With widespread discussions about who has stories to tell about marginalized communities, it is still very rare to see characters with disabilities in mass media. Marvel's latest version, Ant-Man and the Wasp, could have been incredibly forward-looking with the introduction of Ava, played by Hannah John-Kamen, a colorful woman who deals with chronic pain. Unfortunately, short-sighted filmmakers hinder this portrayal, which could have promoted the conversation about race and disability with readable tropics, including the desire for a miracle cure. John-Kamen plays Ava in Ant-Man and the wasp, a woman whose condition is due to the effects of quantum forces that make her cells unstable and "live" between the dimensions. Desperate to stop her pain, she turns to attacking scientist Hank Pym (Michael Douglas) and his daughter Hope van Dyne (Evangeline Lilly), with the intention of stealing Hank's technology and enough energy from Hank's wife Extract Janet (Michelle Pfeiffer). to save himself. Film portrayals of disability often ignore race; According to a 2016 Media, Diversity and Social Change report, most disabled people in the mainstream media are white men. This report found that only 2.4 percent of the characters in the top 100 films were disabled this year and 71.7 percent of those characters were white. Only 31.4 percent of all characters this year were women. That Ava, a ghost, is a black woman is worth celebrating, as well as the interplay of her background story with white privileges. In a flashback that shows Hope and Scott Lang (Paul Rudd), Ava tells how her father split abruptly with his ex-colleague Hank Pym before Pym discredits Ava's reputation. Her father, driven by quantum experimental experiments, ends in disaster and dies with Ava's mother. Ava remains crippled forever. This information comes right after the audience meets another former Hank associate, Bill Foster (Laurence Fishburne), who accuses Hank of appropriating his ideas. Although we see that Ava's father is white (her mother is black, just like Bill), this raises an unspoken question as to whether Hank's seriousness at the time was due to his race. Would his ability to discredit these two men-one color, one related-be different if he were not white? The film does not contextualize or discuss the matter further. This could be a mistake for scriptwriters due to stories or the fact that the white men who work on the script and direct the script just do not realize how important they are. Ava's chronic pain is another step forward in promoting underrepresented facets of disability. The author (and chronic pain expert), Porochista Khakpour, said in an interview with Shondaland earlier this year that "the world of chronic disease and disability … was very white." Arguments as to whether chronic pain is a disability are divisive for the purposes of this article, as the movie portrays it as such.) Ava's constant "phasing" not only causes her pain to be riddled with pain, but also to fight it, just to stand. If she does not fight to steal Hank and Hope's lab, she must be in a special chamber to keep her cells stable for a short time. Bill mentions that the chamber and its special suit do little more than alleviate the pain and stop working as effectively as they should. Her condition leaves her no quality of life; she is doomed to literally waste until she "turns to dust" without healing. This race for healing is an abnormal trope common to disability's stories, be it romantic dramas like Me Before You (2016) or the 2010 Feature Extraordinary Measures or the science fiction fantasy movie Charly (1968). Ava's pain is no different than a genetic disorder per Hollywood and is therefore debilitating, deadly and can / should be corrected. "Ava's condition does not leave her with a quality of life, she is doomed to die literally until she" turns to dust "without healing. Instead of helping Ava overcome her disability (and not necessarily eradicate her), the film tries to It does so with its own version of "White Science," a term coined by author Carol Clover in her psychoanalytic exploration of horror films, men, women, and chainsaws, and refers to anything as The "quantum empire" functions as the white science of this film, a magical but entirely scientific world discovered by Hank Pym as soon as it is freed from the kingdom , offers Janet to rescue Ava by transferring her quantum energy into her, and she puts her hands on Ava – a technique often used with tentacles Preachers who "heal" poor, oppressed people through touch and save the woman through scientific technology. You could say that Janet's benevolence releases Hank from his sins or postulates her as a white savior for this disabled colored woman, but it's unclear if any of it is coded directly into the movie. Again, it is as if the filmmakers in this area were simply blind. In the end, Ava is completely "healed" of her disability. This is perceived as a happy ending of the feature. The treatment of disability by Ant-Man and the wasp will be scrutinized. But in a landscape where disability is still marginalized, especially for colored women (and generally colored people), a character like Ava would have helped to open the door. Chronic pain remains a hot topic in the community of disabled people, and if Ava can live with it, it could be significant. Instead, Ava is robbed of her problem to make it rational, quantifiable and controllable.