If one has been following the entertainment industry closely, they would have noticed the escalating menace of fan toxicity over the previous ten years. The misguided “woke warfare” has stoked an already highly reactive sense of privilege among those who favour white male types cast in roles such as leotards wearers, dragon riders, or astronauts. The suggestion of integrating any disruptive “diversity” – meaning appointing a woman or an ethnically diverse individual, in a well-known movie series, results in the inflamed individuals flocking to platforms like Rotten Tomatoes or the Internet Movie Database, intent on negatively scoring the said title into oblivion. This practice, dubbed “review bombing”, first drew public attention when Sony brazenly decided to reassign the Ghostbusters roles with a female cast back in 2016.
The practice persists, with the frequency of negative reviews and derogatory comments intensifying during the era of various franchise streaming shows. The African-American lead of Star Wars’ offshoot, The Acolyte, Amandla Stenberg, commented on the heightened “conservative bigotry, malice, prejudice, loathing and contemptuous language directed at us”. The show was scrapped at the end of August.
Yet, these rabid fans continue to stand on the doorsteps, don’t they? Certainly, the Hollywood management wouldn’t consider entrusting control to a group comprised of fanatic individuals, huddled in their basements with their gaming chairs and wireless headsets? A recent piece from Variety seems to suggest otherwise. It paints a picture of Bastille’s wardens lifting the drawbridge to welcome the swarm outside.
Confidential sources within the studio have relayed to the magazine that “the primary safeguard is to not incite these fan groups to begin with”. The plan elaboration ensuing did send shivers down the spine of mature observers. “Film studios are looking to establish a specialised assembly of die-hard fans to evaluate potential marketing materials for a major franchise project,” asserts Adam B Vary.
Apologies, what? Should I be of less measured temperament, I might envision hordes of enthusiasts adorned in homemade Iron Man suits, welcomed with open arms into Burbank canteens to feast on gallons of sugar-free Mountain Dew and devour mountains of CheezOs. The studios might naively believe they can win their loyalty with Lego Millennium Falcons, yet these individuals are not so simply appeased. These enthusiast groups resemble religions more than the friendly fan communities that once congregated on digital platforms to discuss Dr. Who or The Hitchhiker’s Guide to the Galaxy. Despite lacking a membership card or sworn loyalty, one can choose to join or exit a “fandom”. Phrases such as being “in” a fandom like Harry Potter seem parallel to declarations of being “in” the Church of the Blessed Flying Saucer.
Inviting these fandoms to assist in shaping the forthcoming entertainment franchises feels much like candy manufacturers seeking toddler input on the future of chocolate bars – the inevitable outcome is an even sweeter, stickier, and larger product. The infamous concept of ‘Homer Simpson’s car’ comes across as somewhat pertinent in this context, yet the present suggestion is far more alarming. In a 1991 Simpsons episode, Homer’s attempt at creating a new automobile resulted in a disaster, equipped with a noise-cancelling dome, plush carpeting, and a variety of horns blaring ‘La Cucaracha’.
Contrarily, this serves as an inadequate analogy when considering what fandoms might do to Harry Potter or The Lord of the Rings. These communities tend to be quite traditional, wishing for things to remain unaltered. Phrases such as “comic accuracy” are ushered approvingly towards any new superhero adaptations. If “superfans” were to design a vehicle, it would likely resemble a grey 1962 Ford Cortina.
Regaining consciousness and flapping themselves with the Variety magazine that had triggered their swoon, the film critics may have noted that the proposal implies that the extreme fans will be solicited only regarding promotional materials. Essentially, this appears more akin to a publicity stunt than a significant shift in filmmaking tactics. Should the minds behind the forthcoming Harry Potter TV series decide to opt for increased diversity in their casting – which is likely – then they shall receive it. Among other things, the studios are conscious of the fact that the negative demographic forms a minor portion of the extensive fan base and an even tinier part of the overall audience. Audience absence from The Marvels was not driven by its predominantly female cast, but by rumours of its abysmal quality.
Nevertheless, this paltry offer extended to the aggressive masses is nonetheless irksome. As Todd Phillips, creator of Joker: Folie à Deux, the sequel to his original Joker, comes under scrutiny for a film that seemingly disrespects the previous title’s substantial fanbase. However, that’s not quite accurate. More specifically, the critique is only directed at those manic, less contemplative supporters who perceived the lead character as a beacon of furious opposition. They’ve had it coming. There should be no concessions for them.