Right, the thing about people remembering Whedon as a scrappy little underdog with Buffy is that it's in relative terms - he was born to Hollywood royalty and an established screenwriter for years when he finally got the chance to do Buffy as his passion projecthttps://twitter.com/benjanun_s/status/1373321336005611520 …
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And as much as he considered himself a victim in many of his narratives - saying the original Buffy movie failed because big star Donald Sutherland didn't respect him as a director - he absolutely was a Hollywood insider who threw his own weight around to get what he wanted
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It's shocking in hindsight how blatantly he played favorites and did the whole stereotypical sleazy Svengali "I *made* you in this town, toots" producer shit And people were okay with it because he did it in a lovable nerdy way
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(Ironically, Dollhouse is about this)
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Replying to @arthur_affect
yeah in retrospect DOLLHOUSE was a pretty big red flag as far as the whedster was concerned
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Replying to @perdricof
It's weird because it's an extremely guilt-laden full confession It's funny how people didn't really pick up on that, like if there's ANY metaphorical connection between the show and Whedon's real life/career AT ALL then it's Whedon confessing to being a huge piece of shit
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Replying to @arthur_affect @perdricof
So in a way you could say that DOLLHOUSE was Whedon's SUCKERPUNCH
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Replying to @Nymphomachy @perdricof
The Snyderbros were saying that Sucker Punch actually functions much better as a critique of Whedon than a self-crit of Snyder, ironically enough And yeah I kinda have to give that to them -- most of Snyder's oeuvre isn't really the kind of thing Sucker Punch is about
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Whedon wore the whole "Empathetic male artist fascinated with the trauma and damage of beautiful young women" hat much more than Snyder did
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ZS is more just straight up fashy toxic masculinity in a slick (but still somehow really oddly clumsy) package. JW is more insidious.
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