Or: How to become a better writer than JJ Abrams by reading Internet tutorials
All he had to do was two things:
1) Make her shit at something, one thing. Like maybe she never gets good with the gun, or fails to mind trick the guard. When we see our heroes fail it makes us love then more because it's humanizing and we want to see them overcome adversity by working it for it.
2) Cut the meet-cute stuff with Han and the Falcon, her recognizing how everything worked felt artificial and that whole subplot can't be salvaged.
But then nobody would read it :-)
Still wouldn't change that every would inexplicably love her or is inexplicably obsessed over her and that everytime she isn't on screen all characters can think about is "where is Mary Sue?"
What if Abrams purposely wanted her to be a Sue? What if deliberately tried to make her overly perfect and wanted people to hate her and now he's crying himself to sleep because nobody understood the brilliance of his parody and the rest of the trilogy doesn't make any sense, because everybody loves Rey?
How else could a renowed Hollywood writer write like a fucking 6 year old
Let's hear a master describe this piece:
>TV-show runner J. J. Abrams brings his game-changing banality to the Star Wars franchise. He follows the template as originated by Lucas and appeals to adolescent thralldom, keeping the brand recognizable. The Force Awakens is paced better than Star Wars’ other dismal episodes, yet it’s even more impersonal. There’s no visual or spiritual excitement, as there was even in a cynical sci-fi product like Ridley Scott’s Prometheus. Abrams is making product to salute the cultural and economic status quo. With Star Wars, product has not only taken the place of art; it has replaced myth.