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That year, the Wall Street Journal reported that sales of girls’ toys were up-buoyed by the success of My Little Pony and the Furby brand-while profits for games, action figures, and other products aimed at young men had plummeted. Toys marketed to a young, female demographic having been declining in recent years after a notable surge in 2013. The problem isn’t young women’s purchasing power, it’s “toxic masculinity.”ĭo toys aimed at males sell better than those for females? The answer is yes, but not for the reason you might think. While that directive will likely provoke outrage on the Internet, it’s worth asking: Is it true? Do toys aimed at males sell better than those for females? The answer is yes, but not for the reason you might think. In addition to rewriting the villain as male, Black and Pearce also reduced the screentime of Maya Hansen (Rebecca Hall) and Brandt ( Stephanie Szostak) at Marvel’s behest. “So we had to change the entire script because of toy making,” Black said. Their reasoning? Black said he was told “that toys won’t sell as well if it’s a female.” According to Black, the second sequel to Iron Man (which was co-written with Drew Pearce) was conceived with a female antagonist, but Marvel nixed it. This paper draws on two favourite characters from British reality television show, Love Island 2018: Jack Fincham, a former stationery sales manager, and Alex George, an Accident & Emergency doctor, to explore how heterosexual norms are constructed and challenged.If you were one of the many people wondering #WheresNatasha, after Marvel declined to release a Black Widow action figure, Iron Man 3 director Shane Black may have your answer.īlack sat down with Uproxx for an interview about The New Guys, the buddy cop-comedy starring Russell Crowe and Ryan Gosling, where he discussed changes the superhero brand made to the original script.
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We study the romantic on-screen relationships these characters have with the female contestants, and between the two male characters themselves through the notion of ‘bromance’.
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Through a textual analysis of the spoken words and physical interactions between characters in episodes forming the fourth series of Love Island and analysis of social media posts and articles in popular press outlets, we use the notion of gender performativity to explore how these characters perform both hegemonic and, what we argue is, ‘threatened’ masculinity. We use the ‘Male Gaze’ to methodologically lens the performances by characters and their romantic interactions on the television show. In particular, we focus on Jack and Alex’s budding relationship and the condemning of this relationship by the public amid Alex’s termination of his romantic relationship. The decision by Alex to end this relationship led to many viewers questioning his sexuality, with specific reference to his adoration for Jack. Whilst broadly, this paper contributes to debates on the sociological potential of reality television shows, such as Love Island, its specific contribution is to a small, but growing body of international scholarship on homosocial relationships and male love stories in television and film. With this paper, we also contribute towards redressing the marginalization of women within the study of bromance.