In a world rife with injustice, it’s understandable that we sometimes turn a blind eye to minor hiccups or due process when it comes to getting results. How else are we to tackle the above-law antics of the Trump legions? How else are we to defend fundamental human rights when the odds are ever stacked in the favour of for-profit, billionaire conservatives? How else are we to be heard when all else around us is so loud?
Cancel Culture has become prominent in recent years for its maverick, f- due diligence approach to taking on those who would in (extreme cases) avoid legal penalty or in more trivial but common scenarios, go unpunished or challenged for the problematic viewpoints they espouse / funnel into the zeitgeist. It’s become popular because it’s effective, at least on an emotional and socio-political level. It helped topple the creeps in the #metoo movement and set some wrongs to right when it came to diversifying casting in Hollywood, demanding greater equality, and calling out BS journalism. One could argue it was a well-deserved slap-in-the face for the orthodoxy.
But in all this gesticulation and generalisation, where exactly am I heading, you might ask. Well, let’s face it. It’s not exactly an easy topic to delve headfirst into. Indeed, the previous two paragraphs are fodder for insulation, backtracking, and defence, as much as they are a prelude to what I’m about to criticise. For you see, such base, emotive reactionary attacks don’t always serve us well. They, often, lower the intellectual bar and nuanced appreciation for discourse we once cherished so dearly as part of a free-thinking society. They placate the once common-sense approach that all cases should be regarded individually and contribute zealously to the polarisation of political ideologies; you’re either with us or against this- none of this “on the other hand” schlep.
A case in point- Review Bombs.
What are Review Bombs? They’re basically attempts to undermine a work of art based on ideological speculation or information related to an associate partner of said art. For example, JK Rowling has recently received enormous backlash for her views surrounding gender theory and the place of women in society with legions of once-fans accusing her of transphobia and encouraging others with similar views, owing to her expansive Twitter following and influence in the media. This resulted in a swift bombardment of her latest novel, Troubled Blood (under pseudonym Robert Galbraith), even though no-one had had a chance to read the 900+ page tome, when it emerged from one review that the plot concerned a serial killer who dresses in women’s clothing.
It’s pretty easy to take sides when you have a predisposition. Especially in this scenario. When you read into it a little more, it gets complex and interesting, if depressing however. Is she transphobic? Possibly. Not in the robust sense of outright hatred but in the more coy (yet increasingly challenged) manner of trying to undermine LGBTQ progress by pushing far-less prevalent concerns surrounding the placehood of women if chromosomes don’t matter, etc. Some have expressed support for the trans community while pointing out she may have a point while others have pressed the importance of whole acceptance. In real life, they argue, trans people face incredible challenges the likes of JK Rowling cannot fathom. Why does she have to make things that much harder?
Most figures, faced with such controversy, have usually amended their positions with retractions or halfway-apologies. JK Rowling, seemingly, has buckled down on hers which has made the publication of this latest novel all the more controversial.
So when the novel’s general plot line was revealed, it was brought down by a series of 1-star reviews on GoodReads (alongside greater media coverage) with comments ranging from distaste for what the author had become to how they would never read this novel. When people then actually started to, the five-star reviews came abounding bringing the average up to 4/5, with some rebuking that previous assertions of transphobia were based on second-hand info and minor points, not central to the focus of the novel. Was she vindicated? In terms of commercial success, absolutely. It seems JK Rowling will go on. But even with the 5-star reviews, one has to wonder how many of those were written after a complete read of the novel (again, 900-pages long; these reviews came within a week) and how many of them were reactionary in the same way the 1-star ones were?
When it comes to Cancel Culture, a fine line is drawn between reasonable outrage and outright pettiness. In the case of JK Rowling, it seems both were there in measure, distorted by (let’s face it) an increased laziness in media coverage (mainstream too, not some poxy blogs like this) which sought to do anything but review the novel in its own merits.
And don’t take this as a defence of JK Rowling. At the very least, I find her concern with women’s issues vis-a-vis the trans community obsessive and tedious at this point. Having once made the point, herself, that you can’t have a reasonable discussion on Twitter, she should have then stopped proffering her points via Twitter. With that said, I tend to disassociate my love of movies/music/novels with the person behind them because frankly, a lot of the greats have been problematic and with generational changes in attitude, we’re only ever going to be disappointed by one thing or another if we dare to dig deep enough.
Review Bombing and Cancel Culture, however, is an issue worth tackling and it applies to conservatives as much as it does those easily agitated PC-liberals. For example, Captain Marvel was met with a slew of negative buzz before anyone had a chance to see it because women-starring role-traditionally men-change = bad. With increased diversity and promotion of minorities in these major budget movies, there was always going to be a push-back. It’s a recurring aspect in generational passing of torches but the review-bombing of this movie proved the other side, to appropriate their claims, had equally fragile egos.
The Last of Us 2 racked up its fair share of hatred this summer upon release for the PlayStation 4 as well. Taking the slow-burning, zombie-survivalism of the first game (from 2013), it should have been a hit. But they ruined it. By making the lead character gay and inserting a bunch of LGBTQ stuff into the mix. Typical Hollywood, right? Or whatever libtards got their hands on this… Actually, I thought it was a very entertaining sequel and fun game but as with many things now, the actual entertainment value doesn’t matter as much. It’s all about subtext.
That’s why Star Wars: The Last Jedi is bad- because it promotes a different world viewpoint to what we had grown accustomed to when really, it’s actually bad because they disregarded the tone of the previous movie and f-d up the trilogy.
Anyways… It’s a new way of being heard; online assault. And it’s a petty, oft-misdirected means of making your point, whether that point is valid or not. So as much as we should oppose discrimination, perhaps reviewing a book we haven’t even read isn’t the way to do it. If you think Hollywood and associated media are inserting too much liberal ideology into your favourite franchises, then stop watching and don’t ruin it for others (as some did by leaking the plot of The Last of Us 2). Acting this way doesn’t gain you kudos or respect and it doesn’t even have the desired effect most the time. Last of Us 2 still sold impressively, Captain Marvel grossed over a billion, and Troubled Blood recently topped the charts. Congratulations review-bombers. You saved marketing a bucket load of money!
A couple years ago, in a debate on political correctness, the author, comedian, actor, etc. Stephen Fry remarked that one of the great failings of our time is when people prefer to be “correct rather than effective”. This self-righteousness has increasingly frayed political and social-political discourse. If we can’t even offer each other a presumptive measure of respect, can we really go on saying, “if only we had politicians as good as our people?”