"Let’s put it this way: She only saw Avengers: Endgame in theaters once. So she didn’t think much of it when she posted what she thought was an innocuous tweet to her 800 or so followers, praising a line from Marvel’s latest hit show, WandaVision. In one scene, a character suggests to another, "But what is grief, if not love persevering?" When she heard it, she muttered an expletive under her breath. As both a screenwriter and a casual fan, the line struck her as a standout. "Sometimes you hear a line, and you can tell it would be remembered," she said. So on Saturday, intending to poke fun at her "screenwriter self," she tweeted a photo with the line as the caption, adding, "Do you hear that sound? It’s every screenwriter in the world whispering a reverent 'F---' under their breath." That evening, she went to bed, pleased with the 100 likes it received. Little did she know that tweet would become a symbol of the almost hyperbolic feelings the MCU inspires online — from both fans and detractors. And how the earnestness of fans of a popular, Disney-controlled product can clash with the cynicism of a place like Twitter. The next morning, Hatfield’s tweet had 10,000 likes."

"Vision knows his time is almost up but before he goes he wants to know how he came to be. Wanda reveals he is part of the Mind Stone that has lived inside her since her initial contact with it. They share one last kiss and then Vision, and the house Wanda built for them, are gone. The only thing remaining is the empty plot of land that was the genesis of the emotional breakdown that led to Wanda casting such a heartbreaking spell to begin with. A spell that was doomed to fail at some point if Wanda were to reclaim her compassion and humanity. Which she did. So what about the controversy of WandaVision director Matt Shakman saying he was worried some fans might be "disappointed" in the finale? The only explanation for that is the unlimited amount of rumors and theories that WandaVision spawned online. All of which fell flat on their face. WandaVision put such a spell on us over these last nine weeks, the internet had many of us believing and hoping that the show was a portal to satisfying the hopes and dreams of Marvel Studios fandom."

"Fred Melamed - Todd Davis"

"The series works because it proves an important point: By telling its story in a way that reaches beyond the typical comic fan/superhero movie universe, WandaVision pulls in even those who tend to turn their noses up at capes and cowls and supervillains, while also becoming a TV-sized embodiment of all the best storytelling devices from decades of comic books. Talk about revenge of the nerds. WandaVision's success proves that high quality superhero storytelling is just great storytelling. Period.… WandaVision has redefined what a small screen superhero series can be in an important and pioneering way. And this particular comic book nerd can't wait to see how Marvel's other Disney+ series — and the rest of the TV universe — builds on the ground they've broken."

"It's unlikely that this show, with this focus, could ever have been successful without Elizabeth Olsen's indelible central performance. Asked to be a sitcom wife, a sitcom mom, a superhero, a witch, a legend, and a woman whose grief was so overwhelming that she broke the whole world, she never wavered. That's what allows her to carry off those cute, quotable Marvel lines without tearing the audience completely away from the story. (Lines like "Boys, handle the military. Mommy will be right back.") The very last scene in the finale illustrated what the show wrestled with for nine episodes: that there are two Wandas. There is the mythical, legendary, super-real Witchy Wanda, floating and glowing. There is also the deeply human, traumatized, lonely Sweatpants Wanda, drinking tea and trying to figure out what happens next now that she's alone again. Even if you don't much care about the former, Olsen's work kept the latter visible and unforgettable throughout."

"For all its fantastical trappings, WandaVision is perhaps the Marvel project most rooted in reality. Its depictions of trauma, of grief and loss — filtered through a mystery-laden, superpower-driven plot, natch — are moving and resonant. Wanda built walls — a contained world, really — so she could drone out her searing pain with laugh tracks and pratfalls. Watching her slowly start to break them down has been cathartic for audiences living through a year of relentless loss."

"This book is a manifesto-the 1981 declaration of a new politics 'US Third World Feminism.' No great de-colonial writer, from Fanon, Shaarawi, Blackhawk, or Sartre, to Mountain Wolf Woman, de Beauvoir, Saussure, or Newton could have alone proclaimed this 'politic born of necessity.' This politic denies no truths: its luminosities drive into and through our bodies. Writers and readers alike become shape-shifters, are invited to enter the shaman/witness state, to invoke power differently. 'US Third World Feminism' requires a re-peopling: the creation of planetary citizen-warriors. This book is a guide that directs citizenry shadowed in hate, terror, suffering, disconnection, and pain toward the light of social justice, gender and erotic liberation, peace, and revolutionary love. This Bridge transits our dreams, and brings them to the real."

"White feminists have read and taught from the anthology This Bridge Called My Back: Writings by Radical Women of Color, yet often have perceived it simply as an angry attack on the white women's movement. So white feelings remain at the center. And, yes, I need to move outward from the base and center of my feelings, but with a corrective sense that my feelings are not the center of feminism."

"Persephone Press was an important and successful white, lesbian, radical feminist press, founded in 1976 in Watertown, Massachusetts. The publication of This Bridge Called My Back with Persephone was made possible by the support of two key white lesbian feminist writers. Sally Gearhart, the lesbian activist and educator, had published Wanderground with Persephone Press in 1978 and brought This Bridge Called My Back (under a different title at the time) to the press's attention. Sally had been my mentor, teacher, and advisor at San Francisco State when I was in graduate school there. Around the same time, Adrienne Rich had read my essay "La Güera," which I had sent to her as the first essay written for our women-of-color collection. At this time, Rich had just written the foreword to The Coming Out Stories, to be published by Persephone in 1980 and edited by Julia Penelope and Susan Wolfe. She recommended "La Güera" for inclusion in the anthology, and also encouraged Bridge's publication with Persephone. With the support of these two writers, Bridge found a viable publisher with national distribution, and the book was published in 1981. By 1983, however, Persephone abruptly disbanded and was sold to Beacon Press. Kitchen Table: Women of Color Press (which I co-founded with Barbara Smith, Audre Lorde, Hattie Gossett, and others) was established, in part, to reissue the collection through an autonomous women-of-color enterprise. Since that time and with the closure of Kitchen Table Press, Bridge has gone in and out of print."

"The pivotal anthology This Bridge Called My Back, edited by Cherrie Moraga and Gloria Anzaldúa, is replete with painful, searing tales of encounters between feminists of color and Anglo liberationists."