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A Star Is Born
Movie

A Star Is Born

2018 • Drama, Music, Romance

Woke Score
5
out of 10

Plot

Seasoned musician Jackson Maine (Bradley Cooper) discovers-and falls in love with-struggling artist Ally (Gaga). She has just about given up on her dream to make it big as a singer - until Jack coaxes her into the spotlight. But even as Ally's career takes off, the personal side of their relationship is breaking down, as Jack fights an ongoing battle with his own internal demons.

Overall Series Review

The 2018 iteration of 'A Star Is Born' primarily focuses on the timeless tragedy of a passionate romance collapsing under the weight of addiction and the volatile nature of fame, rather than a narrative driven by modern political lectures. The main conflict is intensely personal and artistic: the raw 'authenticity' of rock music versus the manufactured nature of commercial pop, framed by the self-destruction of an alcoholic male star, Jackson Maine, and the ascent of his talented partner, Ally. Ally's rise is directly concurrent with Maine's decline and death, maintaining the classic story's theme of male emasculation and the female star's ultimate transcendence of her male mentor. The film is noteworthy for its normalization of alternative sexualities, prominently featuring a drag bar as the location of the central couple's meeting and Ally's established performance venue, complete with queer supporting characters. The film’s worldview is secular, positioning art and self-expression as the highest good, with the protagonist's moral arc centered on personal struggle against addiction and the emptiness of fame, not systemic societal critique. Traditional institutions are not overtly attacked, but they are sidelined in favor of the couple's passionate, self-centered romantic worldview.

Categorical Breakdown

Identity Politics2/10

The narrative does not center on race, immutable characteristics, or intersectional hierarchy; the conflict is entirely about addiction, fame, and artistic 'authenticity.' The main characters are white, and their struggle is universal to the entertainment industry. A few minority supporting roles are present, but their characters are judged by their personal merit and relationship to the protagonists, not by their identity group.

Oikophobia2/10

The film does not frame Western culture as fundamentally corrupt or racist. Jackson Maine's struggle is with his personal demons of addiction and family trauma, not a societal indictment of his 'home' or ancestors. The lyric 'Maybe it's time to let the old ways die' refers to the old-school, self-destructive rock star archetype, not core Western civilization or institutions. The setting and culture are largely treated as neutral backdrops for a human tragedy.

Feminism7/10

The story's template inherently involves the emasculation and destruction of the male star as the female star rises, making the male lead incompetent through his own addiction. The man is depicted as a broken, self-destructive figure, while the woman achieves professional success. Ally's arc centers entirely on her career, and motherhood is completely absent from the narrative, positioning career as the sole fulfillment. She is not, however, a 'Girl Boss' figure, as she is often passive in her image change and enabling of her husband's behavior.

LGBTQ+7/10

The core relationship begins in a drag bar where Ally regularly performs for a largely queer audience, normalizing the environment. Drag queens are prominently featured in supporting roles and treated as a welcoming community. This setting and the inclusion of alternative sexualities are central to the meet-cute and Ally's initial environment, but the narrative's primary focus remains on the heterosexual romance and the music careers.

Anti-Theism6/10

The film operates on a fundamentally secular and 'Romantic' worldview where personal artistic expression and intense emotion are portrayed as the highest value. Addiction and self-destruction are the dominant spiritual themes, representing a profound 'spiritual vacuum' in the main character's life. While the characters do marry in a church, traditional religion is a backdrop and not a source of strength or transcendent morality to resolve the tragedy. Morality is subjective and driven by individual feelings and the pursuit of 'authentic' art.