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There are a lot of things the X-Men comics do well. Since their inception, the mutants of X-Men have long stood in as a powerful parable of discrimination. It’s a metaphor that has found endless applications in the decades-long history of the comics. Mutants have represented a long list of marginalized groups based on religion, race, sexuality, gender, and ability. The “mutants as other” metaphor endures thanks to its child-like simplicity: don’t treat people differently just because they are different from you.

And most of the time, the parallel works. In their thousands of permutations, the X-Men have spent just as much time fighting super-powered baddies as they have defending themselves to humanity. They have been ostracized, “cured”, imprisoned, monitored, and experienced genocide at the hands of countless corrupt authority figures.

But that doesn’t mean they always get it right. Like many other comics franchises, X-Men can fail when trying to make a point. And that’s exactly what happened in Uncanny X-Men #17. The issue sees fan favorite character Rahne Sinclair aka Wolfsbane murdered by a group of men. After trying to hit on her, the men discover that she’s a mutant and attack her using the language and imagery of transmisogyny.

Rahne is accused of trying to “trick” or manipulate the men, an accusation often leveled at trans women. It is also an unjustifiable excuse for “trans panic”, which men have used for years to condone their panicky reaction, rage, and violence against trans women. And what’s all the more horrifying is it works. Only three states (California, Illinois, Rhode Island) have banned the use of the “trans panic” defense, which has led to the acquittal of countless murders and violent acts.

“Trans panic” and the endemic violence against the trans community (which is so much worse for trans folks of color) is a serious issue. It’s a subject that needs to be handled with authenticity and thoughtfulness. That’s the opposite of what writer Matthew Rosenberg did. Instead, he shoehorned transmisogyny into the murder of a character who is NOT trans, in a misguided attempt at allegory.

Not only is the transmisogyny metaphor incompetently handled, but it also does a grave disservice to the character and spirit of Rahne Sinclair. Sinclair is a trained fighter and a powerful mutant who has overcome her share of abuse and trauma at the hands of men afraid of her power. The idea that she would not fight back against her attackers is patently absurd and poor characterization.

And here’s the thing: characters we love die all the time. And that’s okay. But to kill them off in a way that betrays their very character only to make a ham-fisted point about discrimination is just plain wrong. And to cap it all off, her death is merely used as a catalyst for Wolverine and Cyclops to feel their feelings. It’s textbook fridging, wrapped in an ignorant and ill-conceived trans metaphor.

The issue was met with outcry from fans, causing author Matthew Rosenberg to tweet out an apology.

Also, if you've been reading our book and enjoying it, or disliking it I guess, I'd urge you to consider making a donation to @TransLifeline and help support the vital work they do.https://t.co/9PYNTF2HMF

— (@AshcanPress) May 2, 2019

If anything this event reminds us how important it is to incorporate trans authors and creators when telling trans stories. Inclusivity in the comics industry isn’t just a liberal buzzword, it’s about creating authentic and real stories that don’t traumatize and alienate audiences. It’s really not that hard.

Have you read Uncanny X-Men #17? What were your thoughts on its treatment of Rahne Sinclair?

(via CBR, image: Marvel)

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“I like books.” —J.R.R Tolkien

Under the direction of Dome Karukoski and written by David Gleeson and Stephen Beresford, Tolkien is about the early life of John Ronald Reuel Tolkien (played by Nicholas Hoult), his finding the love of his life, and the fellowship that he found as an orphaned scholar at the prestigious King Edward School in Birmingham and his journey on to Oxford University. While Tolkien did not come from a wealthy family, things seemed to work out in his favor as he became one of the most successful writers of his time, authored classic fantasy works such as The Hobbit, The Lord of the Rings, and Silmarillion.

Tolkien’s love of words and languages, his finding fellowship among the wealthy and elite young men with whom he later attends Oxford, as well as his interactions with a young Edith Bratt (Lily Collins), who lives at the same boarding house as he and his little brother are quite refreshing to see. The mere sight of four high-school aged young men pontificating in a “reading parlor” about the written word, speaking poetry, the composition of music, and their aspirational dreams and desires is quite inspirational. Throughout the film, the brotherhood between these young men strengthens and makes a lasting impression.

The story is told through flashbacks. Through these vignettes, we journey through various stages of Tolkien’s life, such as: his time in the Battle of the Somme in 1916; the death of his mother; falling in love with Edith, who later becomes his wife; and the mentorship that he receives from Professor Wright, played by Derek Jacobi, while at Oxford. Unfortunately, there is too much happening in the film’s plot and storyline. It’s almost as if there are many films within the film. The war scenes are too long and drawn out and distract somewhat from the otherwise overall poetic nature and beauty of the film. So many different vignettes interwoven made the film seem somewhat choppy. There is also a very strange scene where Tolkien is on the frontlines of war yet frantically and obsessively searching for a comrade that carries on a bit too long. However, visions of dragons, horses, and mythical creatures manifest in Tolkien’s mind during the war scenes and other vignettes, depictions that would later become the basis of the fantasy worlds in Tolkien’s works (Arda and Middle-Earth). The film does a decent job of depicting how Tolkien’s time in the war both traumatized and inspired him.

It would have been nice to have seen more interaction between Tolkien and Bratt, who he married as soon as he became 21. The chemistry between Hoult and Collins is very genuine, and their time on screen together is very sweet. In the biopic, Bratt encourages Tolkien in his work and his use of language, and he is inspired by her wit and musical prowess. I wish that the backend of their love story were explored a bit more. She is older than he, and they are of two different faiths, yet they manage to forge a bond that stands the test of time and even endures despite war. We don’t get to learn enough in the film about Edith Bratt’s character and background.

The art direction in this film is just as engaging as the story itself, if not more interesting. The set design and the costume designs are altogether lovely. From the dimly lit lanterns to the beautiful textiles of the wallpaper, the interior décor of the homes and buildings in the film is visually pleasing. The sight of young women wearing floor-length skirts and flowy dresses as the norm was different and refreshing to see, along with young men in sports coats and suspenders. As a millennial watching this film, I felt a yearning for a time past when the written word was the norm in juxtaposition to video, text messaging, or snapchat. I appreciated the delightful and elegant-looking calligraphy and handwritten notes and letters sent in the mail.

The reading parlors, the elegant libraries, and the books displayed in this film are beautiful. Bibliophiles will appreciate this biopic just on account of the pleasing way that books are displayed. Classic leather books, thin and worn and cherished, adorn the halls of the interior spaces. This film reverences the written word as well as the spoken word. Bratt and Tolkien build a close bond in their conversations about words and their meanings, and many moments within this film highlight the power of storytelling in its varied forms.

Overall, this film is cinematically interesting and gives a sympathetic look into the early and middle years of JRR Tolkien’s life. Tolkien creatively provides a glimpse into the past of one of the literary world’s most successful authors, without over-glorifying him.

Tolkien stars: Nicholas Hoult, Lily Collins, and Laura Donnelly.

Tolkien premieres nationwide on May 10, 2019, and is rated PG-13.

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