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At the end of February, amid the ever-persisting Heated Rivalry craze, an article was published for New York Magazine called “The Great Fujoshi Awakening: Why Do So Many Women Love Men Who Love Men?” In the article, the author made very specific references to works of fanfiction online, going so far as to link one of the works within the article. There was immediate public outcry by fans on Twitter discussing the impropriety of bringing free fan works into a for-profit space without the fanfiction author’s consent. While the work was delinked soon after, it brought attention to the rapidly increasing lack of boundaries in fandom spaces, both by fans, people interacting from an outsider perspective, and people involved in the source material.


A multitude of comments have surfaced recently regarding a “separation of church and state” in an analogy for keeping fandom spaces separate from the creators and/or cast and crew of the source material the fans are for. This idea is not new, as there have been conversations around the legality of fanfiction for quite some time. There can be copyright problems, which fans of Anne Rice’s literary works are probably familiar with. Rumors around Anne Rice suing fans for writing fanfiction in the 1990s have circulated for years, but in reality, she just took a stance against fanfiction out of a desire for creatives to come up with their own stories and leave her alone. Some fans said they received cease-and-desist letters from Rice’s lawyer to remove their fanfiction from the internet. It is important to note that Rice later changed her opinions on fanfiction due to realizing she could easily avoid coming into contact with fan works. Because similar problems have occurred over the years, some fanfiction websites, like Fanfiction.net, even have a list of authors whose works are prohibited from the site on account of the authors’ stricter copyright claims. 


Most of the time, copyright claims are only an issue for fanfiction if the creator is somehow profiting from the material. Fanfiction is on public websites with free access, and there are rarely instances where fanfiction authors are making money from their works because they know it would be a copyright issue. Part of the problem with the aforementioned article was that it was behind a paywall, indirectly profiting off of someone’s fanfiction that was temporarily linked. It’s incredibly important to note that Heated Rivalry itself stemmed from fanfiction. Author Rachel Reid adapted her first book in the series, Game Changer, from fanfiction she wrote about Steve Rogers and Bucky Barnes from the Marvel Cinematic Universe. She’s far from the first person to do so: Fifty Shades of Grey began as Twilight fanfiction, and The Love Hypothesis by Ali Hazelwood began as Star Wars fanfiction. 


It’s incredibly important to note that what all of these published authors have in common is that they’re women. To recenter Heated Rivalry, much of the backlash revolved around the idea that straight women were fetishizing gay men. There are plenty of straight female fans of Heated Rivalry, but to act as though they’re the only fans of the show or book series is disingenuous. There is a wide array of queer people who are fans of both, and there are queer people in the cast and crew. The show creator himself is a gay man, and he’s spoken at length about the nuances of why women are drawn to the show. The inflammatory comments surrounding the fanbase of Heated Rivalry are steeped in thinly veiled misogyny. When one Twitter user asked, “Why do men keep calling things women are into mass psychosis?”, another replied, “Cause they can’t use female hysteria anymore.” The fanfiction writer whose work was linked in the New York Magazine article made a statement on Twitter about the situation and also called attention to the rampant misogyny and ignoring of just-as-present queer fans. He (@/subc0rax) wrote, “It feels like a shame that an article that’s seemingly willing to engage with the reasons women enjoy this kind of romance and explore the fact that not all of these fans are even women doesn’t seem to be able to connect the dots and entertain the possibility that there are gay men enjoying the current Heated Rivalry craze with the same fervour and adoration as its female audience.” 


Many of the problems stem from fan works reaching the eyes and ears of the authors and other direct participants of the source material. Many of these instances have been brought up in relation to the Heated Rivalry article. One situation was on the Graham Norton Show, where Norton displayed romantic fan art between the X-Men characters Charles Xavier and Erik Lensherr to actors James McAvoy and Michael Fassbender. It is uncertain as to whether or not Norton received permission from the artist to project it on television and/or show it to the actors, but it also didn’t feel like it was in good faith and was much rather poking fun at the fan art. There have been similar issues in The Pitt fandom, where interviewers have been asking actors directly what their opinions are on ships (desired romantic pairings between characters, short for “relationships”) of their characters, sometimes even asking if they’re going to happen in the course of the show. An article was recently posted titled “‘The Pitt’ Fans Are Horny Little Freaks,” to which the author was essentially berating fans for shipping characters and creating fan works based on the show. The Pitt actors have also been shown erotic fan art in recent interviews, as a means for inciting some sort of reaction, once again without any consideration for the artists who very probably did not intend for the actors to see it. One Twitter user (@/midwestprincsss) commented, “I really don’t like that fanfic and fanart are being used to make actors give a reaction that’s profitable for the publication interviewing them. Fan work is not for corporations or the folks in the project. It’s for fans.” Most fans feel similarly, especially since the people showing the actors or whoever is involved with the source material are often doing so in bad faith.


Within fandoms, there are boundary problems surrounding parasocialism, in which fans act overly familiar with celebrities as though they know these people in real life. A divisive aspect of fanfiction in many fandoms is real person fiction (RPF), where people write about real people. While plenty of people write and make fan art for their own enjoyment, there are also plenty of people who take it too seriously and begin to intrude on the celebrities’ personal lives. Some will comment cruel things on a celebrity’s Instagram page, and some will go so far as to stalk a certain celebrity and their family. This was a longstanding issue in the Dan and Phil fandom, which kept the YouTubers from talking about their sexualities, relationships, and personal lives for well over a decade. There have been more recent issues for actors in the Disney+ Percy Jackson television adaptation, too, as the teenage lead Walker Scobell took to Instagram to call out “fans” who have been stalking and harassing his friends and family. These examples illustrate that this is not a one-sided issue of outsiders intruding on fandom but also fandom intruding on the lives of the creatives involved in the works they claim to love. 


This is not any one fandom’s problem, as these issues have been arising since before the age of the internet. However, the increased amounts of social media platforms and the rise of public-facing fandoms have made these issues more apparent. So what should we do? First, news outlets need to stop using fan works without the creators’ consent, especially when they’re profiting off of it. Otherwise, fandoms are always going to have problems. There will always be plenty of kind, welcoming, and respectful fans, just as there will always be some fans who start arguments, breach boundaries, and give their fandoms a bad reputation. As many things do these days, many of these problems boil down to critical thinking and media literacy skills. There needs to be a boundary between fans and what their fandom is for, or we will lose any worthwhile contact going forward. Fanfiction writers and fan artists shouldn’t be afraid of their works being exposed on television or published articles, and actors and other creators shouldn’t be afraid of their lives or the lives of their loved ones being aggressively disrupted.

I’ve watched the trailer for Emilie Blichfeldt’s The Ugly Stepsister over 5 times now. It all started when my best friend sent me the trailer on Instagram and I was immediately intrigued. The idea of reworking Cinderella into a horror movie from the perspective of one of her stepsisters sounded like an excellent way of embracing the story’s grim (pun very much intended) roots. Past versions of the tale have featured cannibalism and various forms of mutilation, yet the classic Disney film has remained the prevalent iteration. Aside from Steven Sondheim’s Into the Woods, I had yet to see a Cinderella story that fully leaned into the gory elements that existed alongside the pumpkin carriages and fairy godmothers.

As a bass beat punctuates the trailer, questions start to flash on screen:


“Do you ever feel inferior? Unworthy? Ashamed? Rejected? Invisible?” and finally “Ugly?”


The last word, which continues to flash on screen as the titular stepsister, Elvira (Lea Myren) sits down in front of her vanity. Elvira herself is far from being ugly. Myren is a very pretty actress who looks like she could play Anya Taylor-Joy’s younger sister. But this movie isn’t called The Already Pretty Stepsister, so certain steps have to be taken in order to let audiences know that Elvira is indeed the ugly stepsister.


Frankly, Elvira’s mother lives up to the title of Evil Stepmother because she’s decided to stick this poor girl with an obnoxious pile of sausage curls overflowing her head and completely overwhelming her soft, delicate features while throwing copious amounts of stiff, brown fabric onto her small frame. The torture is topped with a stack of bows that look like a mess of whipped cream atop this Kibbe system nightmare. Of course, all of this serves to emphasize the beauty of our Cinderella, Agnes (Thea Sofie Loch Naess).


Agnes appears to us looking perfectly put together with her historically inaccurate half-ponytail with relaxed beachwaves and her simple yet elegant pale blue dress, which only makes her bright blue eyes stand out. Brief shots of half-eaten cakes and cinnamon rolls crammed into drawers, a close-up shot of Elvira’s stomach, and glimpses of her braces are further meant to alert audiences that Elvira is, in fact, ugly. It’s not enough that (for some reason) her clothes are unflattering to her features, but apparently, her body is also far from the ideal that Agnes apparently embodies.Elvira is not ugly, but she just happens to have all of the supposed signifiers of ugliness. The only reason why she does not appear as put-together as Agnes is that her mother is possessed by the vengeful spirit of a stylist who’s obsessed with heaping bows and curls onto a petite person with pixie-like features. As for her body, Elvira barely looks any different from any of the other girls in her dance class. Sure, the camera focuses on her stomach after eating one of the several sweets hidden in her drawers, but it’s nothing abnormal or shocking. By all means, it is a completely normal body. So when we see Elvira’s nose gruesomely cracked open by a terrifying plastic surgeon (appropriately named Dr. Esthetique), it hurts in more ways than one.


It’s an image that is all too familiar. A girl who looks perfectly fine, even pretty if only her mother would stop, insisted on pairing sausage curls with gigantic bows, going to extreme lengths to completely change everything about herself rather than emphasizing the beauty that is already there. Unfortunately, for many people, and especially young women, these are the types of growing pains that we experience.


A ScreenRant review by Mae Abdulbaki describes how beauty in this world is viewed:“As a performance, as status, as a means to attract and remain valuable in the eyes of society." Beauty is essentially a currency amongst women, and the extensive procedures that Elvira puts herself through are the labor needed to earn it. She screams in pain with blood leaking from her eyes after having false eyelashes directly sewn onto her eyelids, all for the attention of Prince Julian (Isac Calmroth). The film is listed as a horror-comedy, but those who identify with Elvira’s struggles know that it is truly a tragedy. One review that flashes on screen during the trailer calls the film “savagely brutal and yet strangely beautiful.” A description that is ironic, given the way that Blichfeldt’s intentions seem to be to rip beauty standards apart limb from limb, as blood spatters onto a horrified audience. Personally, I’m all for it. If Elvira’s torture feels visceral (one audience member threw up during one sequence during its Cannes showing), that’s because it is forcing the audience to feel what nearly every young girl has had to feel on the inside as she grew up. “Savagely brutal and yet strangely beautiful.”


While it may even be frustrating to see Elvira viciously mutilating herself for the attention of one man she barely knows, how many of us have been like her? Cassie Howard (Sydney Sweeney) has faced similar criticism for the insanely intricate morning routine she subjects herself to just to gain a little bit of attention from Nate Jacobs (Jacob Elordi). But unless you can confidently admit to yourself that you’ve never gone to any lengths just for the attention of a crush, none of us is any better.


Even without a romantic interest, we live in a society that immediately judges people based on their physical appearances. Lori Baker-Sperry and Liz Grauerholz write how “it is acknowledged that many women willingly engage in ‘beauty rituals’ and perceive being (or becoming) beautiful as empowering, not oppressive.” This idea is made more complex with the frequent promotion of “self-care” and “wellness” by social media. We may not view multi-step skincare routines or smoothie recipes as beauty rituals because they have been wrapped in the idea that it is being done for yourself. But, let’s be honest here, “wellness” has simply replaced “beautiful,” and it is not a coincidence that the expected outcome of following these rituals is a “glow-up” in the form of a slimmer body, smoother skin, and more voluminous hair. These rituals are meant to lead to the achievement of beauty standards.


“The social advantages of pretty privilege are many: good-looking people come off smart, capable, trustworthy, and generally morally virtuous.”

On the other end of the spectrum is the unfairly gorgeous Agnes. Silently judging Elvira while looking effortlessly ethereal in an Elle-Fanning-as-Sleeping-Beauty type of way. Although she meets beauty standards in a way that Elvira does not, she, too, is dependent on her beauty to move herself forward in the world. The Aarne-Thompson-Uther folklore index categorizes Cinderella under type 510A — Persecuted Heroine. While it would have been easy to place Agnes/Cinderella into the role of villain to Elvira’s persecuted heroine, Agnes is not any better off. As previously mentioned, beauty is a currency, and Agnes only happens to have an abundance of it.


As a young woman without a father or a dowry, Agnes must rely on her pretty privilege to catch the attention of the wealthy prince. According to Sable Yong for Time Magazine, “the social advantages of pretty privilege are many: good-looking people come off smart, capable, trustworthy, and generally morally virtuous.” Elvira temporarily gains this advantage sometime after she swallows a tapeworm egg to eat away her body weight, and her hair begins to fall out in clumps. Whether she likes it or not, she has become beautiful. But it’s still not enough. Yong writes that pretty privilege “calls for a kind of beauty that appears convincingly ‘natural’ in order to imbue positive associations of goodness and moral virtue.” As painful as those procedures may have been, it is no match for the beauty that Agnes was born with.


“A kind of beauty that appears convincingly ‘natural’ in order to imbue positive associations of goodness and moral virtue.” The penultimate moment comes when Elvira holds up a meat cleaver, preparing to chop off her toes. Besides the moment when the slipper fits Cinderella, this is one of the most famous scenes of the Cinderella story. Elvira has gone through hell and back to forge herself into the living doll that she thought the prince wanted. But Agnes, even with her face obscured, has managed to destroy everything that she has worked towards. When we see her glaring down at her own foot, there is a sense that it was never just for the prince. The whole world has told Elvira that in order to be valued, she must be beautiful. All of those surgeries and procedures were ways of punishing herself for failing to embody beauty standards in the same way that Agnes does. But we all know how the story of Cinderella ends. Only one stepsister will get her happily ever after.

Nina Lee, award-winning filmmaker and creator of The Girls Room and Sorry About That, recently posted a thread on X (formerly Twitter) where she revealed that the sale of two of her romance film projects depends on how well the new romantic comedy film You, Me & Tuscany does in theaters. She said in the thread, “A film that has nothing to do with me could quite literally change my life.”

Lee’s call to support the film has re-ignited the discourse about which films get made and why black films have a harder time being green lit in Hollywood. Why is Hollywood making a decision about future black films based on the success of one movie?



There’s an age-old myth in Hollywood that black-led films only appeal to black audiences and aren’t as profitable. Studios don’t put as much money or effort into promoting them, which reinforces the idea that one black film has to prove itself for future black films to be considered worth the investment.


Image credits to Universal Pictures
Image credits to Universal Pictures

Even Ryan Coogler’s Sinners wasn’t safe. Despite the success of films like Black Panther and the Creed franchise, Variety's April 2025 article cast doubt on the film’s profitability before the opening weekend was even over. Even with a $61 million global debut, the article stated that “profitability remains a ways away.”

Black films of any genre face this problem, and rom-coms, though popular, rarely follow two non-white leads, not to mention black leads. Plus, in an era of IP-driven films, studios hesitate to greenlight original films in general.


Unfortunately, this means You, Me & Tuscany is already fighting an uphill battle even before its release, as it has the distinction of being all three: an original, black-led, romantic comedy.


Hollywood has always been cautious about the films it makes, looking at the success of prior films before making others like it. But despite theater-goers expressing their desire for original films over endless remakes and sequels, studios are still reluctant to give original films a chance.

In an era where social media platforms are constantly vying for consumers’ attention, Hollywood is still making an effort to restore theater attendance post-COVID, and franchises seem to be the best way to guarantee a return on studios’ investments.


But it seems that black-led films are held to a higher standard than films where the director or lead actors are of a different race. Instead of being judged on their own merits, the fate of future black films relies heavily on the success of the one film. Many online have pointed out the double standard, one post saying, “…if ONE black romcom fails the careers of multiple black filmmakers will be hit…white romcoms can fail, and they will still make new ones.”

Will Packer, a producer of You, Me & Tuscany, spoke out as well.



That’s not to say You, Me & Tuscany can’t or won’t be successful. Despite the double standard, black films have always been profitable.

Sinners, for example, was an original, black-led horror film that went back to theaters multiple times, and earned 19 Oscar nominations–the most in Oscars’ history. There is also the increased nostalgia online for the era of romantic comedies during the 1990s and 2000s, which studios could be tapping into.

The public has more than proven it’s ready for a change. Now it’s up to Hollywood to respond.


Being an original, black-led, rom-com might seem like three strikes against the film, but these are actually three merits in favor of it because these are all things people want to see. Nina Lee’s thread on X is not just a call to see this particular film; it’s a call for the audience to use its power to influence the kinds of movies Hollywood makes, and the audience has more power than it realizes.


That being said, You, Me & Tuscany, starring Halle Bailey and Regé-Jean Page, will release in theaters on April 10, 2026. Let’s go out and support!

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