Of course, camp’s subversiveness – whether it exists or not – by no means necessitates that objects of the camp aesthetic be relegated outside mainstream media. Xena, Warrior Princess, for example, whose eponymous heroine was a mythically sentimental action/fantasy figure, garnered extraordinarily high ratings during its six year run and was broadcast in syndication thereafter, suggesting strong mainstream support for the television program. Such programs’ popularity may demonstrate, vis – a – vis Adorno’s culture industry, the cooption of camp by the mainstream media. This is the basis of many theorists critiques of “Camp Lite” (Sontag 293) or “Pop” camp (Ross 310). Ross, for example, notes the frequency with which mainstream media reinforce, through form and content, the dominant power structures of a society. This cultural hegemony usually functions by excluding certain dissident images as distasteful, or by assuaging the threat of these images by representing them through stereotypes. As such, images initially termed transgressive might be packaged in ways that require their viewers to accept less progressive conventions (Ross 310-12). Others, like Pamela Robertson, argue that mainstream success does not preclude a medium or aesthetic’s subversive potential. Rather, camp figures should take advantage of the spotlight to identify the ever-changing elements of transgressive spectacle. Furthermore, she argues, feminists should not become complacent by conflating camp with politics: although incontrovertibly related, they are not identical (Robertson 53-4).