CallsignRex

Russell has also worked to support the inclusion of women and non-men into the space.

He chooses to follow the rules of the sport, but not the tacit rules of the dominant culture.

In order to protect itself, the dominant culture then has to assert Russell as ‘weak’ or ‘emotional’ in order to make his refusal to follow seem unreasonable. If stripped of this primitive order of authority, many who traditionally benefit from the dominant culture won’t anymore so those who have the most to lose get the most aggressive (see: misogyny is a skill issue).

Most of the hate comments that Russell receives is misogynistic and homophobic in nature in aims to emasculate him (as to many of these men, the worst thing to be is a woman).

It further pisses people off when Russell is not offended or scared by the threat of emasculation, as it demonstrates that the dominant culture only holds so much power over him.

Men put down other men in order to assert their own masculinity.

Russell is difficult to categorise and understanding him and accepting him requires a level of being comfortable with grey area, challenging stereotypes, and facing biases. Many people don't do this and instead fear things they don't understand or cannot label.

Russell is also demonstrably intelligent and possess a high race-IQ. We all know how much people love people who are smarter than them, regardless of whether or not they flaunt it.

When Russell performs well, it challenges the idea that masculinity is required to be successful.

He suffers a double standard and is criticised for the same things other pilots are praised for.

Because people are threatened by his existence, they take it out on him.

Russell's visage is slightly alien—his face is interesting and otherworldly and slightly off-putting. He is not conventionally pretty. This influences the way people perceive him, and therefore ascribe traits to him such as ‘haughty’ and 'judgemental'.

Not saying this is the case for many people, but for a small, select group, finding him attractive is an indictment, and therefore in order to deal with these emotions they get angry at the thing that had inspired them.

Russell, coming from England (a country entrenched in classicism), has worked to shed markers of his upbringing in hopes of fitting into a higher social strata (eg. has refined his accent, matured his sense of style, reigned in any behaviour that could be seen as childish). This looks like a rejection of his upbringing, and to those who sit in the upper-class he aspires to join, he is seen as an intruder as he lacks certain social capital that cannot be faked.

Russell is careful with the media which makes him seem disingenuous. There is clear incongruity between candid appearances and promotional material, between when he is prepared to perform, and when he is not. His line of comfort is clear and it’s obvious when it’s been crossed.

He can be rather awkward when unprepared (I personally find this so endearing and relatable, but alas there are people who don't appreciate this) and clearly does not enjoy it.

Being on the off-foot also creates the conditions for him to be mocked, as Russell is not given a lot of leeway. His preparedness is a form of self-preservation.

Despite being called “emotional” and a “diva”, Russell is also simultaneously “robotic”. A lot of the criticism he receives is contradictory.

His vulnerability is carefully packed away which makes him unreachable to the audience. Social media’s promotion of parasocial relationships has created the expectation that people be available to their audiences at all times in all dimensions, Russell's refusal to participate is seen as a rejection of the audience.

Vulnerable moments on podcasts and interviews feel rehearsed and scripted.

He is polished and performs to the media, careful to never be caught off-guard, and therefore slightly untouchable. It is also nearly impossible to get an accurate read on his self-esteem.

Russell’s sponsorships try to minimise any traits of his that could cause friction or challenge the audience and dominant culture in hopes of rehabilitating his image and buying him membership.

They focus on Russell’s perfectionism, almost as if in a manner to apologise for his behaviour, and often place him in traditionally gendered roles (gardener, spy, athlete).

The result is some creation that isn’t quite Russell. His image is constantly shifting depending on through whose lens one views him. Therefore almost every version of him feels inauthentic.

Especially as Russell's behaviour suggests that he does not want to conform to the dominant culture, yet he is presented as if he wants membership into it (this further pisses off those within the sphere as it makes him seem like he's asking for special treatment).

Perfectionism is also a pitfall if he fails to meet these standards set upon him--his own image can therefore be used against him.

The result of all of the above (I imagine unintentionally too) is a disdainful and performative image that seems to shout 'I am better than you', instead of honesty, instead of admitting that he is scared.

His branding also avoids the fact that he cares deeply, and anything else that could present as any sort of vulnerability. He is carefully guarded.

Russell is not fragile, but like everyone he does have cracks in his mask. Instead of pressing on it, his PR tries to steer people away from even seeing them.

This coupled with the performative nature of branding ultimately helps none to remediate the way he is seen, as they can't root is image in some truth, and therefore it is unmoored.

What actually makes Russell compelling is often left as a footnote--an eager young boy willing to scar himself for his dream, someone who cares so so deeply about everything. Perhaps this is avoided due to PR limitations, perhaps possible identity issues on Russell's part.

As Wolff said, the drivers are all wounded children. Russell fights hard to protect his own wounded inner child.