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“They’re only mad because it was a woman”: Fans Defend She-Hulk Twerking With Megan Thee Stallion, Claim Incel Fanboys Would’ve Celebrated if Ryan Reynolds’ Deadpool Did the Same

She Hulk Twerking With Megan Thee Stallion

The one She-Hulk post-credit scene that has the power to divide the entirety of the Marvel fandom is not just about the irrelevance of those few seconds that we won’t ever get back. It is the manifestation of every single upsetting, disappointing, frustrating, and I-don’t-understand-what’s-happening-right-now moment that MCU has served up in the past two years. The twerking was the breaking point for most in the fandom, for others, it added to the variable flavor of the franchise.

She-Hulk: Attorney At Law

Also read: “Martin Scorsese was right”: She-Hulk‘s Latest Episode With Megan Thee Stallion Twerking Leaves Internet Divided, Fans Defend Jen Walters’ Characterization Amidst Over Sexualization Claims

She-Hulk Bids Farewell to the Days of Tragic Heroism

One of the aspects that made Marvel what it is today is the liberal distribution of Aristotelian tragedy in its character-building. The days of getting beat down in the alley, and rising as America’s hero only to be puppeteered as a circus monkey, and rising again to the occasion against all odds, only to lose it all in a devastating few seconds — where is the story that builds drama, makes you wish for hope even when all hope is lost?

The strength of Marvel lies in the impact of its tragedies

Also read: MCU Head Writer Would Be ‘Shocked’ if She-Hulk Didn’t Join the Avengers in Secret Wars

The origin of Marvel was a cinematic recreation of the definition of tragic heroism. The martyrdom of its heroes fanned the flames of love and devotion among its disciples. With the descent of Phase Four into a chaotic neutral identifier, all of that is gone and its characters only serve to momentarily patch up the holes at the bottom of a sinking ship, until Phase Five can pull the franchise out from its dregs.

She-Hulk draws criticism for unnecessary comedy

Also read: “Remember how Marvel fans got mad at Snyder fans for Peacemaker?”: DC Fans Call Out Hypocritical Marvel Fans for Claiming She-Hulk Debased the Hulk and Daredevil

Fans Draw Deadpool Into the Mix as Criticism Continues

Marvel’s first comedic success story was built on the backs of Ryan Reynolds who fought tooth-and-nail for over a decade to get it into production. When the film did ultimately get approved, the timing was right for a Deadpool solo since now the fan base had enough global reach and the CGI was definitely better than 2009’s X-Men Origins: Wolverine days. But the entry of She-Hulk: Attorney At Law wasn’t the right finale to a saga that dealt with experimental solos like Moon Knight. Phase Four was a sugar crash of comedy, and too much of something all at once is never good.

Also read: “They’re doing the same things they were preaching against”: She-Hulk‘s Latest Episode Draws Controversy As Fans Call it Hypocritical For Having Megan Thee Stallion to Further Sexualize Women 

The comparison between Deadpool and She-Hulk comes due to the fact that both characters are unfiltered in their eccentricities. They both break the fourth wall. But the utterly bizarre post-credits that Reynolds delivers make his viewers happy whereas the She-Hulk ones draw criticism and anger. The former succeeds in its attempt of hitting comedic gold because Deadpool stays true to the character’s incentives and his (somewhat) misplaced ideologies (for eg, using Cable’s device to travel back in time to kill infant Hitler) while She-Hulk introduces this Earth’s Megan Thee Stallion into Earth-616 as herself only to twerk with her for 8 seconds.

She-Hulk: Attorney At Law is now streaming on Disney+

Source: Twitter

Written by Diya Majumdar

It's 2023 and Diya Majumdar's social life is defined by a 365-day binge-marathon of films and television shows. Having graduated with honors in literature from Miranda House, she now has more than 1000 published articles on Fandomwire, and her passion and profession both include dissecting the world of cinema. She happens to be a liberally opinionated person with an overbearing love for Monet, Edvard Munch, and Van Gogh, and hardly anything fascinates her more than painting exact replicas of all their troubled works – in oil, of course.