What began in the shadows of queer underground culture as a subversive celebration of identity has, over the decades, been transfigured into something far more palatable and considerably less dangerous. The evolution of camp in film tells a tale, not merely of aesthetic evolution, but of cultural assimilation, where the radical edge of theatrical transgression has been dulled by gradual mainstream appropriation.
When Fantastic Four was released in 2005, nobody knew what to do with superhero movies. It  is probably best understood as a mainstream studio’s attempt to capitalise on their recent unexpected success without quite understanding the catalysts of their popularity.
