Star Wars: The Force Awakens is an incredibly diverse portrayal of humanity across the galaxy, with one notable exception — there are no LGBT characters onscreen. However, could one of our new The Force Awakens heroes step up to fill that void?

This article is full of spoilers for Star Wars: The Force Awakens. Read at your own risk!

The afternoon before the release of the most anticipated movie of — well, let’s call it all time, shall we? — the three young heroes of Star Wars: The Force Awakens visited The Ellen DeGeneres Show to talk to America’s BFF about the experience that’s already changed all of their lives forever. Daisy Ridley, John Boyega and Oscar Isaac are a dream come true for a new generation of Star Wars fandom — they’re fun, smart, charming, unjaded and relatively lacking in celebrity polish. They’ve become ours, instantly, and watching any press with them is a delight. However, on Ellen’s couch last Thursday, a conversation took place that I’m kind of surprised isn’t making world news.

After a lighthearted chat about filming locations and Boyega’s impersonations, Ellen implores the cast to spill the beans on whether we’ll see romance between any of the trio in the new movie. Oscar Isaac, who plays Princess Leia’s top Resistance pilot Poe Dameron, is the first one off the marks, explaining “I think it’s very subtle romance that’s happening. You know, you have to just look very close — you have to watch it a few times to see the little hints. But there was.” Isaac sounds seemingly honest with this statement, then goes on to make a few jokes with the others of the ‘we can’t spoil you, so we’re getting ridiculous’ variety. However, Ellen comes back to Isaac to confirm: “So it’s subtle, but you were playing romance. When we’re watching you, that’s what we should be aware of.” Here’s where it gets good — Isaac agrees, but teases that he won’t say with which character, gesturing between Ridley and Boyega.


Look. I know what you’re going to say. Isaac could have easily been talking about the seeds of potential romance between Boyega’s Finn and Ridley’s Rey — only really hinted at when Finn asks Rey, rather worriedly, if she’s got a cute boyfriend to get back to – and maybe turned the heat onto himself as a joke to distract from Ellen prying at the others. He could have been talking about Poe’s deep passion for flying, or his adoration of his droid, BB-8. We all feel pretty strongly about BB-8. But if you’ve seen Star Wars: The Force Awakens already, you’ll know that, if Isaac was being serious, the romance that he mentioned playing as Poe was directed towards his male, not his female, co-star.

There’s every chance that Isaac wasn’t even trying to hide this fact. Maybe he was outright referring to Poe and Finn’s relationship as a romance in a tongue-in-cheek fashion — he even checks with Boyega who agrees, once they start messing around. But a) at this point, we didn’t know anything about how Finn and Poe would interact in the movie, so there was no big homoerotic subtext-y in-joke to wink and nudge elbows at, and b) Oscar Isaac really doesn’t seem like the kind of guy who would play up a no-homo bromance for laughs. He may make a lot of dick jokes, but this is a man who also recently called out a journalist about trying to assign gender to droids, with an approach I’m starting to recognize as his trademark — he seems to address such issues head-on with a progressive, sharp and dead serious attitude, spun with just enough of a laugh to keep it playful, before bringing it back to the genuine point he wants to hammer home.

Maybe I’m reading too much into this. Maybe I’ve interpreted it wrong. Maybe this is Isaac’s idea of humor. Maybe he just has the world’s best poker face. But maybe, just maybe, there’s something in this, and if it’s real, it’s going to change everything.

It’s fascinating to me that Ellen uses very vague, non-heteronormative language and gestures to ask about the romance between any of the characters, rather than either man with Rey specifically. It’s fascinating that Isaac is the first one to jump on the answer, and it’s even more fascinating that after his jokes are over, she checks back in with him and makes sure to confirm his comments in a sincere manner. If you were to analyze the “evidence” further (Oscar Isaac wants a rainbow lightsaber, you guys!) you could wonder if there’s a possibility that she’d been let in on the secret by Lucasfilm’s PR, and if it had been requested that she guide the conversation in this manner to help lay the groundwork, but when you spend too much time thinking about that kind of thing, you begin to tread into conspiracy theory territory, which is not actually the point I’m trying to make. I’m not actually sitting here trying to convince you that Poe Dameron is gay. I’m trying to convince you that he should be.

Rewind for a minute. I hadn’t seen that Ellen interview when I first saw the movie — in fact, due to Australian time zones, I saw The Force Awakens before many spoilers had even hit the internet. So it was with no preconceived notions about these people that I sat down in the cinema — I actually hadn’t even seen the trailer. I wasn’t looking out for a potentially queer character, or a ship that everyone was hyped for — I knew nothing about what was promised in The Force Awakens except that it was going to be good, as I’d been too caught up in my experience watching the other six Star Wars movies. And it was good — better than. Star Wars: The Force Awakens is an absolute triumph which rewards every second of love and energy that you’ve put into this franchise in the past, yet also stands on its own feet as a piece of cinema that holds up on its own. And then, there was him: Poe Dameron. Handsome, daring, feisty, viciously competent, sweet, elegant… and gay, some part of my own queer subconscious immediately whispered to me. I’m pretty sure he’s meant to be gay.


Poe Dameron is the first hero of The Force Awakens — the movie opens on his story, and he’s the first character we root for. He’s introduced as the best pilot in the Resistance, implicitly trusted by Leia, tasked with finding Luke, and he immediately proves himself to be highly skilled, full of chutzpah, and very defiant of the First Order’s authority, even when captured and tortured. He’s, as Isaac has stated in press, got a mouth on him, especially when it comes to Kylo Ren, (a man he very likely grew up with, given his canonical off-screen backstory.) He’s unquestionably the space cowboy of this piece. In the past, a guy like this would display all the trappings of typical male posturing — just look at Han Solo. He’s pretty much the blueprint from which characters like this have been copied for the last 40 years.

But Poe isn’t like that. He’s different. In the best possible way, he has nothing to prove, and it makes for a very refreshing change. He’s an action hero without a chip on his shoulder. Poe is fearless, but not reckless. He’s compassionate, he doesn’t feel the need to pretend he doesn’t have feelings, even about his little droid. When he’s not whooping in delight while flying, he speaks softly and kindly. He’s confident about his abilities — “I can fly anything,” — but it never transgresses into cockiness, and he admits when he’s challenged. Rather than swagger, he moves with an old-Hollywood grace: in the moment where he climbs out of his X-Wing at the rebel base after the battle on Takodana, he looks like an aviator from the 1920s — all he needed was the silk scarf. He’s respected as a commander and beloved as a friend. He doesn’t have to be convinced to believe in things, or in people — there is nothing bitter or hardened about him, but there’s also nothing naive.

There’s nothing whatsoever to say that all of these admirable attributes can’t belong to a straight man, and, indeed, having Poe as a role model for upcoming generations of heterosexual masculinity sure would be nice. Regardless of sexuality, Poe Dameron is a fantastic, exciting, attractive, atypical portrayal of manhood, and I hope that it continues to be the case. But then, there’s the Finn factor to consider.

Finn rescues Poe from the First Order because he wants to use Poe as his chance to escape. Poe never once calls this out as self-serving, instead throwing himself all in with Stormtrooper FN-2187 and considering him an instant team-mate. His handling of Finn’s panic in their escape in the TIE fighter speaks volumes about Poe — he doesn’t condescend, he’s patient with offering instruction even in this life or death scenario, and he instantly interprets the disgusting treatment Finn has undergone up until this point, giving him the thing he needs most – a name, an identity, something to set him apart from the First Order. It’s the start of something beautiful… until it all comes crashing down. Literally.


We then follow Finn for a large portion of the movie as he takes the gifts Poe left behind – a jacket and a name – and struggles on, presuming his first friend is dead. Interestingly, Oscar Isaac — who was hand-picked for the part by director J.J. Abrams — recently revealed that Poe was actually meant to die at this point, for real. That huge opening, and then he’s gone, leaving Finn to carry on his mission in his place. Well, Finn does complete Poe’s mission, but Poe got a reprieve anyway. Why? “Never mind. I’ve figured it out. You’re in the whole movie now,” Abrams came back to Isaac after initially offering him the role — death and all — in a Paris meeting. “Let’s say that it was in that conversation [in Paris] that we began to see a way that being in the movie would be worth his time and the audience’s,” Abrams stated cryptically. How curious. Could it perhaps be that they threw around some ideas about why this particular character could have an important legacy – that he might be able to represent something that’s never been represented in Star Wars before?

Right. Back to the facts. Poe, very much not dead, comes swooping in to save the day, and his reunion with Finn is where all the pieces about him click into place. Poe, healthy and whole, is revealed to Finn in a total romantic hero shot — the aforementioned 1920s aviator moment — and both men, who thought the other was dead, realize all at once that they’re not. It’s a literal screaming-each-other’s-names, running-into-each-other’s arms situation. No shame, no restraint, just relief. But when Poe pulls back and notices Finn is wearing his old leather jacket, that’s the clincher, because unless you’re so heteronormative that you still believe that Hannibal and Will are just buds, it looks like Poe likes what he sees, in a way that’s more than friendly. He even bites his own lip while admiring Finn. Well, hello there. From here on out, I was certain of two things: firstly, that Poe himself had absolutely had the potential to be canonically queer, and secondly, no matter what, that ship was going to sail like nobody’s business. Poe brings Finn to Leia, where he’s treated with trust rather than suspicion, and, as The Daily Dot points out, the next time the two men have to part, “the camera spins around them like something from a ballroom scene in a Regency romance, showing the two men pass through each other’s orbits before they leave for battle.” After Starkiller is destroyed, Poe is last seen running after Finn’s unconscious body as he’s wheeled off to medical.

As much as I’d love to see the new era of Star Wars end in a queer romance between two of its heroes, I still think that Finn/Rey is the canonical ship to beat here. My love triangle theory, if Poe is indeed gay, is that he’s attracted to Finn but won’t end up with him – through this plot, we’d learn that he’s queer, and it will either be heartbreaking or a “more (male) fish in the sea, still love ya, buddy” situation. Or maybe Finn won’t factor into it at all, and we’ll incidentally see Poe saying goodbye to a boyfriend or husband before his next mission, revealing that yes, in his private life, it’s all about the dudes, but it’s not a major part of this story. The non-love-triangle option might be less controversial for Lucasfilm, as it’s slightly less in-your-face, but given Isaac’s comments, it seems like Poe’s got it pretty bad for our favorite Stormtrooper.


Another thing to note is that in times of yore, alpha-male characters like this would always end up with a chance to cement their manliness by proving to us that they want women, whether that’s by outright interactions with a girl, a comment to a pal, a metaphor. Poe? Nothing. Granted, there wasn’t a lot of screen time for this to happen in, but I’ve seen it shoved into less plausible scenarios. If they wanted to put it in there, they could have, and they didn’t.

As soon as I got out of the cinema, I was desperately searching Twitter and starting conversations with friends about whether anyone else had seen what I’d thought I’d seen. Plenty of people had latched on to the idea of Finn/Poe as a new OTP, which is totally fair, but it seemed like it was simply because they enjoyed the potential and the chemistry, not because they thought it might be real. Fandom is gonna ship as fandom always ships: with the glorious, transformative disregard for canon that has always been both its greatest strength (carving spaces for ourselves that were denied to us in the narrative) and its biggest downfall (no one takes us the hell seriously). I love fandom and I love queer interpretations of characters, but I never go into new franchises wearing slash goggles. Some people look for, or actively invent, queer pairings to ship in every fandom, and that’s fine, but it’s not me, and in this scenario, I’m more invested in the idea of this one character being gay, with no romance involved, than in shipping a queer ship that will probably never come to pass. However, I can’t deny that this one’s definitely got some textual fodder. In the week since The Force Awakens has come out, even the media has jumped all over the Finn and Poe “bromance” as the internet’s favorite new ship, but for all that, there still hasn’t been much serious discussion of whether this is a thing that is actually happening, even in a one-sided way.

I was ready and raring to come home from The Force Awakens and write this article on the spot, but it would have consisted mostly of me shouting “OMG! Poe should totally be gay! Why? Because I say so!” which, admittedly, may not have made much of an impact, and would have played right into the hands of those who stereotype us negatively for seeing a queer narrative where they see a straight one. So I slowed my roll, but as the week unfolded, more commentary about this situation began to make its way to me. When it came out in America, others who had immediately vibed the same thing came to talk to me about it on Twitter. A couple more articles were published – mostly about the shipping hype surrounding Finn and Poe, but one, from Bleeding Cool, was similar to my experience — a journalist who walked out of his screening having read Poe, specifically, as queer. And of course, there’s the Ellen thing, which is a whole other ball game.


I started to consider how likely this idea was — whether it was something that Star Wars could get away with, or pull off. Isn’t that a terrible way to have to think about it? “Getting away with it.” “Pulling it off.” In a fictional universe full of hundreds of worlds, thousands of sentient beings in their various alien forms, where we see unspeakable horrors and ethereally magical moments take place, where we’ve seen male aliens leer over females not of their own species, we have to seriously think about whether they can “get away with” a man being attracted to other male human beings? It’s nearly 2016, and for some reason LGBT representation still feels like the final frontier in Hollywood, particularly when it comes to family-friendly content. We won’t forget the reaction any time soon to Marvel’s generous statement that they might be able to include a gay character in their movies… within a decade. And Disney owns Lucasfilm, just as they own Marvel. Is it the House of Mouse calling the shots here? Is being queer something they can’t expose their audiences to? They just showed us Han Solo — the Han Solo — being violently murdered by his own son. Is that meant to be cleaner, less hard to deal with? If they can “get away” with that, they can get away with anything. The ball is in their court — it’s their choice about whether they want to include queer characters in this world, as simple as that. Nothing is holding them back.

Optimistically, there have been a couple of un-Poe-related incidents recently that made my faith in what Lucasfilm is capable of, and how they want to present themselves, grow. I discovered that Sinjir Rath Velus, the lead character of Chuck Wendig’s new Star Wars tie-in novel Aftermath, is gay, and that Lucasfilm were nothing but supportive of the first queer hero in a Star Wars story. “There was no issue in terms of the Lucasfilm people. They have been very gracious and accommodating for that sort of thing, as they should be,” Wendig told EW. Transgender rockstar Laura Jane Grace posted about playing with the voice effects on her new Kylo Ren mask, and the official Star Wars twitter got involved in a conversation with her, even using the hashtag #TrueTransForceRebel, a spin on one of Grace’s most famous songs about her gender identity, True Trans Soul Rebel. A transgender support hashtag for Star Wars fans? Started by someone sitting in their marketing department? Is this real life? There’s now even a fan petition to get her a role in the next Star Wars movie. Between Wendig’s and Grace’s experiences, it sounds like someone higher up at Lucasfilm has made an active choice to approve that kind of direction for the public image of Star Wars, and you’ve got to admit, that’s a very hopeful message. Even if it isn’t Poe himself, I find it impossible to believe that this next Star Wars trilogy will end without us seeing any queer characters at all.


“Some stories just have shoebills in them, without being entirely about shoebills. These are valid narratives to exist alongside (but not replace, and certainly are only possible after) narratives that center entirely on the presence of the shoebill.” Stay with me, folks. A shoebill is a bird, and this quote is a joke in a tumblr post by author Maggie Stiefvater, a little bit of commentary about the response to her own books. It’s a very astute metaphor about minority groups in fiction — some stories just have queer people in them, without being entirely about queer people. Star Wars could be, should be, must become one of those stories. I’m not saying that The Force Awakens hasn’t taken giant strides in the right direction already — it has, and we must thank Lucasfilm for that. It shows us women and people of color, all ages, doing all sorts of jobs in every faction, in a way that’s played as completely standard. But it’s kind of actually gone so far that, unless these movies plan to feature no romantic implications whatsoever, the lack of queer representation — in the background, the foreground, wherever — is soon going to stand out dramatically. With everything this franchise currently seems to stand for, I can’t see them making that mistake.

In a recent interview, Hamilton creator (and composer of TFA’s new cantina music!) Lin-Manuel Miranda was asked what it means for him to be called a game-changer, and he spoke about how what he likes to think about is the impression left on the young kids coming to see his diverse, genre-melding, bar-raising show. “I’m excited to see what that kid writes, because for them, Hamilton has always existed. And that’s just what musicals look like to them. So if Hamilton’s your default musical theatre experience, what are you gonna make?”

Imagine the new Star Wars trilogy as your default movie experience, starring Rey, the tiny, terrifying Jedi whose womanhood is never equated with weakness, Finn, the black, brave ex-Stormtrooper who made a choice not to kill for his captors, and Poe Dameron: alpha male, queer, Latino, the poster boy for the Resistance. Imagine growing up, from childhood, with those characters as your Luke, Leia and Han. Imagine the way that could help to shape hearts and minds and opinions. Imagine what it would allow, and what it would normalize. Imagine what the kids for whom this has always existed will be able to contribute to the world.

Star Wars has brought hope to millions for many years, and it’s bringing hope again now like never before. This one issue, which should be unremarkable and yet is still the most remarkable thing in the world, this is all that’s missing. You’re so close, guys. Follow through on this. Shine your Light on the LGBT community – give us the hero that we deserve. Any queer character would be a long-overdue win, but for the love of the Force, make it Poe Dameron. It’s all but there — all he needs is your blessing.


At a time when the divide between the generations has arguably never been greater, The 100 encapsulates the struggle of millennials more than any other current show.

This article was submitted by Hypable reader Stephanie Farnsworth.

The media churns out article after article about the laziness of millennials, and then complains about how we work too hard. Millennials are branded “snowflakes” even as we struggle to pay rent and bear the consequences of the economic fall-out that we didn’t cause.

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At a time when the divide between the generations has arguably never been greater, The 100 encapsulates the struggle of millennials more than any other current show.

This article was submitted by Hypable reader Stephanie Farnsworth.

The media churns out article after article about the laziness of millennials, and then complains about how we work too hard. Millennials are branded “snowflakes” even as we struggle to pay rent and bear the consequences of the economic fall-out that we didn’t cause.

The CW drama The 100, which is entering its fourth season in February, rather bluntly captures that sense of young people paying the price of previous generations; at the beginning of the series, a council of adult politicians literally sent teenagers to a radiation-soaked earth to try to save their own society.

The 100 season 1 Jaha

The pilot episode revealed the extent of the power imbalance between the generations that reflects our society today: Chancellor Jaha presented the project of ‘the hundred’ as a way for young delinquents to fulfil their duty and gain redemption, even if it cost them their lives. They were even expected to be grateful, because they’d been judged as criminals and would have been executed anyway, even for relatively petty crimes.

And as The 100 season 4 approaches, the adults’ attitudes towards the kids haven’t changed that much from the show’s premiere.

Related: Previewing The 100 season 4: What to expect when you’re expecting an apocalypse

Generational conflict and tension has remained at the heart of the show throughout the series. The generational focus has not been diluted even as the world has expanded to reveal far more of the culture of the Grounders; in fact, this has only given rise to more conflict as the older members of Skaikru have struggled to accept not only the Grounders’ belief system, but the young age of their Commanders.

As the figurehead for all of the delinquents, lead character Clarke has been undermined and derided at every turn. In season 2, her own mother scoffed at the idea that Clarke and Lexa could lead their people to safety, mocking the Grounder Commander’s age and commenting, “They’re being led by a child.” It was up to Kane to point out that Skaikru were, too, because none of the adults had managed to think of a solution, and it was up to Clarke to save them.

Both Abby and Kane’s attitudes play into the infantilising of the millennial generation. Neither Clarke nor Lexa were children. They were young adults, and they were working towards making a better society where all of their people could survive while the adults were focused on internal power plays. Jaha was ready to leave the young adults in Mount Weather to die, but that’s no surprise; he’d made that decision before.

Abby couldn’t bear losing power to her own daughter, to the extent that it culminated in a scene where she assaulted Raven. The young mechanic was cool and composed in her response, pointing out that Clarke stopped being a child when Abby signed off on her daughter being sent to Earth to die.

Raven’s positioning was clear: Although not condemned by any crimes (even if she had committed the crime that Finn was convicted of), she chose to align herself with the hundred and was the one who chose to come to Earth simply to help. The younger generation, in short, pulled together, and when the older generation landed they brought down their old rules and oppression.

The consequences were overwhelming for the younger characters. They were tasked with saving everyone at the expense of any peace to their own souls. Clarke demonstrated this more than any other character and she ended up fleeing her people, unable to carry the burden of expectation they all had for her. It’s something she wrestled with throughout season 3, and with Earth facing a nuclear apocalypse again, Clarke will have to make peace — not with herself, but with how everyone else sees her if she is to survive.

The 100 season 4 Bellamy

Bellamy, too, will have to find his own identity. Last season, he effectively turned his back on the hundred to win the praise of Pike, and Bellamy upheld and supported his bigotry.

His part in slaughtering the Ark survivors’ 300 Grounder allies will not be easily forgotten. Bellamy wanted to be the hero. He wanted to protect people (specifically the women in his life) who never asked for that, and he wanted to be a part of the establishment.

If The 100 presents a metaphor for the real-life relationship between millennials and Gen X, Bellamy is the one wearing the rose-tinted glasses that younger people are supposed to wear when viewing an establishment that has been willing to regularly criticise later generations.

He had longed to be part of the Guard since he was a boy, and he saw a way to fulfil that old dream and become part of an order that had caused his entire family so much suffering. Bellamy was never quite the hundred: He was older, and his sole concern initially had been protecting his sister. It was easier for him to flit between the different groups within Skaikru than it was for any of the rest of the hundred.

After the events of last season, however, Bellamy now knows the pain he’s caused by his choices. And in season 4, he will have to choose exactly who to put his faith in: Clarke or the old order?

But maybe, in light of the external threat that now threatens humanity’s survival, the two generations will finally be able to pull together. There have been many hints that Clarke and Jaha will find some common ground this season due to the pressures they are facing, and Jaha knows well the cost of leading. Through Clarke, we will see whether lessons can be learned from the mistakes of the generation before.

Octavia once accused Clarke of being just like the council by deciding who was worthy of life. Clarke now must show whether she will follow that path or whether she can be better. The millennial dream of whether we can learn from the repression and conservatism of the past will be on trial in The 100 season 4, as we see just how Clarke plans to lead her friends into this new battle.

The 100‘ season 4 premieres February 1 at 9/8c on The CW

Teen Wolf season 6 will be its last — but for how long? In an age of revivals, reboots, and remakes, we really don’t know if this will be the end.

Thanks to Netflix, Gilmore Girls returned to add another chapter to its beloved story. And just this month alone, we got news that Charmed and Will & Grace will both be returning to our screens as well.

So, yes, this is the final season of Teen Wolf, but as fans, we can always hope to see more one day in the future.

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Teen Wolf season 6 will be its last — but for how long? In an age of revivals, reboots, and remakes, we really don’t know if this will be the end.

Thanks to Netflix, Gilmore Girls returned to add another chapter to its beloved story. And just this month alone, we got news that Charmed and Will & Grace will both be returning to our screens as well.

So, yes, this is the final season of Teen Wolf, but as fans, we can always hope to see more one day in the future.

And apparently Teen Wolf creator and showrunner Jeff Davis must keep that in mind as well.

Speaking to EW about how series finales have changed in the era of reboots, Davis says it’s smart to keep the series ending open enough to allow for the possibility of a revival down the line.

However, this certainly comes with some concerns as well. “One of the things it does is keep you from killing off a lot of characters,” he says. “So the series-ending episode where you blow up the entire world and kill off half your main characters isn’t the smartest thing to do anymore.”

Killing half your main characters would be a shock, but not necessarily a good one. Today’s media is consumed so intensely by its fans that a series finale like that has the potential to put an audience off the property for good.

So not only do you have to worry about the potential for a revival with half your players in the ground, but you have to worry about whether your original fans will even want to tune in for more. That could make or break the whole idea of a revival.

But what about on the other side of that? Creators want their stories to leave a lasting impression, and what better way to do that than to have one of your main characters sacrifice themselves for their friends?

“I do worry that it makes finales less impactful — you don’t want to give a half-assed ending,” Davis says of the need to keep a potential revival in mind. “You want a story to feel like it finishes.”

And that’s something fans of Teen Wolf have been worrying over since it was first announced season 6 would be the show’s last. Who will we lose in this final season, and what impact will that make on our overall feelings about the series?

We’ve come too far to lose someone we cared about from day one, but we’ve also invested too much time to see a mediocre ending. It’s a challenging balance that all fans of Teen Wolf are hoping Davis and his team are up for.

What do you think of the idea for an eventual ‘Teen Wolf‘ revival?

When the first rumors of a Charmed reboot came out a few years ago I started a mental list of what it has to have. Now that it’s officially happening here’s what I think a ’70s-era Charmed show can still pull off.

The mythology of Charmed runs deep. So deep, in fact, that they could have set this during the founding of America and we’d still be able to get a Charmed feeling thanks to the original show’s flashbacks. (But I’m happy it’s not set way back then.)

Given the show’s history, I’m not worried about it taking place in the ’70s; I’m actually excited about it. It’s an original take on how we can learn more about the Halliwell family before the Power of Three was old enough to realize they were the most powerful witches in the world, and I’m excited to see what they bring to it.

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When the first rumors of a Charmed reboot came out a few years ago I started a mental list of what it has to have. Now that it’s officially happening here’s what I think a ’70s-era Charmed show can still pull off.

The mythology of Charmed runs deep. So deep, in fact, that they could have set this during the founding of America and we’d still be able to get a Charmed feeling thanks to the original show’s flashbacks. (But I’m happy it’s not set way back then.)

Given the show’s history, I’m not worried about it taking place in the ’70s; I’m actually excited about it. It’s an original take on how we can learn more about the Halliwell family before the Power of Three was old enough to realize they were the most powerful witches in the world, and I’m excited to see what they bring to it.

With that being said, it’s hard to think of anything Charmed related happening without its important mythology and history, so there are just a few things this reboot absolutely has to have.


Whitelighters are the angels in the Charmed universe, and without them we wouldn’t have Leo or Paige and we wouldn’t have the almost never-ending source of wisdom and guidance we’re so used to seeing.

It scares me to think about this happening without the Halliwell family at all, but if that is the (horrible) route they choose to go, then they’re definitely going to need a Whitelighter to guide the characters and tell them what’s up. Without the Book of Shadows, a Whitelighter is going to be the only way the new witches will have any hope of figuring out what is going on.

And I will never get sick of seeing people orb everywhere — that’s one of the best parts of the original show, tbh.


On the opposite end of angels there are always demons, so it’d be a missed opportunity to not include them in this reboot. Darklighters are the only thing that could kill a Whitelighter, so it makes sense to bring them into the picture as well so we could get some d-d-d-drama.

The only hesitance I have about this new reboot bringing Darklighters and demons into the mix is that today’s audience seem enthralled with demons and fighting, and I worry there’s not going to be as much character growth in the newer episodes as there was with the original series.

I don’t want a Charmed reboot to be all about the demon fighting and not enough about the sisters and their relationship, but hopefully the fact that it’s helmed by women will help prevent that from happening.

Pre-bound Charmed ones

As any well-informed Charmed fan will tell you, the main girls (Prue, Piper, and Phoebe) had their powers bound/stripped when they were children so they could grow up without the threats of demons and death. If the show is about the Halliwell family, I’m hoping it begins at least a good six months or so before their powers get taken away from them.

There are so many questions I have about the pre-bound Charmed ones: Did they have powers in the womb like Wyatt, or was that just because Wyatt was the product of a Charmed one and a Whitelighter? Did the girls having powers bring so much evil that Grandma had no choice but to take them away? What was life like for Penny and Patty with the girls as youngsters? Sure, we saw glimpses of that briefly in the main series, but there’s still so much more to know!

I’m hoping that if the show does indeed take place around the Halliwell family in the ’70s, we’ll get to see what led up to Grandma Penny binding their powers. Hopefully it might be an even bigger surprise and twist than we all thought.

Kick-ass Penny

Speaking of Penny Halliwell, the grandmother to the Charmed Ones and mother of Patty Halliwell, she is one bad-ass bitch. We know this because of the several times she’s been summoned by the sisters for help (both supernatural and remedial).

There’s no way the show could revolve around the Halliwell family in the ’70s and not include one of the most bad-ass witches in the family line. Witnessing Penny kick some ass is something we all need to see, and I’m sure it would be one of the best parts of the whole series.

I know the show is still in its beginning stages and there are absolutely no cast members involved yet, but I would die to see Jennifer Rhodes reprise her role as Penny just to see that unfiltered sass come back to my screen.

Cameos galore!

Don’t get me started on how ticked I am that this is a prequel happening in the ’70s, if it even is that. When I think Charmed, I think Phoebe, Piper, Prue, Paige, Leo, etc. So naturally, to make up for this hideous decision in setting, the show has to make up for it by coming up with some excuse to bring back the original girls.

Alyssa Milano, Holly Marie Combs and Rose McGowan have all said they’d be totally down to return for a Charmed reunion, so it hurts that whoever decided to put this reboot in the ’70s basically took that interest and threw it out the window. I’m hoping they work in a way to get the girls to show up in this series, and not just once.

Having the main girls appear just once in this reboot would basically be blasphemy, so hopefully the main characters figure out a way to find out about the existence of the Charmed Ones and use some sort of spell to contact them occasionally for help.

Oh, and it wouldn’t hurt to see Leo, Chris, Wyatt or all the other characters every one in a while, too.

Bonus: Reference the original theme song

This is way less likely than anything else, but I’m hoping that when the show starts up they utilize the show’s original theme song, How Soon Is Now by The Smiths.

It’s a damn shame that the entire series is on Netflix but with some rip-off theme song. You can’t have Charmed without The Smiths! Well, you can as evidenced by Netflix, but you really, really shouldn’t.

The music license to use the song expired, but please, will someone contact The Smiths and politely ask them to let us hear it with Charmed again? Here’s the original theme for those of you who miss it like I do.

What do you want in the ‘Charmed’ reboot?