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More far-left news sites are predictably delighted at changing another established mainstream superhero figure to their favor. One of these is Polygon:
Tim Drake is the Robin who isn’t really sure how to be Robin anymore — but in this week’s Batman: Urban Legends, he’s figured at least one thing out. A nice boy asked him out on a date, and Tim said yes.
That makes him the first new LGBTQ member of Batman’s immediate family in 15 years, since Batwoman herself.
Oh, they just love where this is going, don’t they? For shame. Here’s how the author decided to go about this:
“When Dave [Wielgosz] (my editor for Batman: Urban Legends) reached out about doing another Tim story, I was thrilled,” Fitzmartin told Polygon via email. “We talked about where Tim Drake has been vs where he was at the time and came to the conclusion that it needed to be a story about identity and discovery. What was next for Boy Wonder?”
She says she spent days thinking it over before emailing back to say “Look, I don’t know if this is something that can happen, but this is the story, because it’s the only story it can be.”
Even after she got the go-ahead, Fitzmartin says it took some time to absorb the idea that she was going to create a coming out story for a Robin — and a very established version of Robin at that. “I fully sat on the floor of my apartment for a solid two minutes in happiness as it sunk in. Ultimately, this wouldn’t have happened without champions at DC, like Dave and James Tynion IV, and I hope it is as meaningful for others as it has been for me.”
How interesting they couldn’t think of doing this with an original creation. This Fitzmartin can’t be very talented then, but, it’s only so common today to find a lot of extremely untalented scribes plying their trades in a plummeting industry. No less disgusting is how the site describes Tim as a character who’s uncertain how to be Robin anymore, when it’s the editors, writers and artists who don’t know how to craft a story for any characters anymore. As I’ve noted before, one of the problems today is how serious issues like Islamic terrorism are virtually banned from focus in mainstream, and to be sure, from independents as well. Even pro-Israeli views are banned. Yet depicting LGBT practice in entirely positive terms is allowed (by contrast, negative views aren’t), and lest we forget, as the Muslim Ms. Marvel stories demonstrate, Islam can only be depicted positively too.
Kate Kane is the most prominent canonically queer member of the sprawling Bat-family. She debuted as Batwoman in 2006 in the company’s year-long weekly-TV style series 52, and immediately garnered shock headlines — even though she ultimately had a fairly minor role. Gotham City has slowly become a much queerer place since her introduction, but mostly with villains and secondary characters. The subtext of Harley Quinn and Poison Ivy was finally allowed to be text in the early 2010s. Before she (nearly) married Batman, Catwoman briefly had a girlfriend. Midnighter became a recurring supporting character in Nightwing stories. Police detectives Renee Montoya and Maggie Sawyer and the young vigilante Bluebird/Harper Row flitted in and out of continuity.
No mention that Montoya wasn’t established as lesbian when she first appeared in the early 90s, and it wasn’t until Greg Rucka penned Gotham Central in 2003 that all of a sudden, she was retconned into one. Rucka, to my knowledge, never apologized for his shameless path, nor did the publisher for allowing it.
Next, wouldn’t you know it, Screen Rant’s been justifying this, using more illogical terms:
A third installment in the story, “The Sum of Our Parts” by Meghan Fitzmartin, Belén Ortega, Alejandro Sanchez, and Pat Brosseau, followed Tim as he struggled to find the courage to self-reflect on his life and what he actually wants. Because Tim has had romantic relationships with women in the past, most notably with Spoiler (Stephanie Brown), a former Robin and Batgirl, the third chapter of “The Sum of Our Parts” seemed to confirm that the third Robin is bisexual. While writer Meghan Fitzmartin has stated that Tim does not yet have a label for his sexuality, the news that one of the Robins was officially queer came as a shock to some fans.
No, it came as devastating to learn DC editors, not the least being Marie Javins, allowed this exploitive retcon for the sake of pushing an unhealthy agenda. Which the writer bewilderingly claims has no label to describe Tim.
That said, much like the other stories in Batman: Urban Legends, “The Sum of Our Parts” builds off of years of comics history for Tim Drake. While his most high-profile relationship has been with Stephanie Brown, Tim has also had a very close friendship with Conner Kent’s Superboy, laying the groundwork for him coming out as queer in Batman: Urban Legends #6. The exact nature of Tim and Conner’s relationship has long been speculated by fans, and creators themselves have confirmed both on the page and online that Robin’s love for Superboy went beyond the realm of friendship.
What is important to recognize here is that “The Sum of Our Parts” depicts Tim wrestling with the fact that his emotional self-reflection will lead to some time of change. That is, he has left his feelings relatively unexplored in the past because of the ramifications that openly acknowledging them might bring. This speaks to Tim coming to terms with his romantic feelings towards Bernard and his history with Conner Kent. If anything, him going on a date with Bernard is important because it reorients how he has expressed his feelings in the past. In this regard, Tim Drake’s characterization in Batman: Urban Legends #6 is consistent with decades of his publication history.
While this abuse may have only begun in the early 2000s with that loathsome Titans/Young Justice: Graduation Day miniseries, it’s particularly offensive how this site’s writer uses any and all “suggestions” they can find to justify the retcon, as seen here:
Tim’s best friend has almost always been Conner Kent, a clone of Superman and Lex Luthor, and the specifics of their relationship point to the fact that he had already been queer long before Urban Legends #6 officially confirmed it. While the two never explicitly said that they loved each other, Tim’s actions and the situations in which both characters were placed contributed to this implication. In a scene from 2003’s Titans/Young Justice: Graduation Day #2, Tim and Conner were inexplicably shown in a closet together, where Tim chastises Conner for nearly getting himself killed after he impulsively attacked Indigo. Answering a fan’s question about why the two characters were in a closet, writer Judd Winick tweeted, “I saw this as an opportunity for them to both come out of the closet. #liveyourbestlife.” This was in 2018.
In looking at Tim’s history with Conner, it is also necessary to acknowledge the limitations that may have been placed on writers from an editorial standpoint, leading to several incidents where the bond between Conner and Tim is gestured to, but not outright stated. Later on, in Teen Titans #34, after the death of Superboy, Tim went as far as to secretly try to create another clone of Conner from the DNA of Lex Luthor and Superman. He tried ninety-nine times but was ultimately unsuccessful in bringing Conner back. Enraged when his last trial failed, Tim smashed up his lab, punching an image of Conner so hard that the screen cracked. When Wonder Girl (Cassie Sandsmark), Conner’s girlfriend, discovered the commotion, she said, “You were pretending all this time that you’d moved on. But you haven’t.” This keeps up with the pattern of Tim directly hiding his feelings, one that Urban Legends #6 finally resolves with him deciding to be open about his romantic feelings for Bernard.
Oh, would it be too much to point out how Connor was depicted seeking girls to date when he debuted in 1993, at the time the Death & Return of Superman was in publication? Alas, for these shoddy writers, yes, it would be. They don’t admit certain storylines and how they’re written are just that, nor that the characters are fictional, and if they weren’t established as homosexual from the start, they can’t just go miles out of their way to rewrite the characters in question to suit their narrow viewpoint.
Tim Drake having romantic feelings for men in addition to women may come as a surprise to some fans, but nearly two decades of comics have, with varying degrees of subtlety, alluded to this fact. Thus, Tim officially coming out as queer is not a fundamental change to his character, but rather an ultimate expression of it. Because he had already had these feelings with Conner Kent, his going on a date with Bernard allows him to pursue a romantic avenue that he had previously been unable to. This not only signifies a positive change for LGBTQ+ representation in DC Comics and beyond, but also for Tim Drake’s Robin himself, as a young person discovering his identity.
Ugh, is this ever repellent, but hardly shocking, coming from such a truly awful site. Ignoring as they do the decade of history prior to the early 2000s, when Marv Wolfman and Pat Broderick first created Tim, and Chuck Dixon wrote his solo series. Now, SR is erasing said history to suit their repellent agendas.
Another, easily the worst leftist take on the subject, would have to be NPR’s Glen Weldon:
Well. That’s over, at last.
After 80 long years, the fusillade of sneers, slurs and innuendos are finally done with. For decades, homophobes looking to land cheap jokes and queer fans aching to see themselves in the comics they love have shared an unlikely common goal — to shove Robin, Batman’s trusty sidekick, out of the closet.
Umm, I think it’s a badge of honor to be called “homophobe”, and “islamophobe”. On which note, why do I get the feeling Weldon has no issue with Islam’s homophobia? All that aside, who is this disgraceful man to insinuate Bat-fans ever wanted Robin, let alone Batman himself, to be drawn out of the LGBT closet? Or more precisely, why does he think those he calls “homophobes” ever wanted either/both the Dynamic Duo to be retconned? When Weldon turns to ostensibly describing Tim’s history, he says:
Tim was created by Marv Wolfman and Pat Broderick in 1989 in the aftermath of Jason Todd’s death; he figured out Batman’s identity and urged Dick Grayson to re-assume his old role and costume, entreating him that “Batman needs a Robin.” When Grayson refused, Tim assumed the role himself. (There was always an element, to that storyline, of Tim as a kind of teenage Dick Cheney leading Bush’s VP search committee, but let that go.)
Strange, is this some kind of subtle jab at Dubya? He was never a very good POTUS, I’ll admit that. But if this is some kind of attempt to make it sound like Tim Drake was a “conservative icon” that needed transformation into a “liberal” one, it’s downright insulting.
You’ll see some coverage declaring that Tim has come out as bisexual, but that’s not technically true. Yes, he’s dated fellow hero Spoiler (Stephanie Brown) on and off. But his journey is just beginning, and Tim is still figuring himself out — he hasn’t applied any specific labels to himself yet, and his creators haven’t either.
Which only makes sense, given who Tim Drake is.
A huge number of different creators have written Tim Drake’s Robin over the years, but a clear and consistent through-line has emerged: He’s analytical, self-critical and tends to over-intellectualize. In recent years, upon being supplanted by li’l Damien Wayne’s Robin, he’s questioned his place in the Bat-family, going so far as to rebrand himself with the perfectly terrible and just plain confusing name “Red Robin,” despite manifesting neither a predilection for fast-food burgers nor bob-bob-bobbing along, and later still, “Drake.”
That’s it, just “Drake.”
Like “Cher.” Or “Madonna.” Or “Beyonce.”
… Yeah we really should have seen this coming.
I’m only half-kidding. Think about it: Tim canonically figured out Batman and Robin’s secret identities by closely watching their exploits in news coverage. He recognized their signature moves, he analyzed their body language. Which is to say: He watched these two men with a kind of achingly pointed attention that queer readers know only too well.
Really! So in other words, any kind of analysis and attempt to put 2 and 2 together is nothing more than homosexual behavior?!? What a laugh. This obscures how there’s law enforcement officials who try to figure out disguised identities by analyzing photographs. What if it’s possible to identify somebody wearing a balaclava that way? And then, just to prove he’s got no respect for previously established personalities and characterization, Weldon says:
Whatever specific letter or letters of the queer initialism LGBTQIA+ Tim will ultimately resonate with, he’ll join a growing pantheon of queer superhero and supervillain characters like Northstar, Batwoman, Harley Quinn, Poison Ivy, Iceman, Apollo, Midnighter and the Golden Age Green Lantern. None of them, however, share a level of public recognition anything approaching that enjoyed by Robin, the Boy Wonder.
Ah, now notice two most telling examples he’s cited, Iceman and Alan Scott. This means that, despite the latter having had heterosexual relationships decades before, and the former having them too, with both civilian and superpowered women, Weldon sees virtually nothing wrong with retconning them out of the blue, and his obscuring of the exact histories is telling. In other words, Weldon sees these creations as LGBT property, and if Superman were turned homosexual tomorrow and dumped Lois Lane, Weldon would embrace that to the fullest, no matter the cost, and no matter what a slap in the face it’d be to Jerry Siegel and Joe Shuster. For now, Weldon’s pretty much said what he thinks of Iceman’s creators, Stan Lee and Jack Kirby.
Robin was the very first superhero sidekick, and he’s entered the global public consciousness via comics, movies, television, games, toys and bedsheets. He’s a vital part of the Batman character; his role, over the years, has been to supply light and humor to temper the Caped Crusader’s brooding darkness. Treatises have been written, and entire chapters of (very well-received!) books devoted to, the queer subtext in the Batman/Robin relationship. In Batman Forever (1995) and Batman & Robin (1997), the late filmmaker Joel Schumacher did everything he could to transform that queer subtext into a butchy, leather-queeny text.
It occurred to me these scoundrels see whatever they want to and decide upon a whim the characters in question are queer, without doing anything to confirm that was ever the intention of the writers. And it makes no difference to them that they’re really taking a cheap path, hijacking and appropriating other people’s creations to suit their beliefs. Right down to how, in their twisted visions, once a character’s been “outed”, they must remain so rock solid till the bitter end of time. Weldon is such a disgrace. He doesn’t even consider he’s running the gauntlet of suggesting he sees nothing wrong with sexual relations between an adult and an underage kid. But that’s the world we’re living in now, where moral compasses have been thrown away for the sake of perverse agendas. No mention Schumacher’s Bat-movies were the least successful in history because of that loathsome exploitation and pandering either, or that they practically led to the franchise sitting fallow for at least a decade after, until Christopher Nolan’s trilogy resurrected its silver screen prospects.
There’s also a writer at NBC’s Think section, who’s perpetuating the distortions to the max:
Marvel Studios made headlines this summer for a single scene in the new Disney+ series “Loki” in which the eponymous character confirms he is bisexual. This week, DC Comics has published its own, even more impactful glass-closet-shattering story, in which Robin, long considered by readers to be the not-so-straight sidekick to Batman, has a moment of self-acceptance — and then agrees to go on a date with a very nice boy he just fought the bad guys with.
Is he saying I considered any and all teen characters who donned the Robin outfit “not-so-straight”? Well that’s shameful the writer’s putting words in my mouth. Now that I think of it, she’s doing it to Dixon too.
Despite the jokes and headcanons of fans since the 1960s-era Adam West days of televised “Batman” episodes, Robin has never been actively portrayed as queer or bisexual in the comics themselves. Requests from readers and fans were ignored by DC Comics, which continued to write Robin as a straight character. That ended with the current run of “Batman: Urban Legends,” a monthly anthology series. This recent story, titled “Sum of Our Parts,” had clearly been building toward a reveal of this nature in its first two installments, which culminated in Part 3, published this week.
Again, I’m not sure what they mean, because I didn’t ask for the retcon. But, I wouldn’t be surprised if those who allegedly did were the least likely to read Batbooks on any kind of regular basis. Why, if somebody asked them to join a campaign to establish Tim’s family has Armenian connections, I’m sure they’d vehemently refuse. Such is the way of such utterly self-important infiltrators to pop culture.
With this move, Robin joins the limited ranks of a handful of DC comic book characters, including Batwoman and Midnighter, and a slighter longer list of Marvel heroes (Loki, Iceman, Wiccan and Northstar) as part of a small but growing LGBTQ+ pantheon. But this is a household superhero name being shown coming out of the closet. With the comic finally catching up to the character that the audience has seen for decades, it shows how the genre has finally recognized that it needs to be responsive to the demands of diverse readers rather than stay closed off to them.
Yup, another apologist for desecrating Lee/Kirby’s X-Men creation. It’s one thing to create a new character to serve the purpose, it’s entirely another to transform established characters to suit these twisted agendas.
Despite the hoopla of Loki’s coming out this summer, Robin’s story is far more boundary-breaking. Unlike the TV screen, where Loki’s identity was revealed, the comic books are where the stories first develop, meaning the impact going forward can be far larger. Just as significantly, Loki wasn’t allowed to act out his bisexuality in the Marvel TV production. The single gesture it included was of Loki saying he likes both men and women — the rest of the series stayed staunchly traditional, even handing the character a female version of himself to rescue and fall in love with so the heterosexual status quo could be maintained.
Considering how poorly comics sell today, there wouldn’t be much impact. And chances are merchandise based on Robin will suffer as a result. This also contradicts DC’s claim they don’t want Batman and Catwoman engaging in serious sex because of merchandise concerns, in contrast to Harley Quinn.
The development of Robin’s character is particularly significant given that comics until how have overwhelmingly been written as white-cis-male for decades, even as other cultural formats have increasingly diversified and adapted to modern audiences. Despite the dominance of the superhero genre in TV and movies, the comic books from which these stories are drawn have only a fraction of the audience that the on-screen adaptations get partly because for decades there was no move to broaden their appeal.
Marvel started a sea change (on the page, mind you) in recent years, with new iterations of old favorites, like a gender-flipped Thor or a Korean American Hulk in Amadeus Cho, some of whom are now coming to the screen via Disney+. But until now, DC – which arguably has the bigger names in Superman, Batman and Wonder Woman – has lagged behind. Other than Batwoman, who wasn’t generally a household name until her recent CW show, any and all superheroes who were written as LGBTQ+ were ones mainstream audiences wouldn’t have heard of. By taking an iconic character known to all, like Robin, and giving him a bisexual storyline, DC Comics is showing fans they are seen.
I see the writer made sure to shoehorn in the denigrating, otherizing “cis” slang. They must think they’re so clever, huh? Maybe most telling is how in all these articles, Dixon’s name never comes up for citation, which is certainly telling of their lack of gratitude for somebody who’d worked hard for nearly a decade to build up a protagonist wearing the Robin costume. By the way, that’s not very impressive to say they “adapted” to modern audiences, instead of pointing out they’re pandering to ideologues.
Then, Nerdist is just as galling. For example:
…He also implies he’s had feelings for Bernard for quite some time, and merely compartmentalized this aspect of his personality.
I think the writer here is compartmentalizing a mentality of entitlement and contempt for other people’s creations that he refuses to admit.
In the comics, Tim’s longest-running relationship was with another hero, Stephanie Brown. Known alternately as Spoiler and Batgirl, Tim Drake has been in an on-again/off-again relationship with Steph ever since she was first introduced over 25 years ago in the comics. But his other most intense relationship is with his Teen Titans and Young Justice teammate Superboy. This would be the Conner Kent version, a young clone of Superman.
Most fans would consider his relationship with Conner a typical “bromance” between two straight friends. But fans raised their eyebrows when Conner died in the event series Infinite Crisis. For the following year, Tim mourned Conner in a way that suggested there was more to it than friendship. He obsessively tried to bring him back to life and suggested to friends he couldn’t live without his best friend. The emotions seemed a lot more intimate than those of a platonic friendship. So this new reveal does not surprise a lot of longtime fans. In a meta sense, Tim’s constant change in identities is another telling clue. Going from Robin to Red Robin to Drake, then back to Robin, is very telling. A young person constantly in search of who he is.
Another charlatan unwilling to take an objective view of the writers and the merit of their stories, or lack thereof. That’s very telling. So much that it’s sick. Infinite Crisis, penned by writers like the insufferable Geoff Johns, was one of the worst company wide crossovers produced in the past 3 decades, and we’re supposed to pretend this is real life? Shameful. Say, how come no mention of the editorial mandate that saw Stephanie Brown murdered by Black Mask during War Games in 2004, in a story co-written by Bill Willingham? Point: it’s tasteless and hypocritical in the extreme how Tim tries hard to revive Connor, but not use sci-fi devices to revive Steph. When you look at the past stories in those contexts, that’s exactly why it’s offensive if the poor guy’s depicted moaning far more over the other guy, but not the girl, and editorial mandate makes it look like only the girl is whom Tim should get over.
But Tim Drake being queer is important for other, outside the narrative reasons. For decades, Batman and Robin as a concept have been the subject of hateful jokes and homophobic innuendo. This goes all the way back to 1954, when a psychiatrist named Fredric Wertham published a book called Seduction of the Innocent. His book claimed comic books were perverting the minds of their young readers. Comics made children violent and antisocial, in his view. And characters like Batman and Robin got the most damning read from Wertham. He stated their relationship, which was always painted as paternal, was “a wish dream of two homosexuals living together.”
This from somebody who surely wouldn’t protest any of Wertham’s takes on heterosexual content, no matter how flawed the whole book was to begin with. Oh, did it ever occur to him that it’s entirely possible to indoctrinate minds with any medium to embrace anti-Americanism, anti-semitism and sexism? Guess not. Did it ever occur to the awful columnist that anybody who made such jokes was basically dehumanizing the Dynamic Duo of Gotham? I guess insulting heterosexual men is no issue to them, hence, they don’t protest it in that context.
Conservative 1950s parents freaked out, and sales of comic books tanked. The entire industry came this close to the brink of ruin, all over one man’s opinion. DC survived the comics purge, but they made changes to appease the homophobia of suburban American parents. The creation of Batwoman as a potential girlfriend for Batman was part of this. Her civilian name was Kathy Kane, and she also had a niece name Betty, who became Bat-Girl. She was, of course, also a girlfriend for Robin. This would put the minds of parents at ease, making sure that the comics wouldn’t turn their children into “deviants.”
When it comes to this, it’s not difficult to guess this piece was written as an assault on conservatism. Notice also how early girlfriends for Bruce Wayne like Vicky Vale were omitted from the narrative, as if only costumed women matter. This is just plain hilarious as it’s exaggerated.
By making Tim Drake canonically queer, DC has decided to take all those “Boy Wonder” queer associations and turn them into a positive and not a negative. Instead of something to fight against, Robin’s queerness is now something to embrace and celebrate. In a sense, by making Tim Drake bisexual, it’s an inversion of the homophobic panic that forced DC to make the original Robin “extra straight” as a response.
So the LGBT agenda is such a big deal, they have to turn an established character into a sacrificial lamb instead of creating new characters with their own costumes to fill the roles. Such hypocrites.
What hopefully DC does now is to not make this a one-off story. Tim can’t date Bernard for two issues, then never mention being a bisexual man ever again. There simply aren’t enough bisexual male superheroes to shrug this one off after one story, all as a way of checking a diversity box. On the flip side, my fellow queer readers need to understand that if Robin dates women again, it is not a betrayal of his queerness. If Catwoman, Harley Quinn, and Poison Ivy can have relationships with both men and women, then so can Robin.
Well, that certainly confirms where this shameful columnist stands. Also, notice how these shoddy scribes never talk about people who’ve overcome homosexuality, learned how to relate to the opposite sex, and went on to marry and have children? It’s sad how they’re so obsessed and self-centered about the LGBT ideology, they don’t have what it takes to admire those who want to lead heterosexual relations, or recognize why it’s not healthy to shun the opposite sex in relations.
Peter Pischke at the Federalist has a far better take on this embarrassment:
Glen Weldon’s NPR headline reads: “Batman’s Sidekick Robin Comes Out. It Makes Sense, If You Were Paying Attention.” As if comic book history doesn’t exist. For you see, the message isn’t now Drake is bisexual, but that he always was.
And indeed, none of the 3 initial wearers of the outfit were ever portrayed or characterized as bisexual. As noted earlier, there’s a certain subset of self-important, alleged readers who literally want to believe what a bad scriptwriter, Judd Winick, apparently injected into the script of the bad miniseries from nearly 2 decades ago, Titans/Young Justice: Graduation Day, a story which saw Donna Troy killed by a robo-Superman (she may have since been revived, but points about gratuitous character slaughter are still valid). Let’s continue:
So how did we get here?
If you ever read a Tim Drake comic before this week, you would know that the idea Robin always was LGBTQ is bonkers. Drake is up there with the top players of the DC universe. He’s dated and snogged at least a dozen popular female characters to date and has been in a relationship with fellow Batman family member, Spoiler, since 1993.
Tim Drake, a.k.a. Robin, a.k.a. Drake, a.k.a. Red Robin, was created in 1989 by Marv Wolfman and Pat Broderick. Tim was the replacement Robin after the infamous reader-demanded death of the second Robin, Jason Todd. For 21 years, Drake proved to be a prevalent character, appearing in comics and the famed Batman Animated Series.
However, by 2006, DC dumped Drake and introduced Damian Wayne, Bruce Wayne’s biological son and the new Robin. Since at least 2009, DC would push Drake from project to project, hero name to hero name, having no clue what to do with their once most popular but now expendable Robin.
I’d say they got that right. But it’s mainly Dan DiDio’s fault, and I wouldn’t be shocked if their pushing Drake into such decay stemmed from a desire to spite all that Dixon did to develop Tim in the 90s. As Dixon once noted though, his editors constantly tried getting him to kill off Jack Drake, the father, as though the mother’s death in 1990 wasn’t good enough. On that note, maybe one of the most disgusting problems of all, completely lost in all this mess, is that, if Tim’s father Jack is still dead since the time Identity Crisis was used just to throw him away in 2004 (and worse, to retcon Jean Loring into a vile, insane criminal), the apologists for retconning Wolfman’s creation have never argued the dad’s fate should be reversed. All they care about is taking any and every character they possibly can and turning them homosexual. Which is why, as Pischke notes, comicdom in the US is dying:
Desperate to turn media attention into a life raft, the comics industry only has one trick left in its bag – as seen with Batwoman, Poison Ivy, Harley Quinn, Kid Flash, Ice Man, Loki, Star-Lord, and seemingly half of DC comics. That trick is to turn an established popular character into a shallow and more woke version.
The LGBT agenda, along with anti-conservatism and anti-Americanism, are among the very few directions considered valid by the left today. If somebody wanted to write a story for the mainstream where a man or a woman were to marry into a Ukrainian family and explore their cultures, it would be flatly rejected, unless it were gay-themed to the absolute max. And to think we wondered why mainstream became so uncreative, not to mention insular.
For now, this is as good a reason as any to boycott DC and Marvel’s products, if that’s what it takes to make clear we don’t approve of desecrating a creation whose stories the liberal columnists defending the retcon show no signs of appreciating. Indeed, where were they when Dixon was writing the Robin solo book in the 90s?
Originally published here.
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