The guy who is incapable of understanding True Art, and judges it harshly based on its stubborn failure to hold to any conventional formal scheme.
Any character in fiction who is described as a well-known or influential critic, an editor, or as an English professor, is likely to be a Straw Critic as well as an insufferable snob.
A variant of the Straw Critic is the Straw Editor, who takes joy in rejecting perfectly good story submissions, demanding ridiculous changes, and otherwise has no purpose in life other than to make the writer's Author Avatar miserable.
Critics and editors often attract the ire of writers, because it's their job to tell people when stories suck. Needless to say, "Your story sucks" is not something most writers want to hear, which sometimes leads to a writer becoming a bit bitter and filling their stories with subtle and not-so-subtle jabs at the editors and critics who are too closed-minded to appreciate them properly. Frequently involved in a Take That, Critics! moment.
Can occasionally be a case of Truth in Television, since some critics have been known to make pronouncements about media which they haven't even seen firsthand. But this rarely happens so spectacularly as in fiction.
As with other tropes in The War on Straw, please refrain from adding Truth in Television examples, as there is a very thin line between an actual Straw Critic and a troper attempting to portray a critic they don't like as one.
See also Reviewer Stock Phrases. Compare Fan Dumb, Unpleasable Fanbase, Caustic Critic, and FanHaters.
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Anime and Manga
Noboru Yamaguchi of Cromartie High School describes himself as an expert of comedy, despising vulgar, sophomoric jokes that are made and being critical to successful acts of comedy. The latter includes hiring a ventriloquist as a new right-hand man, finding out what makes the in-show Pootan so popular, and admiring his rival 'Honey Boy' (Takashi Kamiyama) for a sense of humor Yamaguchi has yet to surpass.
Bakuman。 has an arc with a new editor, Miura, who has a passion for gag mangas that he tries to force onto the protagonists. After a lot of argument he and the protagonists find a compromise, getting into a style that the protagonists prefer, but with much more humour. His approach is partially influenced by his believing that gag mangas generally do better and, being a new editor, needing to edit a successful series in order to keep his job.
J. Michael Straczynski's Superman: Grounded had an entire slew of straw critics in the form of reporters asking Superman a series of (perfectly reasonable) questions about why he randomly decided to walk across America. Not only does this attempt completely fail to recognize the in-universe hypocrisy (Clark Kent is a reporter) but it also foreshadowed that we'd get a series where basic logic is ignored (even though the story is supposed to take place in a more realistic depiction of America) in favor of Superman being a dick.
Hilariously JMS gave up on the series completely because it sucked. A series that uses a Straw Critic in its very first issue pretty much screams "I refuse to do my job competently!".
From The Sandman story "Calliope," one of the many story ideas Ric Madoc devises after he is cursed with "ideas in abundance" by the Sandman, in a case of Be Careful What You Wish For involves "the fraternity of critics": "In reality a dark brethren, linked by profane rites and blood vows. To destroy an author they sacrifice a child and perform a critical mass..."
DC has a few of these: Funky Flashman (created by Jack Kirby as a thinly-disguised and none-too-affectionate parody of Stan Lee) and Superboy-Prime (a parody of the very worst aspects of the continuity-obsessed forum-posting online fan) both spring to mind.
One character in Lady in the Water is a movie critic whose primary traits are that he is very Genre Savvy and is extremely jaded. He sometimes gives advice to the other characters. Eventually, he suffers from Death by Genre Savviness. It's worth mentioning that the director M. Night Shyamalan's most recent movie at the time, The Village, had been critically panned, something which did not go unnoticed or unremarked upon by many of the real-life critics who reviewed the movie. Roger Ebert found that in fact, the Straw Critic got off easy.
History of the World Part I has The First Artist in the Prehistoric segment painstakingly paint an animal on the cave wall. He is followed by "the inevitable afterbirth, the First Critic," who pisses on the First Artist's painting.
In The Raven (2012), the killer's first victim is a literary critic who had bashed Edgar Allan Poe's work, and had been killed with a contraption from "The Pit and the Pendulum", which leads the Baltimore police to call on Poe himself to help solve the crime.
In Theatre of Blood, Vincent Price plays a Shakespearean actor who kills the critics who had panned him. While dueling with one (the only one who makes it to the end of the film), he delivers an Author Tract lashing out at critics.
Subverted in the Tony Hancock film 'The Rebel' where George Sander's art critic Sir Charles Broward is portrayed as being the only one to recognise that Hancock's work is actually rubbish and that Paul Massie is the real genius.
Piers Anthony wrote a short story, "Nonent", which he included in a short story collection called "Alien Plot" that consisted of stories of his that he had tried and failed to publish elsewhere. In "Nonent", an alien comes up with a plan to destroy humanity. The alien is going to do this by shutting down printed fiction so that everyone will turn into TV-watching degenerate zombies and destroy themselves. Earth has too many publishing houses to destroy directly, but he finds a weakness - they accept and evaluate unsolicited submissions. He writes a short story that will cause anyone who reads the beginning it to be compelled to finish (unless they're already a degenerate zombie), and the last page contains a picture that will drive anyone who sees it insane. The story ends with the alien receiving a pile of rejection letters. The reason the plot failed is left unstated. Not one editor finished reading the story!
As Anvilicious as that is, it may have some small basis in reality. In talking about his career, Anthony said that he used to do detailed, extensive write-ups for stories, all of which were rejected. When he started submitting small blurbs that basically communicated nothing more than the general idea of what he wanted to write, he got approved. Which doesn't make the story any less strawmannish, really, but hey, write what you know.
The opening chapter of Currant Events had an evil version of Clio, Muse of History parroting frequent complaints about the Xanth series. (The real Clio responds to this by basically saying "Yeah? So What?")
Dean Koontz's novel Relentless was about a cabal of sinister critics trying to drive down cultural standards.
Even Voltaire gets into this in his novel Candide. In the later chapters there's Count Pococurante who owns an extensive library of great literature. But he's incapable of enjoying anything and ruthlessly critiques all of it. The character also counts as Self-Parody- all of his literary opinions are those of Voltaire himself, who also a pretty snarky guy- but the character takes it to insufferable levels.
Robert A. Heinlein's The Number of the Beast has a "Critics' Lounge" where literary critics are trapped. Lazarus Long is sure that it will get rid of his problem with critics because in order to escape, you must be able to read plain text without distorting or "interpreting" the meaning, which he implies that critics cannot do.
Although he does mention that the lounge is only intended for the worst critics — simple book reviewers and suchlike aren't even given an invitation to go in there. So this may avert the trope in that "critic" is being used as a referent for "reviewer with an agenda", as opposed to the more standard definition of "someone who comments on a creative work".
Mikhail Bulgakov's The Master and Margarita featured some of those, based on the real critics he had to put up with (as well as literary bureaucrats and so on). He then had a witch utterly trash the apartment of one of them.
The last page or so of Macdonald Hall Goes Hollywood describes a film critic who hasn't liked a single thing he's ever seen in his whole life... until he happens to watch the video tape made by one of the characters that happened to capture all of the crazy events that took place during the novel. Which the critic, of course, immediately declares to be brilliant.
Dean Koontz's Relentless has as its villain a hack of a literary critic who disdains works that aren't deconstructionist and postmodern, locking on to the main character because he writes stuff that's conventional. Not only that, but he's part of a murderous cabal that's literally out to restructure cultural standards through low-key terrorism.
In the third novel of the Babylon 5 Psi-Corps trilogy, a fugitive Bester makes a career of this as a literary critic who never gives a positive review (A typical review: The plot is revealed on a need-to-know basis. You don't need to know). He actually has a small crisis of professional ethics when he picks a book to review that he actually ends up enjoying.
A Bit of Fry and Laurie had a recurring set of critic characters, although they were more of the academic, literary-analysis type. One of them (the one that Hugh Laurie played) said that he had written a book of his wise sayings, but it had been critically lambasted. "But what do critics know of the work we do?" he wonders.
This is a very particular Author Tract — both Fry and Laurie have talked about why they can't stand real-lifeCaustic Critics, including the actual mannerisms they use in the sketches — affected "tiredness" is one of the things Fry has mentioned specifically, and it's taken to an extreme in the sketches, where the critic characters slump down further and further each time they appear and end up sprawled on the floor eating ice cream, so exhausted are they are by the sheer mediocrity of whatever it is they're criticizing.
Statler and Waldorf, on The Muppet Show, who appear in the "audience" and only exist to heckle Kermit and the rest of the Muppets. In a subversion, though, they are generally shown as being sharp-witted and incisive; usually they come off as the show being self-deprecating, rather than making a straw man out of their critics.
Sam the Eagle occasionally took on aspects of the True Art breed of straw critic. The laughs at his expense usually derived from his complete ignorance of the subject in question (he thought Shakespeare wrote Robin Hood) or by having a classically trained guest star (Rudolf Nureyev, Beverly Sills) cheerfully joining in on the show's usual silliness to Sam's chagrin.
In a more recent internet video Sam tries to sing American Woman (hazarding that it was written by, "I don't know...John Philip Sousa?"), only to discover that it is not, as he believed, a ballad in praise of Lady Liberty, at which point he starts getting into this on patriotic grounds. But what really gets his hackles up is that the Guess Who are Canadian.
The Monk episode "Mr. Monk and the Critic" featured a theater critic who reviewed a play Julie Teeger was in. He generally praised the play but singled out Julie's performance as "forgettable." It turned out that he hadn't even been there during that number, meaning that he wrote the scathing comment based on a wild guess. Oh, and he also killed the woman he was cheating on his fiancee with, and had only attended the play in the first place as an alibi.
Averted in Extras. Andy's show, When the Whistle Blows, is unanimously and viciously panned by critics, and both we and Andy know they're right.
The Mary Tyler Moore Show episode "The Critic" featured a critic who was hired by WJM to provide commentary. The only work of art he professed liking was an obscure Ukrainian documentary called "Blood on a Dog's Face." He not only hated most movies, food and theater, but decided to use his airtime to bash Minneapolis and the newsroom staff. His eloquent comeuppance:a pie in the face from Ted.
In Gian-Carlo Menotti's opera Maria Golovin is the character Dr. Zuckertanz, who scoffs at the sentimental duets that the mother keeps, insulting nineteenth-century Romantic music that Menotti himself was fond of emulating, asking "must music only be sweet?" Then he sings an Italian duet written in precisely that style.
The Stephen Sondheim musical Merrily We Roll Along features a Broadway producer who dismisses a certain song as not having "a tune you can hum," which Sondheim himself has heard once or twice during his career. The song, revised with a new lyric and accompaniment, becomes a chart-topping success; indeed, the same producer is caught humming along to it.
Richard Wagner's Die Meistersinger von Nürnberg has Beckmesser, a talentless Small Name, Big Ego who takes Walther's first song to task for all sorts of offenses against form. When he tries to do better, he fails epically and hilarity ensues. Loosely based on Eduard Hanslick, a fierce critic from Vienna, who hated Wagner.
Algernon: The truth is rarely pure and never simple. Modern life would be very tedious if it were either, and modern literature a complete impossibility. Jack: That wouldn't be at all a bad thing. Algernon: Literary criticism is not your forte, my dear fellow. Don't try it. You should leave that to people who haven't been at a University. They do it so well in the daily papers.
The Molière play The School for Wives Criticized is Exactly What It Says on the Tin; a short play about his previous play, The School for Wives, in which fans of the play enter into a discussion with people who didn't like it. The fans are of course intelligent, witty people, while the critics are pompous assholes who disliked the play because they were the targets of its satire or saw vulgarity everywhere.
The Real Inspector Hound features two critics, Moon & Birdboot. Moon is an incredibly anally retentive over-analytical type who insists on comparing the play they are watching (basically a sub-Christie type play) to the works of Sartre whilst Birdboot is a Dirty Old Man who gives high praise to any actress he fancies seducing.
Psychonauts has Jasper Rolls, a critic boss character who was the absurd epitome of this trope; an ugly, obese, snobbish man who has many jokes at his expense and who literally hurls cliched derogatory adjectives like "tedious" and "monotonous" etc. whilst you battle him. This gets even more interesting when you remember that the battle takes place in the mindscape of demented former actress Gloria van Gouton, where Jasper represents Gloria's own insecurities and harsh self-judgements about her performance.
In a bit of a Fridge Brilliantsubversion to this trope, Jasper doesn't die after you defeat him—he just shrinks from his previously huge size. Having an inner (or outer) critic isn't bad in and of itself (without it, we wouldn't feel the need to improve ourselves)- but if it grows too harsh or too negative (like in Gloria's case), it can become a problem.
Starslip's Memnon Vanderbeam is an art critic from The Future who sees amazing depths in 21st-century relics like World of Warcraft and the movie Catwoman, but goes into a fit when he discovers the woman he loves owns a "Hang In There!" poster. He resolves his cognitive dissonance by writing a hundred-page dissertation defending the "Hang In There!" poster as an example of True Art.
On the other hand, he frequently comes off as something more like an Absent-Minded Art Professor - his detailed analysis of a Brown NoteMacGuffin is so spot-on that it prevents it from working on him, for example. He's only wrong most of the time because he thinks out his observations to ridiculous levels, and then assumes that the artists had that in mind every step of the way.
The entire purpose of The Cinema Snob is to lampoon movie critics who hate any film that isn't meant to be a pure work of art. This is made even more brilliant when you know that the real Brad Jones actually likes most of the schlock and smut he reviews. Jones will sometimes even use the character to examine the line between "high" and "low" art- the review for the film Salo, points out that the movie does all the same shocking, tasteless things you'd expect to see in a low-budget exploitation film but frames it in such a way that it appears high class. As a result, the Cinema Snob character continuously praises the film, even though he can barely watch it and the content makes him physically sick.
Spoony joins in on the fun in the short lived MST'ish show, It Came From Beyond Midnight. At the end, the hosts would invite Leslie Striker, a insufferable critic that was let on the show due to a debt owed by the host. He will typically nag on the low quality of the show, point out the plot holes, and insult the intelligence of the hosts for good measure. The bit tends to end in him doing something related to the movie (like getting a death threat from ants) followed by the hosts questioning why they keep bringing him on the show. The character itself was a Take That towards then-WWE color commentator Matt Striker.
Jay Sherman, the main character of The Critic, is a film critic who hates almost everything he reviews. However, the movies he bashes really are horrible; the amount of sympathy the audience is expected to feel for him varies from episode to episode.
Ratatouille features as an antagonist a restaurant critic, Anton Ego (who looks more than a bit like author Will Self). In a partial subversion, Ego is extremely hard-to-please, but his high standards are sincere, and when confronted with true culinary genius, he recognizes and supports it, even when it would jeopardize his career. He also receives a small but powerful bit of Character Development. Therefore, it turns out that he's not really a Straw Critic.
Linguini even mentions that, for a food critic, Ego is extremely thin. Ego replies that he doesn't simply like food, he loves food, and, if he doesn't love the food, he doesn't swallow. Apparently, he has extremely high standards.
The conclusion of The Beatles cartoon "Tell Me Why" has a donkey eating one of the boys' guitars. George quips, "Eight million mules in Spain and we had to get one that's a music critic." (This was back in 1965, when they were seen by media critics in general as another band churning out disposable pop.)