A lot has been said on social media about how queer-coded villainy in film and television has not only been a defining personal resource for many queer (particularly lesbian) fans discovering their identity, but that there has been a recent trend in fandom as well as licensed work to redeem, re-humanise, or otherwise engage with that villainy through that lens as a further public reclamation of gender and sexuality politics in media. What does that say for our engagement with those works, and for the evolving public perception of the LGBTQ community overall? And what shape does villainy take when publicly embraced in this way, retooled as a mirror through which vulnerable people view themselves as both scandalised and powerful?
Interesting topic! Your final sentences leave me wondering if licensed work sometimes follows the lead of fandom in revisiting, redeeming, etc. the villain. I would also expect the LGBTQ community to be very well represented in fandom in the first place.
– JamesBKelley1 year ago