Unlike her fellow Arrowverse heroes, "Batwoman" the TV series will probably be plugged off after a few episodes as the first season of her show unfolds. After all, that's pretty much in the job description, especially when you fight crime in Gotham and forcing the viewers to swallow your feminist and lesbian agenda.
Fortunately for viewers, after only one episode into Kate Kane's first solo venture on screen the odds are already stacked against her — at least, if the negative scores online are anything to go by.
After the pilot episode dropped last week, reviews were combined on the aggregate site Rotten Tomatoes to give "Batwoman" a 'fresh' rating of 72 percent. The critical consensus was that Kane needs more time to find herself, but the first episode was "a step in the right direction for representation and superhero shows alike."
However, the user ratings tell a very different story.
In what's unsurprising news, the pilot episode of "Batwoman" scored a measly 10 percent with audiences, many of whom seem to have deliberately review-bombed the show in an attempt to drag the score down.
Most of the negative reviews are valid. After all, taste is subjective and "Batwoman" isn't a mind-blowing show straight out of the gate. You're allowed to dislike it!
In fact, audiences tend to be kinder to shows than the critics who are paid to review them – unless that show happens to offend them because of feminist or LGBTQ+ content.
Among the negative reviews, after Ruby Rose gave an interview to Glamour that riled the viewers, lots of the responses specifically call "Batwoman" out for pushing feminism and queer sexuality to the forefront.
"Another show with so much potential ruined by wokeness," reads one.
"You can tell a narrative is being pushed rather than a decent story being told," says another.
And so on, but the problem is obviously clear.
This irritating feminist call for more female representation in cinema has created a genre of what could be called the 'female-voice' film. The same could be said for films which are said to give 'voice' to racial and sexual minorities.
To translate from the cultural-studies jargon, 'voice' here refers to films in which a particular identity group is front and center. They star in these films and shows and usually take a larger share of the writing, directing and production credits.
These films are supposedly informed by the experiences of these identity groups, in contrast to all other films which, by default, are said to reflect a 'white', 'male' and 'heteronormative' experience.
This inevitably makes for shallow, two-dimensional films, in which identity, rather than fighting crimes in Gotham or carrying out heists, drives the plot and motivates the characters. Reducing people to identities turns fictional characters into unrelatable caricatures.
This is why people stay away from TV shows and films that pander to 'voices', and why so many men and women do not enjoy self-consciously 'female' films. They present diminished caricatures of women, men and human relations, which people experience as untrue. Ideological point-scoring makes for terrible cinema.
Fortunately for viewers, after only one episode into Kate Kane's first solo venture on screen the odds are already stacked against her — at least, if the negative scores online are anything to go by.
After the pilot episode dropped last week, reviews were combined on the aggregate site Rotten Tomatoes to give "Batwoman" a 'fresh' rating of 72 percent. The critical consensus was that Kane needs more time to find herself, but the first episode was "a step in the right direction for representation and superhero shows alike."
However, the user ratings tell a very different story.
In what's unsurprising news, the pilot episode of "Batwoman" scored a measly 10 percent with audiences, many of whom seem to have deliberately review-bombed the show in an attempt to drag the score down.
Most of the negative reviews are valid. After all, taste is subjective and "Batwoman" isn't a mind-blowing show straight out of the gate. You're allowed to dislike it!
In fact, audiences tend to be kinder to shows than the critics who are paid to review them – unless that show happens to offend them because of feminist or LGBTQ+ content.
Among the negative reviews, after Ruby Rose gave an interview to Glamour that riled the viewers, lots of the responses specifically call "Batwoman" out for pushing feminism and queer sexuality to the forefront.
"Another show with so much potential ruined by wokeness," reads one.
"You can tell a narrative is being pushed rather than a decent story being told," says another.
And so on, but the problem is obviously clear.
This irritating feminist call for more female representation in cinema has created a genre of what could be called the 'female-voice' film. The same could be said for films which are said to give 'voice' to racial and sexual minorities.
To translate from the cultural-studies jargon, 'voice' here refers to films in which a particular identity group is front and center. They star in these films and shows and usually take a larger share of the writing, directing and production credits.
These films are supposedly informed by the experiences of these identity groups, in contrast to all other films which, by default, are said to reflect a 'white', 'male' and 'heteronormative' experience.
This inevitably makes for shallow, two-dimensional films, in which identity, rather than fighting crimes in Gotham or carrying out heists, drives the plot and motivates the characters. Reducing people to identities turns fictional characters into unrelatable caricatures.
This is why people stay away from TV shows and films that pander to 'voices', and why so many men and women do not enjoy self-consciously 'female' films. They present diminished caricatures of women, men and human relations, which people experience as untrue. Ideological point-scoring makes for terrible cinema.
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