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Batwoman Is Back As a Lesbian
Years after she first emerged from the Batcave, Batwoman is coming out of the closet.

DC Comics is resurrecting the classic comic book character as a lesbian, unveiling the new Batwoman in July as part of an ongoing weekly series that began this year. The 5-foot-10 superhero comes with flowing red hair, knee-high red boots with spiked heels, and a form-fitting black outfit.

"We decided to give her a different point of view," explained Dan DiDio, vice president and executive editor at DC. "We wanted to make her a more unique personality than others in the Bat-family. That's one of the reasons we went in this direction."
Associated Press, May 31, 2006


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A Gay Anti-Hero For Bear Market Times
Category: SEX & SEXUALITY
By: Pete Kendall, June 1, 2006

In 1985, EWT identified bear markets as the domain of complex anti-heroes.
The Elliott Wave Financial Forecast, March 2001

Batwoman
What does socionomics say about announcements like DC Comic's announcement that "Batwoman Is Back As a Lesbian"?
--Gary Nichols

It fits right in with our comment from 2001, which came out when Hannibal hit it big at the box office (the  full discussion appears at the bottom of this entry). A gay Batwoman certainly fits EWI’s “complex anti-hero” description. Believe it or not, it should get far more extreme before it is exhausted. Most remaining bull market style heroes will fall from public grace and attention, and bear market style anti-heroes will take their place. The preference for antiheroes is evident by the latest DC Comics story line in which Batman “has disappeared, along with Superman and Wonder Woman, leaving Gotham a more dangerous place.”

As for Batwoman’s revised sexual preference. This is also consistent with the position of social mood as the entries of  Febraury 16,  November 15 and September 7 reveal.

March 2001, EWFF
New Role Model
 In 1985, EWT identified bear markets as the domain of complex anti-heroes. Hannibal “the Cannibal” Lecter certainly fits the bill. First, recall that Hannibal Lecter played an important but not central role in the 1991 horror movie Silence of The Lambs, which rode the cultural after-shocks of the last bear market in social mood to critical and box office success. Now Lecter is back as the focal point in Hannibal, and he is “bloodier and more violent” than ever. As the cutting edge in a new wave of horror movies, the most important element of this blockbuster is that Hannibal manages to gain the sympathies of the audience. “Here’s a thriller in which, by the end, you are rooting for a serial-killing cannibal to escape his hunters,” says one reviewer. As grisly as this seems, audiences are clearly thirsty for such a character. Hannibal had the best opening ever for an R-rated movie, grossing more in its first weekend than the next 15 movies combined. Hannibal signals a profound shift from the horror films produced by the downturns of the 1930s and 1970s. In the 1930s, the monsters got killed by the heroes; in the 1970s, the heroes got killed by the monsters; this time around, the monsters are the heroes. These are profound shifts that will undoubtedly put traditional, white-hat heroes that rule in bull markets on the sidelines for some time to come.

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