What I Want from Wonder Woman (and Won’t Get): A Pre-Review

Estimated Reading Time: 7 minutes

Y’all know I’m a Marvel girl. The MCU has been one of the things that’s kept me going for at least five years now, and most assuredly for the past two. So it’s a bit disingenuous for me to talk about DC’s film universe because I know from the get-go I’ll just get labeled as some sort of shrill Marvel shill. But bear with me because, above all else, I just want to be told a good story. I’m the first to call out Marvel when I think they’ve failed (which they’ve done frequently and spectacularly lately) so keep that in mind when I say that DC done lost its fool mind.

I had the misfortune of having to go see both Batman v. Superman and Suicide Squad for a podcast that I host with my friend Marc. You can’t talk about something if you haven’t seen it. Marc is much kinder to things than I am. I wanted to burn everything to the ground after enduring both movies. Neither has any depth, plot, or character development. They’re both desperate, slapdash propagations of highly lucrative intellectual property. They rely solely on the fact that everyone is desperate to love the films because they love the symbols in them. DC has always been King. Batman has always been #1. Everyone already adores Harley Quinn.  But Marvel’s film success has DC desperate to get their shit in front of eyeballs because superheroes sell. They seem to have missed the crucial bit that good stories about superheroes are what sell. (The box office returns v. critical acclaim debate I save for another day.)

There are so many problems with the entire situation that I can’t even enumerate them all. I don’t know the ins and outs of DC, Warner Brothers, or comics culture the way others do and DC’s disasters have been endlessly dissected by others better than I could. So what I’m going to talk about is not the horrors DC puts out but what I want from Wonder Woman. Because, to my weird specialized heart, that movie has the potential to be better than Captain America: The First Avenger. (Y’all ever heard me go on about Cap1? There are usually overexcited tears involved.)

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Post-9/11 Rhetoric and Pop Cultural Dissent Through Billionaire Superheroes

Estimated Reading Time: 48 minutes

A friend convinced me to take my “fake PhD” and actually apply to a Media Studies PhD program. I discovered that I had a woeful lack of suitable material for a writing sample. My brilliant idea? To write a new article completely from scratch. The following is my 9000+ word piece written in one month with only public library database access and an actual mental breakdown thrown in there for kicks. For future purposes, consider this a draft version of any subsequently published material. First completed December 1, 2015.

Spoilers for: Nolan’s Dark Knight trilogy and basically the entire MCU. Additional warning that this is in serious academic-speak.

spoiler warning

Introduction

The official Bush Administration rhetoric contextualized the terrorist attacks of September 11, 2001 as a large-scale battle between the forces of good and evil, and freedom and oppression. The American public was content accepting that narrative for a time, but as doubts began to form it increasingly processed the national trauma of 9/11 through fantasy and popular culture. During the 2000s, the superhero film genre flourished, breaking box office records and providing a platform for both complicity in the official good vs. evil narrative and dissent from such a simplistic worldview. Two of the most popular and complex characters to launch into the public consciousness were DC’s famous tycoon Batman in Christopher Nolan’s The Dark Knight trilogy and Marvel Studio’s answering billionaire arms dealer: Iron Man. Nolan’s Batman films religiously adhere to the heroic traditions of moral simplicity and a battle between good and evil while rigidly maintaining the comic book conventions of lone men, hyper-masculinity, and secret identities. The Iron Man films intentionally toy with and discard all of these conventions, preferring a more nuanced narrative that exposes the underlying imperialistic intentions of the American capitalist and questioning the demonization of foreign peoples. Both film series are in dialogue with the prevailing political narrative, offering audiences the chance to process the 9/11 attacks while also providing an avenue of dissent in a cultural climate that had silenced all objection to nationalistic war.

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