After We Fell is the third movie in the After series. It follows Tessa Young and Hardin Scott as family secrets surface, Tessa's estranged father returns, she takes a job in Seattle, and the couple fights over trust, jealousy, and their future. The story includes one short scene where a supporting woman states she is gay to resolve a misunderstanding with Hardin. No activist messages, identity politics, or social justice themes drive the plot, characters, or marketing.
Community feedback
Was our 16% Woke rating accurate?
Breakdown
These are the editorial factors and ratings behind our score for After We Fell.
Woke representation / casting
Modern contemporary setting with incidental supporting diversity in family and friend roles (examples include a black stepbrother figure and stepmother figure per cast). One explicit background scene has a female character state she is gay to clear up a jealousy misunderstanding with Hardin. No casting announcements, trailers, or reviews frame roles around representation priorities, quotas, or identity signaling. Patterns appear unemphasized and story-incidental rather than audience-visible agenda. LGBTQ+ element present but limited to one functional line.
22%
Woke political dialogue
No activist language, identity lectures, DEI talking points, or political messaging. Dialogue stays within personal relationship conflicts, family revelations, jealousy, trust, and career decisions typical of romance drama.
0%
Identity-driven story themes
Main narrative follows a turbulent heterosexual romance tested by family trauma, addiction, abandonment, and life changes. One minor plot device uses a supporting character's gay identity to resolve suspicion. No systemic critiques of patriarchy, race, whiteness, capitalism, or modern identity politics shape arcs or structure. Themes remain individual and relational.
10%
Western institutional / cultural critique
No reframing of family, gender roles, relationships, or institutions through activist lenses such as toxic masculinity, anti-patriarchy, or colonial guilt. Personal dysfunction and toxic behaviors appear without broader ideological overlay or calls for social reform. Some reviews note a light pro-marriage subplot.
0%
Woke character or canon changes
Not relevant. Adapts original novels by Anna Todd with no established legacy canon, historical figures, or prior adaptations to alter. Supporting recasts resulted from pandemic logistics and scheduling, not ideological reinterpretations or identity-driven swaps.
0%
Anti-woke backlash and complaints
No documented anti-woke or right-leaning complaints accusing the film of pushing woke, DEI, identity politics, or left-wing content. Reactions center on story quality, repetitive drama, and concerns over romanticizing controlling or abusive dynamics. No matching coverage or social volume exists for agenda or propaganda claims.
0%
Creator track record context
Most key people (Anna Todd and several producers) have mainstream commercial romance and entertainment backgrounds with minimal or no activist history. Director Castille Landon has noted women in directing and pursued mental health-focused stories. Screenwriter Sharon Soboil has professional ties to projects connected to feminist-leaning documentary work on gender representation. Signals stay mild and industry-typical without recurring identity, DEI, or queer activism patterns.
10%
Production
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