There are several other moments that stick to discussing Gadot’s appearance and how happy it made Edelstein, and while the review itself is pretty negative, one cannot help but notice the tone he takes when gushing over the film’s star. The review is primarily focused on the physical attributes of star Gal Gadot, whom Edelstein calls “the perfect blend of superbabe-in-the-woods innocence and mouthiness.” He laments that “fans might be disappointed that there’s no trace of the comic’s well-documented S&M kinkiness”, but is happy to report he “didn’t miss Lynda Carter’s buxom, apple-cheeked pinup”. David Edelstein, a critic for Vulture, who has written some wonderful pieces over the years, published his review of Wonder Woman, and the results were unsurprising but still disappointing. With the most visible and anticipated woman-led film of the year, and possibly century, now in cinemas, I quietly hoped that the critical response would avoid the dishearteningly expected pitfalls of sexism. I’ve talked about this before, and the ways in which the white-male dominant circles of film criticism can lead to discomfort and unchallenged narratives. Things have definitely changed since I started doing this for money: I notice how much more open people are to listening to my thoughts I’m sharply aware of how amplified my voice has become and see the consequences of that, both positive and negative and, now more than ever as a woman on the internet, I am conscious of how few our numbers are in the professional realm. While I still struggle to allot myself the title of “critic”, I take great pride in my occupation as a pop culture features writer and find immense rewards in the work that I do. Since January, I have become a person who gets paid to have opinions online. I’ve been writing on the internet for fun for over seven years now, but it’s only been in the past few months that my work has turned professional.
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