21 The Affect of Reactionary Anti-Fan Youtubers and the Failure of The Marvels

Introduction

In the year 2019, the cinematic landscape was overwhelmingly dominated by the unprecedented success of Marvel Studios, a phenomenon that was unmistakably evident as the studio amassed an astonishing revenue exceeding 5 billion dollars, a feat accomplished with the release of merely three films. This remarkable achievement was further underscored by the considerable financial success of Captain Marvel, a film that, despite encountering substantial backlash and controversy from a segment of the fanbase, managed to secure an impressive position at the box office, thereby serving as a clear testament to the substantial and ongoing momentum that the franchise had garnered at that time. However, a dramatic shift in fortunes is observed as we fast forward to the year 2023. The sequel, The Marvels, along with most other productions from both Marvel Studios and its parent conglomerate, The Walt Disney Company, experienced a drastic downturn in their commercial performance. This downturn is strikingly evident when comparing the opening weekend gross of The Marvels – a rather modest 110 million dollars, to that of its predecessor, Captain Marvel, which had raked in approximately 455 million dollars. This figure represents less than a quarter of the revenue generated by the earlier film, highlighting a significant and worrying drop in financial returns. In the realm of online commentary, the presence and influence of anti-fan YouTubers, who critique and often disparage such cinematic productions, is not a novel phenomenon. However, in the context of 2023, it appears that the general audience’s opinions have begun to align more closely with the critical perspectives and derisive attitudes espoused by these commentators towards the Marvel Cinematic Universe, now mockingly referred to as the “MSheU.” Among these YouTubers, The Critical Drinker has emerged as a particularly influential figure, having significantly contributed to the growing wave of backlash against the franchise over the past few years. In the specific case of The Marvels, the viewpoints and analyses offered by The Critical Drinker have gained considerable traction and popularity. This has not only resonated with other content creators who share a similar disdain for the franchise but has also extended its influence on more general right-wing activists. The primary objective of this paper is to delve into the nature and impact of the discourse propagated by The Critical Drinker and other anti-fan YouTubers, particularly in relation to how it has shaped and influenced the general audience’s perception of the Marvel Cinematic Universe in its present state, and the backlash it has incited. The focus will predominantly be on The Marvels and the discourse that has surrounded it, both prior to and following its release in the year 2023. To provide a comprehensive understanding, this examination will also briefly include relevant background information from the preceding two years, offering essential context for the present situation.

Anti-Fan Youtubers and Textual Poaching

The Critical Drinker (AKA, the Drinker), and other such youtubers can be categorized as a “disappointed fandom.” Gray cites Jenkin’s work on “textual poaching” to define this concept as follows:

“Above, I discuss anti-fandom as opposed to fandom, or as directed toward one object as an outgrowth of fandom toward another object. In truth, however, we will often find anti-fandom and fandom working in tandem, an inseparable pair. Certainly, a great deal of fan studies has examined processes that are remarkably close to anti-fandom. Henry Jenkins’s famous Textual Poachers (1992) catalogues and theorizes multiple instances in which fans like a text to a point but reject parts of the text and feel the need to renovate or cure those parts. In other words, they are fans of the text as a whole yet also anti-fans of specific parts.” (Gray, 2019, p.30)

The theoretical framework of “textual poaching,” a term that captures the act of audiences and critics extracting and reinterpreting elements from media texts to serve their own purposes, finds a particularly resonant application in the context of The Critical Drinker’s online content. A significant proportion of his output is devoted to the critique of what he perceives as an overemphasis on progressive themes within recent projects of the Marvel Cinematic Universe (MCU). The Drinker has become notably infamous for coining and popularizing the term “The Message,” which he uses as a comprehensive descriptor for elements within media that he regards as excessively preachy and unpalatably progressive in nature. This term encapsulates his underlying desire to ‘cure’ or ‘renovate’ contemporary media, advocating for a return to what he perceives as a more authentic and unadulterated form reminiscent of earlier iterations. The Critical Drinker’s critiques are distinctly characterized by a reactionary stance that is vehemently opposed to what is often labeled as ‘woke’ culture. He applies this perspective specifically to new versions of well-established media properties. According to his view, any substantial presence of “The Message” in these newer iterations renders them fundamentally distasteful and alienating to audiences who possess a deep appreciation and reverence for the original essence and legacy of their favorite franchises. The influence of “The Message” as a concept has significantly extended beyond the confines of The Critical Drinker’s primary YouTube channel. It has become a widely recognized and adopted notion among his contemporaries in the broader “anti-woke” spheres of movie and gaming critique on YouTube. The Critical Drinker further expands this dialogue on his secondary channel, Critical Drinker After Hours, where he hosts a more informal and unscripted podcast format. In this setting, he frequently invites fellow content creators, who share similar viewpoints, to engage in discussions and exchanges, thereby further disseminating and entrenching the concept of “The Message” within these online communities.

Backlash Against The Marvels 

The Drinker made a video on April 12, 2023, where he gave his opinion on The Marvels first trailer. This video was sarcastically called “The Marvels Trailer Looks Amazing!.” In the video, the Drinker derides The Marvels predecessor Captain Marvel for having

“taught young girls everywhere that the only thing they need to succeed in life is to recognize their own awesomeness, because hard work, setbacks, personal growth and self-improvement is for losers.” (The Critical Drinker, 2023)

This excerpt from the video perfectly encapsulates the disdain the Drinker and his peers have for the “woke” messaging of this film and sets the tone for how the movie would be discussed leading up to and after its release. It shows the kind of sentiment they would like to inculcate in their audience that characters such as Captain Marvel, Miss Marvel and Monica Rambeau did not earn their position within the MCU and are shallow, overpowered and poorly written characters. This messaging taps into a notion of a feminist power fantasy of sorts, which the Drinker and his peers see as a revolting assault on the franchises traditionally beloved by their audiences. However, this kind of content is nothing new, even twenty-three years ago researchers like Rhonda Hammer have noted the popularity of this kind of “anti-woke” and “anti-feminist” backlash, saying that:

“In recent years, following in the wake of the incendiary “culture wars,” feminism continues to serve as a prominent target in the New Right’s witch-hunt for an imaginary conspiracy of an almighty leftist cabala dedicated to the entrenchment of a tyrannical, undemocratic ideology, bearing the nebulous and rather ambiguous label of “political correctness.” Ferguson, Katrak, and Miner document how the “culture wars of the 1980s and 1990s” have glorified New Right nuclear family values, “laissez-faire economics,” and traditional notions of femininity and motherhood in a campaign which converges biases against diverse ethnic and multiculturalism projects and studies with anti-feminist sentiments.” (Hammer, 2000, p. 210)

These apt observations embody a big part of the appeal for audiences that the Drinker’s content holds as a defiance of multimedia conglomerates such as Disney that champion what Hammer calls “political correctness” or “The Message” in the context of the Drinker’s content.

The Deep Roots of This Backlash

In the intro, it was stated that the peak of the MCU was Avengers Endgame in 2019, but even back then this part of the fandom that the Drinker taps into was vocal and active. Matt Griffin, a researcher who described fan backlash against the female empowerment scene of Avengers: Endgame on Twitter explains it as follows:

“This new dynamic has had political consequences, as it has brought about ‘growing industrial and fan-cultural efforts to marginalize female fans over roughly the past decade. Scott argues that by routinely centring white male characters in media, producers empower ‘a segment of entitled white, straight male fans to dismiss minority fans’ concerns and invalidate their claim to ‘authentic’ fan identity’. Therefore, moments that highlight non-white male characters often receive intense scrutiny and derision. Discussion of race or gender in popular culture often leaves ‘white fandoms exnominated and normative, thus positioning race and fandom as fundamentally different from ‘regular’ fandom.’” (Griffin, 2020)

So, it seems as though the Drinker is not necessarily tapping into a new audience, but rather one which has been well established and has been acknowledged by both older research and more contemporary research. Griffin defines affect in the context of his research as follows:

“Affect has significant intersections with both gender and fandom, and is similar to, but distinct from, emotion. The term partially refers to ‘a strong feeling of attachment’ that a person has for a particular object.” (Griffin, 2020)

This definition’s emphasis on attachment explains why the Drinker is so successful in driving this narrative because he taps into that feeling among his audience who feel like they are being alienated or attacked by Marvel Studios who keeps putting “The Message” into everything they hold dear and therefore corrupting it. And so far, it seems to be working, not only did years of inculcating reactionary anti-fandom result in The Marvels being a commercial failure, but it also resulted in massive growth for the Drinker’s channel. According to Social Blade, a website that tracks YouTuber growth, The Drinker has gone from 614,000 subscribers in 2021 to over 1,850,000 subscribers today. This means that in just two years the Drinker has tripled his audience size and shows just how much this content seems to resonate with his fanbase.

Us vs Them and The Celebration of Marvel Studios’ Fall From Grace

The Drinker and his peers have also promoted a tribal identity for the “anti-woke” where they push this narrative that they must win the culture wars and celebrate perceived victories. In fact, one of those aforementioned peers who frequently appear on the Drinker’s second channel made a video in that vein. Nerdrotic uploaded a video titled “The Marvels FAILURE is a MASSIVE Culture War Win” where he celebrates the underperformance of The Marvels at the Box Office. In fact, Nerdrotic goes on to say the following:

“Before we even get started I want you all to make sure to stretch so you don’t pull a hammy on your well-earned victory laps.” (Nerdrotic, 2023)

This statement demonstrates the kind of divisive atmosphere that such YouTubers like to promote, by celebrating this outcome for The Marvels as a vindication of their viewpoints and that of their audience. In a rather comprehensive study done, two researchers named Xiaoting Han & Chenjun Yin mapped out various categories that anti-feminist content creators and activists could fall under. The category most relevant to this topic is that of the “antifeminist countermovement” which these YouTubers fall under. Han & Yin make the following observation:

“All of them stand out for their capacity of frontal argumentation against the claims and achievements of feminism on social, political, and legal aspects, but have two different modes of organization. The financing of the organized groups, like MRA, are proceeding from the traditional channels (like affiliate fees, donation, and lobbying), while the independent antifeminist figures are exploiting the new digital way of monetizing content via social media or crowdfounding.” (Han, Ying, 2023)

This shows that researchers have taken notice of this phenomenon and that there is growing awareness of the kind of influence the Drinker and his peers such as Nerdrotic seem to have. According to Mareika J Bauerm, this kind of discourse that the Drinker, Nerdrotic and the others are spreading is not based on wanting to debate the merits of feminism, but rather just a blanket opposition to it, saying:

“Whether an individual, organization, political party or institution is anti-feminist is not determined by self-positioning as an anti-feminist or the naming as anti-feminist by external actors but is rather defined by a positioning that is contrary to feminism as an analytical term. Hence, anti-feminism is not a critique of feminist positions but a generalization of feminism with the aim of devaluation.” (Bauer, 2023)

This disdain for both Feminism and other Progressive ideologies which are part of “The Message” seems deeply entrenched in the ideology of the Drinker and his peers’ audiences.

Solutions and a Path Forward?

Thus arises the pivotal question: what conclusions should one draw upon recognizing the considerable influence of this pervasive anti-fandom, particularly in light of its significant impact on the box office performance of a film produced by a billion-dollar corporation like Marvel, and its ability to sway audience perceptions? Does this situation necessitate a complete overhaul, compelling major studios such as Marvel to revert to their previous methodologies, capitulating to the critiques and demands of this disenchanted anti-fandom? Or does it, alternatively, suggest that these studios should embark on a path of innovative and creative reinvention in their approach to filmmaking? One of the prevalent critiques levied against the current state of the Marvel Cinematic Universe (MCU) is the concept of “superhero fatigue,” a term that has gained currency among various media outlets. This notion posits that audiences have grown weary and disenchanted with what is perceived as a directionless and excessively produced “post-Endgame” MCU. This sentiment is reflected in the less-than-stellar box office performances of films like The Marvels and Ant-Man and The Wasp: Quantumania, which are seen as casualties of this prevailing fatigue. However, this narrative is not entirely accurate, as demonstrated by the commercial success of “Guardians of the Galaxy Vol. 3,” a film within the MCU that garnered a substantial profit, earning 845 million dollars against a 250 million dollar budget. This success is often attributed to the distinct vision of James Gunn, the director responsible for the previous installments of this trilogy, who brought a unique approach that diverged from the broader trends of the MCU. This suggests that what mainstream audiences may truly desire are films with tightly focused and narrative-driven plotlines. A significant aspect of the criticism directed towards the MCU concerns its heavy reliance on its streaming platform, Disney+. Observers have noted that this dependence may be diluting the brand’s impact. Specifically, the underperformance of The Marvels at the box office has been linked to the introduction of two of its three leads, Miss Marvel and Monica Rambeau, in shows exclusive to Disney+, which a majority of casual fans may not have engaged with. On the other hand, Warner Bros. provides an interesting contrast with their film Barbie, which, despite a relatively modest budget of 128-145 million dollars, achieved over 1.442 billion dollars at the box office. Notably, this film, despite being heavily criticized by The Critical Drinker and similar commentators for its feminist themes, succeeded in disproving their “go woke, go broke” narrative. The success of Greta Gerwig’s film, laden with feminist messaging, suggests that audience resistance to progressive themes, often emphasized by The Drinker and his peers, might not be as pervasive as they portray. It may instead indicate a broader audience fatigue stemming from a lack of innovation and creativity that fails to align with evolving audience preferences, which appear to increasingly favor narrative-driven and focused films, particularly those that are original in their conception.

Light At The End of The Tunnel

In summarizing the current situation, it is important to acknowledge that while a number of researchers and journalists have raised increasing alarms about the rising popularity of the Drinker and his colleagues, who frequently espouse an anti-feminist agenda and express a profound disdain for what they term as “The Message,” the circumstances are not entirely devoid of optimism. Indeed, it may be true that the Marvel Cinematic Universe (MCU) might not replicate its remarkable zenith of success as experienced in the year 2019, and it is conceivable that Marvel Studios may not fully regain such an elevated and seemingly invincible status. However, this does not unequivocally dictate that their prospects are irrevocably doomed. The potential for a turnaround exists, particularly if there is an infusion of new talent, a rejuvenation of creative vision, and a concerted effort towards the generation of original content. Such a strategic shift could very well prevent a recurrence of the missteps that led to the underwhelming box office performance of The Marvels and other films under the Marvel and Disney banners. Embracing this approach could prove beneficial not only for Marvel and Disney but also for the broader film industry. It would serve to challenge and potentially dismantle the detrimental narratives propagated by The Critical Drinker and his peers, narratives that currently hold a prominent place in online discourse, particularly on platforms like YouTube. By redirecting their focus and adopting these changes, Marvel and Disney could demonstrate that the landscape of popular cinema is not static but is capable of evolution and adaptation. This would not only revitalize their offerings but also contribute to a more diverse and dynamic cinematic culture, countering the negativity that has become prevalent in certain online communities. It represents an opportunity for these major studios to redefine their legacy and continue to be significant players in the entertainment industry, while simultaneously discrediting the harmful and reactionary narratives that have gained traction in recent times.

Academic Work Cited and Bibliography

Bauer, M. F. (2023). Beauty, baby and backlash? Anti-feminist influencers on TikTok. Feminist Media Studies, 1–19. https://doi.org/10.1080/14680777.2023.2263820

Gray, Jonathan (2019) “How do I dislike thee? Let me count the ways.” In Melissa A. Click (ed.) Anti-Fandom: Dislike and Hate in the Digital Age. New York: New York University Press, pp. 26-8.

Griffin, M. (2023). “That moment meant a lot to my daughter”: affect, fandom, and Avengers: Endgame. Feminist Media Studies, 23(7), 3106–3121. https://doi.org/10.1080/14680777.2022.2098801

Hammer, R. (2000). Anti-Feminists as Media Celebrities. The Review of Education/Pedagogy/Cultural Studies, 22(3), 207–222. https://doi.org/10.1080/1071441000220303

Han, X., & Yin, C. (2023). Mapping the manosphere. Categorization of reactionary masculinity discourses in digital environment. Feminist Media Studies, 23(5), 1923–1940. https://doi.org/10.1080/14680777.2021.1998185

Dej, E., & Kilty, J. (2023). “Die alone, old, and let the cat eat your face”: anti-feminist backlash and academic cyber-harassment. Feminist Media Studies, ahead-of-print(ahead-of-print), 1–17. https://doi.org/10.1080/14680777.2023.2181140

Non-Academic Work Cited and Bibliography

Murray, C. (2023, November 14). “the marvels” faces anti-’woke’ backlash after box office flop-echoing “captain Marvel” attacks. Forbes. https://www.forbes.com/sites/conormurray/2023/11/13/the-marvels-faces-anti-woke-backlash-after-box-office-flop-echoing-captain-marvel-attacks/?sh=57fd9fd711d4

Mark Cassidy. (2023, October 18). The marvels star brie larson was reportedly “disillusioned” over online backlash; may not want to reprise role. ComicBookMovie.com. https://comicbookmovie.com/captain-marvel/the-marvels/the-marvels-star-brie-larson-was-reportedly-disillusioned-over-online-backlash-may-not-want-to-reprise-role-a207283

Komonibo, I. (2023, November 20). “anti-woke” tantrums won’t make us hate nia dacosta & the marvels. Why Is The Marvels Movie Getting So Much Hate? https://www.refinery29.com/en-us/the-marvels-movie-woke-backlash

Felt, K. (2023, November 11). The marvels director gets candid on “woke” backlash to movie. The Direct. https://thedirect.com/article/the-marvels-woke

Bougiouris, D. (2023, December 1). What made the marvels bomb in the box office?. CBR. https://www.cbr.com/mcu-the-marvels-box-office-bomb-explained/

Placido, D. D. (2023, July 31). Anti-woke “barbie” backlash failed miserably. Forbes. https://www.forbes.com/sites/danidiplacido/2023/07/25/right-wing-backlash-against-barbie-is-just-sad/?sh=2d5ce2c32607

Topic References and Video Links

The Critical Drinker Channel growth https://socialblade.com/youtube/user/jacktaylor1983/monthly

Critical Drinker “The Message” soundbite https://www.youtube.com/watch?v=Rj9slYsrumc

Critical Drinker After Hours. (2023, November 10). Drinker’s chasers – the marvels on track for disastrous opening weekend. YouTube. https://www.youtube.com/watch?v=OAnJM0rwDvs

Critical Drinker After Hours. (2023, November 11). Drinker’s chasers – the marvels is a broken, convoluted mess. YouTube. https://www.youtube.com/watch?v=bucPOXkXU6E

Critical Drinker After Hours. (2023, December 8). Drinker’s chasers – disney+ killed the MCU. YouTube. https://www.youtube.com/watch?v=rRNiVWQr_-g

Williamson, C. (2023, February 21). Critical drinker – why does Hollywood hate men so much?. YouTube. https://www.youtube.com/watch?v=YSY0SrJ8V2Y

The Critical Drinker. (2023, April 12). The marvels trailer looks amazing!. YouTube. https://www.youtube.com/watch?v=DVwZvkWHHcw

The Critical Drinker. (2023, October 18). The marvels – the biggest flop in MCU history?. YouTube. https://www.youtube.com/watch?v=_Cfq8TbHzt0

The Critical Drinker. (2023, November 10). The marvels – the absolute state of the MCU. YouTube. https://www.youtube.com/watch?v=jtl157_wA7Q

The Critical Drinker. . (2023, November 16). The marvels was doomed from the start. YouTube. https://www.youtube.com/watch?v=NnFqai4EGhE

Nerdrotic. (2023, November 20). The marvels failure is a massive culture war win. YouTube. https://www.youtube.com/watch?v=u-63PXUzBvA