This is not to understate the value of representation or the importance of advocating for more minority filmmakers. In fact, it’s quite the opposite. If relatability politics take precedent in the industry’s current state of homogeneity, the limited diversity that we are already privy to will become almost obsolete. In order to counter this, we need to advocate for the elevation of more voices in Hollywood while simultaneously discouraging the superficiality of representation at face-value.  

Because the bathroom can manifest the greatest threats, the space holds a great deal of social power in shaping our biases. Films that use an exterior threat to destroy the bathroom’s intimacy often frame the encounter through a lens of innocence of predation. In “A Nightmare on Elm Street,” Nancy falls asleep in the bathtub, leading to the famous shot of Freddy Krueger’s knifed gloved hand emerging from the water between her thighs, implying a physical or sexual violation of her body. 

Film criticism likely developed this reputation because of its unique position as an academic discipline that exists in such close proximity to mass consumer interests. Critics have existed for almost as long as film has, and it's impossible to conceptualize an industry without them. But, a critic’s proficiency in the history and formal language of a populist media may put them in opposition to public taste. 

The rites associated with screening cult films in theaters often violate some social taboos, such as dressing up in costume, quoting along to the film and engaging in disruptive behavior that would be otherwise condemned in a theater. Cult films defy the destiny of underground movies to be forgotten and, through collective devotion, garner the timelessness often only reserved for blockbusters.