationship between San and Ashitaka I would argue is very similar to the relationship between Ezra and Sabine, and not just because both couples rode wolves together.
Incidentally, Dave Filoni was also heavily involved in Avatar: The Last Airbender, which I would also argue was at least to some degree inspired if not by Miyazaki then by Japanese anime in general. The relationship between Aang and Katara was developed with great care and was allowed to build very slowly, as opposed to simply shipping them. Likewise other characters very gradually developed as individuals and in their relationships, at times stumbling as they did so, and making mistakes, before finding their way back to the right path.
All of this is in stark contrast to George Lucas, whose character development is often very rushed at best, and at times some might say almost non-existent. So essentially, even though Lucas has said that Filoni has been “like a son” to him, and I believe referred to Filoni as his “padawan”, I would argue that Filoni is ultimately as much a student of Miyazaki as he is of Lucas.
Again, you might ask, “What does all this mean for Star Wars?” It means a great many things. It means that Dave Filoni has taken Miyazaki’s lessons to heart, and can handle things like romance, as well as other kinds of relationships, quite well most of the time. Like Miyazaki he can play with romance, tease the audience with it at times even, leave the romance unrequited, and yet still have it feel satisfying. A prime example of this is the love triangle that Ahsoka was involved in with the young Separatist Senator, Lux Bonteri, and Steela Gerrera. As wary as I am of romance and as much as I despise shipping, love triangles I normally despise even more, but this one seemed to actually work. It never took over the main story, and even though Ahsoka’s feelings were ultimately not reciprocated, she still learned from the experience, and grew and developed further as a character because of it. The other characters involved in this triangle also grew and developed from their involvement, though unfortunately not all of them made it. All in all it was a good bit of storytelling and gave the audience something to consider.
When a relationship in one of Filoni’s stories does bloom into a full blown romance he also generally handles it quite well. For one Filoni is sparing with actual romance, so that when it does occur, it can be that much more appreciated. And rather than rushing or shipping it, Filoni normally takes his time to build it up. An example of this is the relationship between Kanan and Hera. Some might argue that this is perhaps the best developed romance in all of Star Wars, at least in Canon. Built up over four seasons, at times it wasn’t certain whether it was a romance or a friendship, or perhaps even a professional partnership. Perhaps even the characters themselves were not certain, though it was hinted all throughout the narrative that something was going on. To this day I don’t believe anyone can say definitively when it became an actual romance, and I believe Filoni did this intentionally because he wanted to be subtle, rather than making things too obvious and having the romance take over the narrative, as it usually does. When it finally did become obvious as to what was happening, it felt very much earned, in a way that is seldom accomplished in other works of fiction, including Star Wars.
The relationship between Ezra and Sabine was also fairly well written, for the most part anyway, at least in Star Wars Rebels. Ezra was almost immediately smitten with Sabine, but being a young teenage boy, it was understandable that he would feel that way about an attractive girl. Over time he learned to see her more respectfully, as a colleague and even as part of his adopted family, not just as a pretty face. Sabine for her part found Ezra annoying at first (c’mon, what teenage boy isn’t?), but as he matured and she found out more about him she came to understand and respect him more, and see him as a friend and almost a brother, with there being potential for something more.
There were times when the relationship could have been better written, like in the episode “Blood Sisters”, where Ezra was written to be a bit too immature to make Sabine look wiser. But overall, the bond between them developed fairly well; both saved one another at various times, and took risks and made sacrifices for each other’s sake. Both reassured and comforted the other when they needed it, and it was endearing to hear their banter when they became more familiar and trusting of each other.
So why then was I so disappointed in how they were portrayed in the Ahsoka show? The thing is, after how well their relationship was built up in Rebels, as I’ve already mentioned it was strange to see how lackluster and uninspired their reunion was.
Within the Ahsoka show itself Sabine was shown to be almost obsessed with finding Ezra, living in what used to be his home, watching a recording of him over and over again, and calling out his name as she woke up in the middle of the night. She even risked bringing Thrawn back into the Galaxy, which ultimately happened, just so she could see Ezra again. After all that, when she finally does encounter him, her reaction seems fairly casual, as does his, as if they’ve been apart for no more than a week, rather than 10 years. Not too much happens between them afterwards either. Like I said Ezra does not appear all that curious about what happened with Sabine, how she found him, and how it was that she was now Force sensitive. Sabine likewise did not seem curious about what had happened with Ezra, and how he had gotten away from Thrawn. And with Ezra rescued and returned home, suddenly it didn’t seem as though Sabine was all that interested in him anymore, nor he all that concerned with her, though they were just as far apart as they had been at the start of the show. To be completely honest it made me wonder what the point of the whole show was. Were they just working to set up Thrawn’s return to the Galaxy? As some have said, Ezra felt like nothing more than a Macguffin in the show. Was Sabine and Ahsoka’s search for him just a plot device?
Considering how skillfully Dave Filoni had written his stories in the past, what happened in this latest project of his does not make much sense. Was he so concerned about “shipping” and so desperate to avoid it that he inadvertently “shipped” them in the other direction? Was there some sort of external pressure on him about how to write this story to have more of an appeal to “modern audiences”? Maybe some combination of those factors?
And here I’ll add that when I say “modern audiences” I don’t mean that in a contemptuous sense, though you may think I do. If there is any contempt on my part it is for those in charge of telling our stories, or those in charge of those telling our stories, who do not seem to grasp these basic truths. The truth is that audiences at their core don’t really change throughout the ages, only superficially so. Trends come and go but certain truths and ideals are eternal, and universal. How people relate to each other fundamentally does not change, whether they are friends, or more than friends. And deep down, I believe everyone (or nearly everyone at least) wants the same things. Nearly everyone at some point wants some kind of a connection with another human being, to know that they are not alone in the world, and to know that there is someone else who sees and understands things as they do. While this desire can certainly lead to abuse, and absolutely has, it is still innate to us and is not inherently wrong. Finding ways of connecting and relating to other people is one of the great challenges of life, but many would argue it is the most worthwhile of challenges. It may be the whole point of life if you think about it. As complex as it may be, many would argue it is what makes life worth living, and likewise makes for the best stories. Just as it may be the whole point of life many would say that is what most stories are about at their core: people trying to relate to one another.
Sadly, just as in real life, most stories unfortunately don’t quite get it, and the Ahsoka show in my opinion was an example of this, made all the sadder by the fact that Dave Filoni had done quite well with these characters up to that point. We may never know for certain what exactly went wrong and why, or if it can ever be “fixed” at this point, but I can’t help but feel curious. Maybe in the future Filoni will find a way to make it make sense, but I’m not sure how. And to be completely honest I don’t feel quite as enthusiastic to find out as I used to.
Also for the record I would like to add here that there are other factors that put me off from the show, such as Sabine’s Force sensitivity, that came about without much build up. But in this article I specifically wanted to focus on shipping because there seems to be so much misunderstanding around it.
I hope that I was able to clarify some, if not most of this misunderstanding, so that people could better appreciate what shipping is, where it comes from, as well as what it isn’t. Many people today are understandably sick of shipping characters, myself included. But I hope people realize that in overcompensating for something, we often come back around into the very thing that we are overcompensating for. Or sometimes, into something even worse. This may apply to nearly every facet of life, by the way, not just shipping. Finding a happy medium in how we portray our fictional relationships may help us to better understand relationships in real life, as well as how to navigate them. Neither fictional nor actual relationships can ever be perfect but they can always be better. To this understanding then I hope that I was able to give my own modest contribution, and if nothing else I hope we can connect on that.

Hello folks, I'm an out gay man from India. Recently turned 40 and realised I didn't have any close gay friends. I used to have a few chat buddies from all over the globe when I used to be active on chat sites more than a decade back but, have lost touch with almost all of them over the years. I work in the Software sector and have what I assume will classify as nerdy interests - Books, collecting postcards/coins, watching documentaries, archaeology, ancient civilizations, travel, wine (though recently I switched to whisky & gin) , long walks, racquet sports etc.The list is long but you get the idea 🙂. Happy to get to know new people, learn about new things and maybe pick up a new hobby myself.
I get along best with men in the age range of 45 - 60 who have a good amount of life experience and hopefully have a good variety of interests. If the distance doesn't bug you and you just want a good person to chat with and who knows, maybe we will meet some day, drop me a message or DM. Will send a face pic if we connect and hopefully you will oblige.
Good luck.
Thanks.

Hi all,
Bit of a back story. I'm Irish, I lived here for most of my life. I worked in a variety of different jobs (coffee shops, retail, worked for Irish rail for a period of time) before I packed it all up and fucked off to England with my then girlfriend.
We quickly found our feet over there, I spent 1.5 years in a roof tile manufacturing plant working my way up the ranks to team lead. I then moved to Amazon to start a electrical and mechanical maintenance apprenticeship. I absolutely loved it in the UK, the standard of life was so much better.
We got married in 2020 and quickly had our first little girl and it was then my Mrs decided it was time to move home. I was only 2.5 years into a 4 year apprenticeship so we made the difficult decision for me to commute every week (I worked 5 on 5 off shifts) to finish the apprenticeship and become qualified.
I was then able to transfer back to the site in Dublin and although we are from cork it brought me closer to my family.
Since November I've been in a new company in cork, ten minutes from home making the same money without travel or expenses of traveling. We are very lucky with the house we got (rented) and have since add another little gir in the last 4 weeksl.
However, personally I hate living in this country. Although I make goodish money, after tax it's enough to live on and make sure the kids are sorted. I still don't see us ever owning our own house or living any bit as comfortable as we did in the UK.
I hate the thought of spending another year or even more here when the opportunities that are available in Australia are ten times the ones here. My wife is set against it and there is noway I'm leaving my my two kids
Plodding on with it is what I've been doing the last few months but the thought of staying here is getting more and more on top of me.
Any advice on how to deal with it
Thanks all

When I was 4 or 5 , traveling cross country..I saw a beautiful long blonde hair woman in a long sleeved long dress with tiny flowers print standing in the middle of a flat golden plain with the wind blowing her hair and dress and I KNEW she had died by a wildfire soon after. ( I still remember the image and thought later, maybe reincarnation memory). 9 yo..AF Brat we visited Ephesus, Turkey..there was a tunnel leading up to the colosseum grounds from the cages and prison cells below and I saw a woman in traditional biblical garb with a blue shaw over her hair bent over with her hand on the wall for support, blinking up into the bright sunlight ..I had the overwhelming urge to touch the Wall were her hand had been. (Just my imagination?)
Years go by and I am diagnosed with an incurable eye desease ..my sister and I go on a road trip, for historical sites while I still can, and then I KNEW this was a ghost energy. Shiloh National Cemetery Park Walking around I saw a copse of trees with 1 Confederate marker among Union Markers and I wondered how he got there. Suddenly (,in my minds eye?) I SAW a very young slim man with dark hair stumble out of the dense brush and be confronted by the sight of Union men sitting around a fire. (Imagination again?) Later my sister and I were standing at the dedication plaque podium and my sister said how sad this place made her feel ..suddenly I felt a sense of Pride and said How proud that their sacrifice was being honored ..then felt joy and laughed and tried to shoulder bump the Confederate ghost... I KNEW, but could not see, standing beside me. Sight deteriated fast, facial recognition gone. It's a blurry world. Btw I can only type on my phone close to my face. Black screen. White lettering. Allen, Texas standing outside grocery store waiting on my ride, I look up and not 2 feet from me is an older gentleman with full head of grey hair and bushy mustache smiling and staring at me..not saying a word..at the time I didn't wonder HOW I could see him so clearly..minutes go by..silence..I'm wondering if he is just standing there judging me, my attire, etc. I turn my back on him and ignore him. Thought no more about it UNTIL..2 years later living in Mabank, Texas AGAIN outside waiting for my ride..Hes THERE.. 2 feet from me, silent and smiling at me..75 miles distance from Allen..thats when I realize I can SEE him as I did in Allen because I RECOGNIZED him from Allen, remember facial recognition is gone, I can't even see myself in a mirror. That shocked me. I don't know him. I walked away. Now you are going to say I'm crazy or hullicinating ..4 years later I'm living in Kentucky and I visit an Amish Store as I'm waiting in line at cashier I see an Amish couple in traditional garb standing perfectly still staring at me I see her clearly with her bonnet and long dark green dress, slim with hard lines on her face (wrinkles) she barely comes to her husband's shou, I look at him and see his white shirt and red suspenders BUT there is a black blob that covers his face and part of his shoulder..ok I think, blind spot from my eyesight, not wondering why I can SEE her so clearly, turn to look at cashier and I can SEE her plump, blonde middle age with glasses smiling at me and I suddenly think..she is connected to the couple..then Memory lapse..until I found myself with a receipt in hand saying "It will be okay, It will be okay" to a crying cashier who won't look up at me. Last experience was December 5th 2023 Weekend getaway with my sister and her DIL. Nashville, TN, Broadway St. Bar hopping, I had slowed down drinking and had switched to water as we walked into Blake's Place. DIL was very drunk and got nose to nose with bouncer..suddenly I felt such Pride for the bouncer and could see him and DIL clearly.,he stood there stoic and unresponsive to DIL barrage of drunk BS till she gave up and moved on. He had a black stocking cap and heavy coat and gloves on, roundish face but not fat..small nose and thin lips. I went to the back of the dance floor and planted myself there so my sister would know where I was and listenened/enjoyed the band, with my water. To the right of me I saw, as if in a spotlight a tall blonde man, in a Red short sleeve t shirt and huge biceps standing there just staring at me, not drinking or moving to the music as the blurry guys behind him were..song after song, he just stood there watching me.. I felt a little self conscious.. I am now 60 so WTH? Eventually my sister came to tell me it was time to leave to get DIL to hotel. Memory lapse..(not drunk, had been on water)..dont remember anything until we were outside on sidewalk when the bouncer came running out to me and grabbed my arm and with a shocked expression on his face demanded.."What did you just say tome! What did you just say to me!" ...I DONT KNOW! I sheepishly say "Best Band" and he stood back and watched us as we moved on down the road. I beleve Red shirt was a ghost connected to him and said something to him thru me. But unlike Shiloh, but like Amish Store..I don't know what the message was.was. If I hadn't effected these two people the way I had, I would think I had had hulicinations or a very vivid imagination..but seeing the stoic bouncer so shook up..convinced me..and I am trying to find explanation/validation that I am not crazy.

CHAPTER 9 – ENTROPY
DATE: MARCH 10th, 7 A.U. (AFTER UNIFICATION) LOCATION: SOL SYSTEM, ABOARD UTRN INDOMITABLE WILL
CAPTAIN HENRY O’TOOLE
"Ah, there you are Commander. Your message said there was something you wanted to talk with me about?" Henry asked as his executive officer approached the system map.
“Aye Captain, now's a good a time as any. As you know, the rate of disciplinary incidents has more than tripled in the last two weeks. We've had six fistfights, one near strangling, a few dozen counts of sexual harassment amongst different parties, and a few more incidents of a nature that I would rather not get into for fear of derailing the point of this conversation. I need additional resources to allocate towards ship internal security. With your permission, I'd like to borrow some of our more trusted marines to help the MA's out on their off shifts.” Commander Alvarez asked.
“Yeah, of course, take what you need to nip this in the bud. I can't say I'm entirely surprised; we expected a certain amount of this with the stresses of FTL travel. With everyone cooped up like this, maybe we should brainstorm some new outlets for the crew. Were there any specific incidents I need to get involved with?” Henry replied as he looked up from the list of updates and reports on his own console.
“No, I have it covered. It's just the regs state I need to ask permission to use marines for internal security matters.” The Commander waved it off.
“Excellent, continue to keep me in the loop then. Can I ask you a question?” Henry took the opportunity to ask something that had been bothering him.
“You just did. Hah! Just kidding, put the axe away boy! Now what would you like to know?” He said with a twinkle in his eye.
“I've seen your file, well, the parts that weren’t redacted anyway. If anything, I should be taking your orders! I mean, you're the Space Wolf! Nobody came even close to the number of ships captured or destroyed than you in the early days of the battle for the belt. Why would they want me to be captain when they had someone like you coming along the whole time? Why aren't you a captain anymore? By all right this should be your command, not mine.” Henry asked, after taking one last look around to verify they were still alone around the system map.
Commander Alvarez seemed stunned for a moment before he settled into a more pensive look.
“Listen, son, you're all full of the vigor and high passions of youth. By that I mean you've got a certain fire and aggression in you, yet I've seen you generally keep it balanced by wit and wisdom. You are a perfect match for the job, even if you could use some more real world experience. With some guidance, you'll do just fine, if you can keep strict standards for yourself and crew and a cool head when things get tough."
"I appreciate that, and I will definitely lean on your experience whenever possible. However, you didn't really answer my question... Why aren't you a captain anymore?"
"I... got a lot of damn good men and women killed in an impossible situation when we lost the Michigan-II, and I never truly got over it. No amount of medals, captured enemy ships, or the fact that I've saved many more lives than I lost can make up for that. I finally found peace with that, but that peace required that I relieve myself of any chance of future command. My legacy, for better or worse, is set in stone. Joining this expedition gives me another chance at adjusting the scales without breaking my former vows, even if the only people who will ever know it are here on the voyage with us.”
“So, you claim you have no aims or desires for leadership, but here you are a mere heartbeat away from it.” Henry said, carefully studying his executive officer's every reaction.
“My time for glory is mostly gone, yours is at your feet before you. To the world, I am retired in comfort and isolation. In reality you have me here to help make your will law. You can relax. I already turned down command of this expedition. I was plan A, why do you think they had to scramble to find you? I will take command of this mission only if you are incapable of doing so yourself, Sir. In the meantime, let my experience and whatever wisdom I can offer guide you.”
An emergency alert snapped both of their attention out of their conversation. "There's a fire in one of the officer's cabins?!" Henry’s pulse quickened as he referenced the map to find which one.
“Fuck, it started in Chantal’s room!” Henry said, horrified.
“I've got the CIC under control. Go on and get her out of there, I'll send the cavalry."
“Thank you, Commander.” Henry called back over his shoulder as he rushed for the quick lift.
The officer cabins were the in the very next deck overhead, so he was able to arrive quickly and break into a sprint. The ship shifted as it dodged some antimatter, causing Henry to slip and scramble back to his feet. As he rounded the corner he saw her door was closed and the keypad powered was off. He could hear thumps and muffled screaming from within the room.
"HANG ON CHANTAL, I'M COMING!" Henry shouted in the hope that she could hear him as he pried at the manual override panel.
Two modified Paladin exo-combat armor suits rounded the corner seconds later with a hospitalman trailing behind pushing a medical cart.
"WE'LL TAKE IT FROM HERE, SIR." A speaker-amplified voice spoke from behind him.
One of the Paladin suits accessed the manual control override and forced the door open enough for the other suit to reach in and pry it the rest of the way open as smoke plumed into the corridor. The second suit charged into the room with its flood lights on as a water cannon mounted on the right wrist sprayed flame retardant from a pack on its back. The first suit abandoned the door control and entered, emerging moments later with Chantal awake and coughing from inside the darkened door frame. She was quickly ushered into cleaner air, set gently down, wrapped in a blanket, and was quickly attended to by a hospitalman who began to check her vitals.
Relief flooded Henry’s mind as his adrenaline surge broke against the wall of worry he had built up during his mad dash from the CIC.
“Baby you came for me! I thought I was going to die in there." She pulled him into a tight embrace as she wept in cathartic release.
"Of course I did! I couldn't stand to lose you, especially not over something like this. So, what the hell happened in there?"
"Well you know me, I was all burning the midnight oil and then I smelled smoke! Then there were some sparks, the outlet pops then whoosh! My computer station and my desk are all ablaze along with half my notes, then the damned door wouldn't work! I had to drop to the floor under the smoke and pound on the door in hopes that someone would hear me. God, it was horrible... I don't think I've ever been so scared in my life." She replied with a deep shudder.
"You're safe now, it's going to be alright."
"I know, but what about my work?" She replied with a forlorn look back at her smoke damaged room.
"What about your work?"
"As you know, I lost a ton of it just now, but what’s worse is I don't even have the ability to recover them! Remember how I lost my backup drive last week? Like, I know I packed it and it is not here anywhere! It’s like some sick cosmic joke on me or something. Sorry! Gotta keep it positive, girl! I get to rethink my last few weeks’ worth of work from scratch... that was almost positive! I probably have most of this recoverable from email sent box backups. Fuck, what do you do if there's no good silver lining?” Chantal bemoaned.
Henry couldn’t help himself but laugh for a second, while his girlfriend stared at him, waiting for a response.
“I’m sorry, is this funny to you or something?”
“No, no of course not. This might be one of those times where the only silver lining is that you're alive. Plus, if anyone can remember and rebuild their notes, you can." Henry smiled down at her.
“Fine, fine, at least I am alive. I was only breathing smoke for a few seconds after all.” She said, rolling her eyes. “Thank you for rushing down here right away anyway, it means a lot. You're amazing, you know.”
Henry smiled, slightly uncomfortable for a moment, so he changed the subject.
“I do my best... Anyway, it seems like these electrical issues seem to be getting worse instead of better. Whatever patch these clowns have slapped on my ship to get her to pass inspection is clearly coming undone. What do you think is going on here?” Henry asked in mild exasperation.
“Honestly, I can’t tell you without digging into the systems myself, which I would rather avoid. My plate is full enough as it is right now, especially having to reproduce so much of my own work now. This ship has kilometers of power cables running throughout it, after all, and you have an entire loyal, capable team down there in electrical, so it should only be a matter of time before they sort it out for you. Let them do their jobs without harassing them too much, please?”
Henry felt a little irked at her for not giving him credit to know not to go overboard, but he stowed it, seeing as she ultimately was right.
“The crew has been under a lot of stress, too, between the technical issues with the lights going out, losing power to workstations, or the constant antimatter threat. More than a few people have tried to convince me to turn us around and return to S33 for a more in-depth refit and repair cycle before we try the mission again. So far, everyone has accepted the fact that we are continuing the mission without much argument, but I fear what may happen if these issues are seen as getting worse. Our orders are clear, though, we must continue the journey.” Henry said, uncomfortable with the implications, even if he didn't dare voice it.
“You should get on the Q-Comm to report the fire to S33. Maybe they will order us back to base after this.” She offered, looking for a solution to an impossible problem.
“Good idea, at least the Q-Comm is still working. It’s incredible to me those particles maintained their entanglement once we passed through the baryonic barrier. That alone has been a huge morale boost, being able to contact home base with no time lag.” Henry replied.
“It’s incredible to you because you only have a basic grasp of the science, hon. But that’s alright, very few people truly understand it. That’s in part what you have me here for anyway. Einstein called the effect spooky action from a distance; I always liked that line.”
Henry ran his fingers through his hair and looked at Chantal, with a shake of his head and a smile.
“Listen, Henry, I just had a crazy stressful experience and I need to unwind. Plus, I haven’t slept in almost a day, so I am bone tired. Let’s go to bed, huh? What do you say doc, am I clear to go?” Chantal asked.
The hospitalman closed her eyes and shook her head before responding. "Yes, you are cleared to rest, and only to rest, do you understand me?"
Chantal mouthed a thank you before she took Henry by the hand and led him off to the captain’s quarters. Henry felt no desire to fight it, nor flaw with her reasoning. Sleep sounded good, really good. Plus, he was about an hour from the start of his sleep shift anyway, and Alvarez had the CIC well covered. The lights flickered again, but Henry very purposefully ignored it.
“Hey, since we have a little time and we are both a little wound up, Why don’t we take a shower together real quick?” She said with genuine enthusiasm and a wink.
“Madam, I like the way you think.” The couple raced just a bit faster than regulations would have liked, and arrived at his door in record speed.
Inside the room they fell upon each other in great passion and need, stripping each other out of their BDU’s and underclothes. Henry tossed a giggling Chantal onto the bed, and proceeded to kiss her neck and nibble on her ear causing her to purr in anticipation before he moved down her chest, past her navel, and then eagerly began to move his kisses in between her thighs.
“Hah…. I haven’t showered. Are you sure? Oooookay! I think…. Hah…. Okay.” She said breathlessly as Henry began to work his tongue until she began to shiver and squirm before she cried out as she melted in his mouth.
“Enough, please, I can’t take it anymore! Just fuck me already!” Chantal pulled herself together enough to beg for it. Henry stood rigid and ready and set himself to granting her request, first slowly, and then with a growing intensity. She once more began to squirm as he paid close attention to her hip’s cues, knowing very well by now what she liked.
As she climaxed again, Henry lifted her from the bed and pushed her up against the wall, and then bent her over his desk for a bit before he could take it no longer and they finished together.
“Holy shit… my legs aren’t gonna work for a bit after that one. Help me up?” Chantal said in between shallow breaths.
“Yes, ma’am. It would be my pleasure.” Henry said as he helped her to her feet and into the shower, staying in longer than was strictly necessary.
Henry left the steam first, once more thankful that his cabin included its own small bathroom, rather than a communal one. Being captain had its perks, after all. He grabbed a towel and wrapped it around his waist, then handed another to Chantal who gratefully accepted it before it dropped to the ground as she stared straight past him.
“Henry!" She squeaked as she pointed past him.
"What?" Henry asked, confused.
"Henry, someone was in here!”
On their bathroom mirror, wiped from the steam were the words TURN BACK.
Henry's blood ran cold and his adrenaline spiked him into overdrive. He waved Chantal back into the shower and put his finger to his lips. She nodded then wrapped herself in her retrieved towel and dropped to the shower floor with her arms wrapped around her knees, whimpering slightly. Henry moved silently along the wall, watching the visible half of his room for any movement. He then burst round the door frame, only to find everything perfectly, precisely as they had left it. The shock of finding nothing collided with the spike of his adrenaline surge, which only fed his growing unease.
“There’s nobody here!” Henry called out after checking the closet, the only other place someone could have hidden.
“Did you lock the door?” Chantal asked, her mind already working on the mystery.
“I set the security protocol to auto lock every time it closes.”
“Paul. We need to talk to Paul.” Chantal said, squeezing her BDU’s up over her hips with a few hops. Henry pulled on his undershirt before tossing over her bra.
“Why would we want to bring that weasel into this?” Henry asked, incredulous at to how he could possibly help.
“Because he has access to the surveillance tapes, why else?”
Henry stared at Chantal, brimming with rage, trying his hardest to keep it isolated to Paul over the invasion of his privacy.
“Did you just say surveillance tapes!?!” Henry asked in an icy tone. “That does it, I’m going to strangle him.” Henry said, moving with a purpose toward the door.
“Stop. Turn around and give me a kiss. I already disabled the video cameras, at least all the ones I could find. He has audio at best, even that I doubt. What he does have that I want is the data from the motion sensor that he had installed just in case you found the more obvious bugs. Unfortunately, I sabotaged its effectiveness by blocking the sensor with dense foam, but there might be enough of something to give us a clue."
“How in the hell do you know about all of this anyway, and why the hell didn’t you tell me?!” Henry roared.
“This entire enterprise is run by an intelligence agency; how can you not have seen that one coming a mile away? I have gotten very good at catching bugs over the years. Just because I expect the invasion of privacy to be happening, doesn’t mean I have to make it easy on them. Just be happy I already took care of the issue, alright?” She replied firmly while staring him in the eyes with raised eyebrows.
“You’re incredible, I love you.” Henry blurted out before he could catch himself. Chantal beamed and tackled him to the bed sitting on his lap.
“What took you so long? Never mind, don’t answer that. I love you too, man have I wanted to say that one for a while now.”
“You know these things aren’t easy for me. I had to be sure, I also didn’t want to mess anything up. We need to be able to work together even if we had turned out to be a bad couple.” Henry admitted, Chantal made an show as she thought it over, but she then smiled and helped Henry to his feet.
“Alright, my captain. You speak great wisdom. While I have certainly felt, and thoroughly enjoyed, the depths of your passion, it is really nice to hear about it too. I do think it makes it all the better that you rule said passion with reason. It’s just one of the many things I love about you.” She said, laying her hand over his heart.
Henry took her other hand and kissed it before replying. “I think above all, I wanted to make sure that I didn’t take you for granted, nor suffer the same in reverse. A wise woman once gave me some great advice there that I have taken to heart.”
“Okay, Romeo, maybe you have a better handle on these things than you think. Now… Let’s go interrogate Paul.” Chantal had a fire in her eyes that Henry was loving very much at that moment.
“I have wanted to turn the screws on that spook for a while now.” Henry smiled as he spoke, and he opened up the connection to the ship’s intranet through his neural implant to send a message.
MEET ME IN YOUR QUARTERS IN 5 MINUTES FOR A DISCUSSION OF CRITICAL IMPORTANCE – CPT. O'TOOLE
“That ought to get him there and alone.” Henry smirked. “Let’s go.”
Together, they made their way to Paul’s equivalent-sized quarters, which he had somehow secured for himself in the ship design to help facilitate his role as the official thorn in Henry’s paw. I guess being the captain’s handler has its perks as well. Henry’s eye twitched at the corner.
After making them wait far too long, Paul opened the door and gesturing them inside. The door closed and Paul turned towards them, narrowing his eyes, studying them both.
“Is this about the fire?” Paul asked before Henry punched the weasel right in the diaphragm, forcing him to gasp for air. The look of shock on his face as he bent forwards was priceless.
“What the fuck, Henry!?” Paul managed to choke out after a minute between gasps.
“Relax, I didn’t do any permanent damage, yet.” Henry said, Paul for just a second showed actual fear in his eyes before he sneered in defiance. “Oh? That got your attention, did it? Why were you spying on me?” Henry growled.
Paul closed his eyes, dropped his head, and began to laugh before Henry grabbed him by the throat and slammed him into the wall. Foolishly, Paul even then kept laughing amidst the gasping. So Henry squeezed until Paul started slapping his arm, looking genuine fear once more growing across his face.
“Orders… I was following orders!” Paul managed to say amidst gasps and coughs.
“I thought it might be something like that. You're going to open up those files, now, and you're going to show me everything.” Henry said, dropping him to his feet at last.
“Fucking hell, Henry, I thought you of all people would have anticipated this was going to be the case. Do you think the people who made this all possible would simply let you fly around the most dangerous, advanced warship in human history without some insurance?”
“Don’t try and weasel out of your own personal culpability here. You may also want to think back to other people who were “only following orders” while performing acts they knew were wrong before you wave that line around like some get out of jail free card.” The fact that he had nothing to say spoke volumes.
“You should have told me, Paul.” Henry growled.
“That defeats the purpose! Plus, your girlfriend sabotaged them all before we ever left S33 anyway, and once more after! That type of tech doesn’t just grow on trees you know, and I don’t have an unlimited supply. You should be thanking me for covering for her and reporting back like things are normal!” Paul shouted in indignation.
“This is pointless, show me the files from around fifteen minutes ago, motion trackers, thermals, anything you have that's not blocked or sabotaged.” Henry commanded. Paul’s eyes narrowed, but after a long moment he huffed and closed his eyes.
Paul then sat down at his station and fired it up.
“Like I said, I've got practically nothing. No video, muffled audio and readings from what I assume to be a faulty motion sensor, that’s it. What are we looking for?”
“Chantal and I were, well, together. After we got out of the shower we saw that someone had written turn back in the condensation on the bathroom mirror. Only problem? My door auto locks when closed and only opens for my biometrics. That is why all of this even came up in the first place.”
“Motherfucker. That's a whole heap of bad news.” Paul said. Henry merely nodded, paying rather more attention to the screen to see if he could catch Paul in a lie about the extent of the spying.
“There’s nothing. No disturbances in the air that would even remotely resemble human movement between you two getting in the shower and you charging into your bedroom. With the noise of the shower and the distance to the microphone, there is nothing I can discern that is anomalous. You can see it all right here for yourself.”
Henry found himself even more confused and alarmed than before.
“How is that possible? Look again, run through some filters or something. There must be some evidence somewhere!”
“Alright, relax, I will get to work on this and get you a report by the end of C shift. In the meantime, you look like a mess. Get some sleep man! I can take care of it from here. Oh, and I want you to remember that I forgave you quite magnanimously for that little episode back there where you attacked me.” Henry and Chantal gave each other a look as Paul spoke.
“Wasn’t gonna apologize anyway, you had it coming. I’m going to hit the rack. I expect that report to be detailed and ready when I get up.” Henry took Chantal by the hand, and they left together, not waiting for a response.
“What a snake. Did you see him in there? Zero guilt or recognition whatsoever about spying like that. It just makes my skin crawl. Gives me bad memories.” Chantal said, turning pensive and quiet.
“Do you want to talk about it?” Henry asked, seeing that there was something clearly bothering her.
“I… had an uncle that lived with us from time to time and he would spy on me when I was dressing, try and sneak looks in the shower, stuff like that. Never touched me or anyone else that I know of, thank god, but man did it screw me up a bit still. Played havoc with my sense of security and even my sanity, never being quite sure it was real or all in my head. I wish I had said something, but I was afraid everyone would think I was overreacting or imagining it. I saw it in his eyes though, that look of... predatory lust. At least I didn't see anything like that in Paul's eyes. To this day it makes my skin crawl.”
“Good God, I can see how alone you must have felt in the middle of all that.” He squeezed her hand, she smiled up at him.
“Yeah, that was one of the hardest parts. I don’t think Paul is some raging pervert or anything, but it concerns me how normalized it was to him. Even if he isn’t being a creep with it, as if we can take his claims to be covering for me at face value. There is still no way I am going to let him have easy access to intimate videos of us, if I can possibly help it.” Chantal said before adding, “I’ll be all right, don’t worry about me. Let’s just get some sleep.”
Henry put his palm against the biometric scanner outside his room and the door slid open for them. They definitely needed some sleep after the emotional roller coaster of the past few hours, and the irresistible warm embrace of his bed called for him. The Q-Comm report could wait until he woke, he decided.
Better to have the electrical inspection ordered up, too.
I WANT A FULL REPORT AND INSPECTION PERFORMED ON THE ELECTRICAL FIRE IN CHANTAL’S ROOM BY THE START OF A SHIFT. – CAPT. O'TOOLE
Good enough. Henry thought as he sent the message. Now he could sleep. The chief could handle it from there.
MEANWHILE…
DATE : MARCH 10th, 7 A.U. LOCATION: SOL SYSTEM, ABOARD UTRN INDOMITABLE WILL
FIREMAN APPRENTICE SARAH CALLAHAN
It'll be back again tonight...
Sarah’s haunted thoughts repeated like a mantra. She had to be ready, but how? Her skin crawled and itched, the long sleeves of her BDU’s prevented her from being able to do anything about the painful sensation from the inflamed scratches they hid. She blearily rubbed at her sunken eyes, and she drained the rest of her coffee. All the numbers on the screen had started bleeding in together and her eyes hurt horribly, with the throbbing pain in her abdomen only compounding her misery.
“My god, Sarah, you look a wreck, hon. How have you been sleeping?” Yvonne, her shift partner asked, with concern in her voice.
“I have a monster tension headache, I just hope the meds kick in soon. Can you check my math? I need to get out of these white lights for a few minutes. Close my eyes for a bit, something, anything. I've been having nightmares again.” Sarah felt good, being able to admit it, and Yvonne had long since proven her friendship, so it was easier to actually speak.
“Yeah, no prob. As soon as I am done here I will check your readings and we can get out of here. Do you mean nightmares from the invasion?” Yvonne asked, carefully picking her words and tone.
“Kind of the same general themes, but different. Everything is going wrong, like the worst possible outcomes of my worst nightmares are all combining together. Like, it feels actively malicious, I don't know, its hard to explain...” Sarah said, bleakly.
“That’s hard, I am sorry. You need a shower, and an uninterrupted nap. Sleep deprivation plays all kinds of hell on the body and mind. I had a friend who went through an insomniac phase so extreme he would go days without sleeping. Wound up in the hospital after trying to drive to work while hallucinating his dead fiancée was sitting in the passenger seat screaming at him to watch out. Wound up rear-ending the car in front of him. Thank God he lived to tell the tale, but that is why it worries me to see you like this.” Yvonne planted her hand on Sarah’s shoulder as she told the story.
“Yikes, I think I slept like two hours into my sleep shift before I started having the nightmares again, woke up, and passed in and out of some restless sleep. It got really bad around oh three hundred. There were sounds... noises like scratching and a loud bang, and the shadows were moving. I just kept feeling like I was being watched, but everyone else seemed to be having disturbed sleep in their bunks. God, it was a creepy feeling.” Sarah took a moment to compose herself.
“I know how crazy this will sound, maybe that I am sleep deprived and likely hallucinating like your friend, but just hear me out. There was something there Yvonne, in the dark at the edge of perception, I could feel it. I also know I wasn’t the only one tossing and turning either. I could also hear scratchy whispering, too. I just hid, strapped in under the weighted blanket. At some point I slept some more, I must have, but not for what felt like a few stressful and draining hours. I'm just making a total mess of explaining this, aren’t I?”
“No, you're fine, girl! I am sorry that happened, my dorm has been pretty quiet, but I have always slept like a rock. Is there anything I can do?”
“I could use a hug.” Sarah said, which caused Yvonne to laugh, breaking some of the tension. They embraced warmly for a good minute, which did wonders for relieving some of the headache and her black mood.
“Thanks, Yvonne, I know it’s all in my head and it’s a vicious feedback cycle due to lack of quality sleep. Thanks for listening without calling me crazy.“ Sarah said, shying away from the last thing she hadn’t the courage to say.
She didn’t dare mention how she had hidden under the covers as she felt it get near. How she had felt something pushing on the mattress. How as her fear peaked, she herself peeked over the covers to find nothing there just to have the oppressive feeling evaporate along with the sensation of pressure by her feet. Her dorm mates all seemed to stop stirring after that, and only then did the nightmares stop for her that night. By then she was left with barely enough time for one last short sleep cycle before the start of A shift that very morning. This was a secret she would have to keep to herself, nobody would believe her anyway.
“I think I'll ask the Chief for a break from my duties today to rest and to visit med bay. Maybe they can give me something to help catch back up on my sleep.” Sarah said.
“Good idea, can I come with? I’ll back you up.” Yvonne said. Sarah smiled at her friend before she nodded at her before they checked off the last of their duties on site and headed away to find the Chief.

If you are in the position to support my work, I have a patreon, venmo, and a paypal set up. Just three dollars a month makes a huge difference! No pressure though, I will keep posting these pieces publicly no matter what - paywalls suck.
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Kansas

Despite voters overwhelmingly rejecting a constitutional amendment that would have allowed abortion restrictions in the state, Kansas Republicans passed several anti-abortion bills into law late last month, overriding the governor’s veto.
The first bill, HB 2436, makes it a crime to “coerce” someone into having an abortion. Democrats attempted to widen the scope of the bill to include all kinds of reproductive coercion, like pressuring someone to become or stay pregnant and prohibiting their access to birth control, and enshrine a right to “reproductive autonomy.” Republicans voted down the amendment.
The second bill, HB 2749, requires medical facilities and providers to (1) ask patients their reason for having an abortion and (2) report the data, including personal information about the patient, to the legislature every other year. Gov. Laura Kelly (D) agreed with the objections of Democrats and reproductive rights advocates, saying when she vetoed the bill that there is “no valid reason to force a woman to disclose to the legislature why she is seeking an abortion.”

• Democrats offered numerous amendments to HB 2749, including one to require men to report to the legislature their reasons for having a vasectomy and another requiring men to report why they are seeking treatment for erectile dysfunction. Republicans rejected all of them.

Finally, the Republican legislature overrode Kelly’s line-item veto allocating $2 million to the Pregnancy Compassion Awareness Program, created last year with a different veto override. The program is run by an anti-abortion group called the Kansas Pregnancy Care Network, which refers pregnant people to crisis pregnancy centers designed to use misleading information to discourage them from obtaining an abortion.

Louisiana

Louisiana’s legislature is doubling down on its anti-abortion laws, passing bills to increase criminalization and refusing to add exemptions to its abortion ban.
Earlier this month, the Louisiana House took up a bill passed by the Senate that would make it a crime, punishable by jail time, to possess abortion-inducing medication. SB 276, sponsored by 23 Republicans and one Democrat, was initially written to create a punishment for coercing someone into an abortion without their knowledge or consent (e.g. spiking a drink). However, House legislators recently added an amendment to the bill that classifies mifepristone and misoprostol as Schedule IV substances alongside some opioids and benzodiazepines. A pregnant person possessing the drugs for their own use could not be charged, but others who intend to distribute them to pregnant people seeking an abortion or store them for their own potential future use would face up to ten years in prison.

“Neither is a drug of abuse or dependence, and that is what the controlled drug schedule is for,” said [emergency room Dr. Jennifer] Avegno of the abortion drugs. “It makes no scientific or medical sense to put these drugs in the same category as Xanax or Valium.”
Mifepristone is a drug that blocks a hormone called progesterone, which is necessary for a pregnancy to continue. Misoprostol causes uterine contractions, causing the body to expel the pregnancy tissue. Mifepristone is also used to treat Cushing’s disease, a hormonal disorder. Misoprostol is also used to induce labor, manage a miscarriage and in the treatment of ulcers. Neither are addictive. “People do not go around taking them and getting dependent and having bad outcomes because of it,” said Avegno. “It’s like saying your blood pressure medicine or insulin is a drug of abuse.”

A week later, Republicans on the House Criminal Justice Committee voted 7-4 to reject a bill to add rape and incest exceptions to the state’s total abortion ban. House Bill 164, written by Democratic Rep. Delisha Boyd, would have allowed girls younger than 17 to have abortions if they became pregnant as the result of sexual assault.

“That baby [in the womb] is innocent … We have to hang on to that,” said committee member Rep. Dodie Horton, R-Haughton, who voted against the bill. Rep. Lauren Ventrella, R-Greenwell Spring, also voted against the legislation, saying the proposed law would be difficult to enforce. Teenagers who had consensual sex might feign rape or incest in order to get access to abortion services, she suggested…
Dr. Neelima Sukhavasi, a Baton Rouge doctor specializing in obstetrics and gynecology, also implored the lawmakers to approve Boyd’s proposal. She and her colleagues have delivered babies for pregnant teenagers, including mothers as young as 13, since Louisiana’s abortion ban went into effect two years ago. These young pregnant people can experience health complications that affect them for the rest of their lives, Sukhavasi said, and sometimes don’t have the mental capacity to handle the births. “One of these teenagers delivered a baby while clutching a teddy bear,” she told the committee.

The Committee also killed three other bills: HB 56, to allow abortions in cases of spontaneous miscarriage or nonviable pregnancy; HB 63, to clarify that the removal of an ectopic pregnancy is not an abortion under state law; HB 293, to add protection for physicians who do not intend to induce abortion by prescribing certain medications.

Texas

Meanwhile, in Texas—a state that pioneered the war on women and reproductive rights—a man initiated legal action to sue people who helped his former partner obtain an out-of-state abortion.
The man, Collin Davis, filed a petition in a state district court seeking permission to launch legal depositions to collect evidence for a potential lawsuit under a Texas law that contains civil liability for anyone who “aids and abets” an abortion. According to his lawyer, Jonathan Mitchell (who crafted the anti-abortion law), Davis is seeking to sue “co-conspirators and accomplices…involved in the murder of [his] unborn child.”

“Fathers of aborted fetuses can sue for wrongful death in states with abortion bans, even if the abortion occurs out-of-state,” he wrote. “They can sue anyone who paid for the abortion, anyone who aided or abetted the travel, and anyone involved in the manufacture or distribution of abortion drugs.”
Molly Duane, a senior staff attorney with the Center for Reproductive Rights, described Mitchell’s statement and general approach as misleading “fearmongering.”
“People need to understand that it is not a crime to leave Texas or any other state in the country for an abortion,” said Duane, who is working with lawyers from the firm Arnold & Porter to represent the woman and others targeted in the Davis case. “I don’t want people to be intimidated, but they should be outraged and alarmed.” Duane described the woman’s relationship with Davis as “toxic and harmful.”

Mitchell also represents a different man who pursued a similar claim last year: Marcus Silva engaged Mitchell to sue the friends of his estranged wife for allegedly helping her obtain abortion pills. Evidence later revealed that Silva knew about the plans beforehand and did not intervene, likely intending to use the threat of legal action as a way of forcing his partner to halt divorce proceedings.

Monday’s counterclaim illustrates, in painstaking detail, exactly how Silva—aided by Mitchell—allegedly deployed this tactic. It was only after Brittni’s abortion was complete that Silva revealed he knew about the plan and, according to the lawsuit, threatened to turn her in if she didn’t submit to his continued abuse. He even showed the police photographs of messages discussing the possibility of an abortion. “Once I finally got home with the girls he had been drinking and he told me that he knew,” Brittni texted one friend. “He’s using it against me.” In another message, she wrote, “Now he’s saying if I don’t give him my ‘mind body and soul’ until the end of the divorce, which he’s going to drag out, he’s going to make sure I go to jail for doing it.” […]
The counterclaim points out another flaw in his argument: Silva himself “is responsible for the alleged injury for which he seeks to recover.” He “knew that Brittni planned to terminate her alleged pregnancy and acquiesced in accepting Brittni’s actions,” so “it would be unconscionable to permit him to benefit by changing his position now.” His claims, in short, are barred “by unclean hands,” because he effectively entrapped his estranged wife—covertly discovering her plan to terminate the pregnancy, then allowing her to go through with it for the express purpose of blackmailing her into staying with him.

Indiana

A three-judge panel of the Indiana Court of Appeals last month unanimously recognized a religious freedom challenge to the state’s complete ban on abortion.
The case, brought by Hoosier Jews for Choice and four anonymous women of various faiths, alleges that the ban interferes with “their sincere religious beliefs that require and direct them to obtain abortions” criminalized since the law took effect in 2023. According to Jewish law, a fetus does not have personhood until birth, and abortion is required if the pregnancy endangers the life or health of the mother.

Brief of Hoosier Jews for Choice (and other plaintiffs): As indicated by the declarations of numerous rabbis, Judaism teaches that a fetus becomes a living person only at birth, and prior to that is considered part of the woman’s body, without independent rights. Abortion should occur and is mandated to end a pregnancy that may cause serious consequences to a woman’s mental or physical heath. Judaism also recognizes that physical health risks are not limited to those likely to cause substantial and irreversible impairment of a major bodily function. Judaism stresses the necessity of protecting the physical and mental health of the woman—a life—over the potential for life present in a zygote, embryo, or fetus. Therefore, restrictions that prevent a woman from obtaining an abortion where compelled by Jewish law, which mandates that the woman act to protect her physical or mental health, impose a substantial burden on that person’s religious exercise.

Under Indiana’s Religious Freedom Restoration Act (RFRA), “a governmental entity may not substantially burden a personʹs exercise of religion,” defined to include “any exercise of religion, whether or not compelled by, or central to, a system of religious belief.” This means that arguments about whether plaintiffs are strictly observant are irrelevant; the law protects sincerely held religious views regardless of whether that view is idiosyncratic or unorthodox. However, even a law that imposes a substantial burden on the exercise of religion can be enforced if it is “the least restrictive means of furthering [a] compelling governmental interest” (the strict scrutiny test).
The state argued that abortion does not carry “religious significance” and, even if it did, the abortion ban satisfies strict scrutiny because it is “sufficiently narrowly tailored” to “further the State’s interest” in “protecting human lives in the womb.” Throughout Indiana’s brief, the state attempts to use science to back up fetal personhood, extending developmental physiology to make unfounded claims that protected life unquestionably begins at conception:

In lower courts, the State’s compelling interest is not up for debate. In Cheaney v. State, the Indiana Supreme Court held that the State’s interest in protecting unborn children is “valid and compelling” from “the moment of conception.” …A basic understanding of biology supports these holdings. “That human fetuses are human beings is a scientific fact, not a theological claim.” Regardless whether an individual person believes this, “the scientific consensus” is that “[d]evelopment begins at fertilization,” after which the newly created “unicellular zygote divides many times and becomes progressively transformed into a multicellular human being through cell division, migration, growth, and differentiation.” …. Science thus tells us that “[t]he act of performing an induced abortion during any stage of pregnancy, from fertilization up to birth, ends the life of an innocent human being.” The State’s interest in protecting unborn fetal life at any stage from intentional destruction accordingly is nothing less than “compelling.”

A panel of the Indiana Court of Appeals—made up of a Republican appointee and two Democratic appointees—unanimously ruled against the state, upholding a lower court’s injunction against the abortion ban as it applies to the plaintiffs. In the process, the court laid out a path for religious freedom challenges to abortion bans in other states and at the federal level.

The trial court found that absent a preliminary injunction, Plaintiffs would be irreparably harmed by the loss of their religious freedoms guaranteed by RFRA. A loss of First Amendment freedoms, which include the right to free exercise of religion, “for even minimal periods of time, unquestionably constitutes irreparable injury.”... Without a preliminary injunction, Plaintiffs will suffer the loss of their right to exercise their sincere religious beliefs by obtaining an abortion when directed by their religion and prohibited by the Abortion Law. They also have shown their sexual and reproductive lives will continue to be restricted absent the injunction and as a result of the Abortion Law.

• Briefs can be found under case number 22A-PL-2938 on Indiana’s Appellate docket

24 yo medical student trying to enjoy his summer before hell in a few months lol. Came to China to visit family a few weeks ago in Fujian but now have a lot of downtime and am bored. Anyone got places I should take a chance to visit? Haven’t really been anywhere except for Fujian and Chongqing, Chengdu, and Shanghai. I like hiking and eating ofc. Thanks!

My boyfriend (M35) and I (F30) have been together for 5 years. He has a daugther who is 8 years old and she is like my own - I love her very much and she loves me, we have a great friendship. When my boyfriend and I started dating, the mother of his child wasn't very happy about this and tried everything to break us up. My boyfriend at that time was overattached to this woman and did everything she said (he still does sometimes, but it has become so much better over time). She accused me of hurting the child physically (just because she was afraid of it, nothing like this ever happened), she shouted at me for taking the father away from the child by just being in their lives, she told my boyfriend when and where he can spend time with me and when he has to be with his daugther etc. We managed to keep our relationship and he has developed boundaries with his ex. However, this has caused us a lot of drama, damage and fights over the period of time that we have been together - mostly because of my jealousy, fear, insecurity and a feeling that I am not as important as the mother of his child. However, I have always taken care of my boyfriend and his child - they are the world to me. I pay the full rent of our apartment that we bought together, I also buy clothes and toys for his daughter (when she is with us - approximately 10 days in a month) and food. I have tried to be the best girlfriend even though I have had several setbacks - I am not an angel and I have my bad days and my insecurities. We have travelled a lot together - to Peru, Laos, USA, half of Europe etc. We talk a lot and share our problems and success. He is my best friend.
A few years ago I had a surgery on my stomach and didn't know that the baby pills do not have effect after this kind of surgery - I got pregnant. He told me that when his daugther was born he had a lot of problems and fights with his ex, because she cancelled the baby pills without telling him and got pregnant. He told me that because of that he he is not ready for another child right now and he wanted me to do an abortion. I was afraid of ending up alone with a child and I wasn't in a good place back then so I did it - the biggest mistake of my life that I deeply regret. This, also, has been a source of tension between us.
I have noticed some changes in our relationship for some time now. A month ago we had an argument over trivial things and he told me out of the blue that he wants to break up. I asked him for some time and to discuss it again when we are both calm. We did it couple of days later and decided to give each other a second chance - he told me that he needed to do some things alone without me (like riding a bike or going out with friends) and I acknowledged that. Everyone needs space. Two days ago I found out from his daughter that my boyfriend took flowers and cake for his ex (the mother of his child) for Mother's Day and I confronted him. The woman has caused so much unnecessary damage in our relationship and it hurt me. He has brought me flowers twice during our relationship and it seemed weird. He got pissed and then told me that he has thought about breaking up for two-three weeks now and wants to do it. It shocked me because I had tried to give him space, but at the same time to help him with his daughter and things at home. During those weeks, he had told me that everything is fine and assured me that I had nothing to worry about. I am devastated.
When I ask him questions he keeps responding me with three different answers every time and it confuses me. At one point he tells me that he is like 80% sure that he wants to break up with me, then again, 5 minutes later he is telling me that he will pack his things tomorrow, then he says that he wants to come and celebrate my father's birthday next day because he likes my family (even though he just said that he wanted to leave me)... I am so confused. We decided to take a break and agreed to talk about our relationship and what is going to happen in 4 days - he still keeps saying that he has made up his mind though. I am losing my mind and I am just in a shock. He is so calm and he seems like he does not care at all that he is going to lose me - I told him that I am not able to be friends with him right away because I still love him as my man and I need time. I don't know what to do. I am just so sad and feel like there is a big hole in my heart.
Thank you for reading and I will appreciate all your answers. I have never posted on any sites but I felt that I needed to get this off my chest. Thank you.

I’ve been through a lot of the ‘beginners guides’ in the wikis and links from various comments in the beginner threads which have been very useful, but I have some really practical (and probably very basic) questions that a lot of the guides don’t quite answer (or I haven’t got to that part yet!) or I still just don’t understand.
I’ve never camped before - apart from one night in my partners back garden when we were teens - and we don’t have a garden to practice in.
My child is 3 and most hotels/BnBs in places I’d like to visit are over £110pn, so I thought camping would be a great way to get out and explore much more. We also just got a car for the first time so we will be car camping and I’d like to start in a campsite with showers etc.
Our flat is small so we don’t have a lot of room to store lots of equipment. We have a storage locker so I can store some stuff away but I’m also nervous about buying tons of expensive equipment in case we end up disliking it and never using it again.
I’m not planning on cooking, just packing/buying sandwiches and snacks etc as I don’t want to buy tons of cooking equipment for reasons above (unless we genuinely love it and then it could change in future).
I’m lucky enough to be a SAHP so I feel like we could do tons of camping before my little one has to go to school. I just need to figure out how. I’ll also be doing this on my own during the week while my partner is working.
We’ll be travelling around South East England (UK).
Here are my basic questions:
We’re in England so the weather is often rainy. Can you fix a tarp over the tent to help keep the rain out without trees? Is there such a thing you can buy that goes over the tent? I keep seeing advice not to lay the tarp directly over the tent and to use poles, but what poles? I can’t figure this out. Is sealing the seams worthwhile to a new tent?
How do groundsheets work? Do you fix it to the tent somehow? My brain cannot understand this concept. Or if the tent comes with a footprint are they attached? Do you just peg it to the ground? Is there anything you should look out for on the ground aside from pointy rocks etc? Is it as simple as pegging it to the ground and the tent goes on top?
Sleeping - is it best to have separate sleeping bags and one double mat? Is that a thing? Or is it best to have two mats and two bags? Or should I go for 2 cots? I’m heavy (100kg) so I’d worry about it breaking.
Is a silk/cotton insert for the sleeping bag worth it?
Are there any tips/advice I need to be aware of with a toddler?
Since we are unlikely to buy cooking equipment - is there anything I haven’t thought of here? I plan to go to a supermarket to buy packaged food, bottles of water etc.
Despite not wanting to buy lots of ‘cooking’ equipment, is there anything that I should consider bringing aside from mugs or plastic plates dish soap etc?
Is it worth bringing a metal kettle/pot and oven gloves or something to heat water on a fire? Is a stove best to do this with rather than relying on a fire pit?
Do sites tend to have a place to wash up dishes etc?
Showering - do you tend to get dried in the shower cubicle? Is it big enough for a 3 year old to shower together? Would you go there in flip flops? What’s the best way to transport fresh clothes and shower stuff from the tent to the shower block? Plastic bag would do?
I plan to bring toys, battery twinkle lights, marshmallows etc to try to keep it fun. Torches and headlights etc. is there anything else non standard to consider bringing for a kid?
I’ll have our car to lock valuables away - is that enough? Do you have to ‘lock’ your tent when you’re away?
Is there any pearls of advice you could tell a beginner that isn’t covered by manuals, but that you learned through practical experience?
Is this a terrible idea to do on my own with a 3 year old as a complete novice? 😅
Sorry if some of these are simple, I worry and panic a lot about sometimes really easy concepts.
Thank you for any links, advice and thoughts. I really appreciate it!