The criticism of popular media and literature has become a staple of conversations surrounding different art forms such as film, television, music and books, fictional or otherwise. The introspection of an art works themes, goals, and characters is an essential part. It is how analyses of classical works, such as 1984 and The Handmaid's Tale or even popular franchises like Star Wars, become imbued in culture and shape how we engage with the world. These criticisms and analyses also push conversations of works of art into how we view society through the lens of art.
With the age of social media and the democratization of internet content, several self-proclaimed critics have emerged on platforms like YouTube and TikTok to offer their criticism of films, video games and music. With this rise has also come the expected grifters and bad-faith critics. In this article, we will dissect what grifters are, how they exist in the criticism of popular media and the underlying political implications they pose.
What is a Grifter?
The term "grifter" is an informal term used to refer to someone who is disingenuous, masquerading their cause with only the aim of drawing a profit. These individuals exist in various spheres of life, sometimes under different names, depending on the context. When it comes to critics of popular media, a grifter is someone who pretends to offer sincere commentary or critique but is primarily motivated by personal gain.
Often, these individuals fail to provide an in-depth examination of the work they are supposed to be critiquing. Instead, they'll cherry-pick instances to suit a narrative, all the while positioning themselves as some form of brave objective truth teller.
In this day and age where most conversations often carry a political undertone. Not that this phenomenon is new, albeit it seems our perception of it is that the current climate is hypersensitive. There has been an emergence of bad faith and grifter critiques that aim to capitalize on, often with polarising opinions.
Grifters in Commentary and Criticism of Popular Media.
When it comes to popular media, grifters have become all the more abundant. Since the push for representation of female, queer and people of colour in lead roles of popular franchises. Many grifters who are often targeting conservative viewers or those who share those ideals. These criticisms often offer no insight into the actual thematic elements of the work, instead settling for sensationalism.
For example, they might label a film or series as "woke" or "anti-male" based on a single scene or casting decision, ignoring the broader context or the actual storytelling. On closer inspection, these criticisms only ever arise when the subject art work includes people of colour or minorities in the Western context and often include underlying misogyny or racism.
An example of this has been the reception to Marvel's Iron Heart trailer, which features an African American woman as a spiritual successor to Tony Stark's Iron Man character, played by the popular Robert Downey Jr. Despite Iron Heart existing in the comics, which is the source material for most of Marvel's plotlines and characters, the decision to bring the character into the Marvel Cinematic Universe has been characterized as woke.
The Politics of Gifting
It has long been understood that politicians aim to take advantage of people's fears and ignorance, sometimes actively exploiting them. The Nazi Party were able to carry out the holocaust not because they invented antisemitism but because they took advantage of pre-existing conspiracy theories and general hatred for Jews prevalent in Europe.
Similarly, grifters aim to appease many who have an inkling of shared values by imposing and offering an articulation for them.
The intersection between conservative politics and media grifting is built on outrage, identity, and profit. Many media grifters adopt or mimic right-wing talking points because they resonate with audiences who see popular culture as being overtaken by progressive or "woke" agendas. These grifters frame diversity, feminism, and queer themes in media not as artistic choices but as attacks on tradition, masculinity, or Western values.
By turning entertainment into a battlefield in the culture war, they attract viewers who feel alienated by social change. A simple casting decision or storyline can become political ammunition, fueling narratives of moral decline and elite control. This content is rarely about genuine critique; it's about emotional manipulation and mobilizing resentment.
Right-wing audiences, feeling underserved by mainstream media, often support these grifters financially through donations, subscriptions, or merchandise. This creates a self-reinforcing cycle where grifters prioritize affirmation over honesty. They don't need to offer thoughtful analysis; they just need to repeat what their audience wants to hear.
In this space, media criticism becomes a vehicle for political messaging, and cultural anxiety becomes a product. It's not about defending art or values. It's about monetizing division and turning fear into influence and income.
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