I recently came across a discussion on Tony Stark as a queer-coded character in the comics (which Iām not going to link to because many of the threads were already deleted, ergo Iām assuming that the participants didnāt want the conversation to be spread), and I found it very interesting. For years I have read Tony Stark as subtextually bisexual in the comics, which hasnāt really translated to the films ā at least not to the extent that the character of Captain America has been coded as bisexual in them. There has always been a borderline homoerotic relationship between Tony and his armor especially. But adjacent to this conversation, there was also an interesting thread in which Tony Stark as the most female-coded superhero was discussed that I found fascinating.
Someone commented on the concept stating that while it may be true for the comics, movie-verse Tony Stark is certainly not female-coded.
Weāve discussed before how hypermasculinity sometimes seems to go so over-the-top that it does a full 360, coming out the other side seeming rather feminized, the hypermasculine male presented as a sexual object with assets on display (slim waist, thick thighs, full chest) for the consumption of the male gaze. But thatās not the case with Tony Stark; it isnāt his hypermasculinity that makes him seem female-coded, itās the question of agency.
Tony does seem to possess many traits that we consider culturally feminine, female cliches, such as talking a lot and talking fast, using a rich vocabulary, a short and petite stature as compared to other superheroes, the narrative passing jugement on his promiscuity, the narrative passing judgement on his desire for junk-food, his passive demeanor, his self-consciousness about his body and having to wear underarmor in public to manage his chest, his avoidance of interpersonal conflict, looking for daddyās love and approval, the way in which he conceals much of his intelligence because he knows that if people saw him for how he really is, they would be off-put by it ie. giving the appearance of being smart-but-not-too-smart, the eroticizing of his appearance in the narrative, the focus on what heās wearing, his obsessive-compulsive behavior, meticulous grooming habits, delicate features, dressing to impress professionally, carrying conversations, his weakness being his heart, the fact that he has to dress into a suit that conceals his identity, his true self, to interact with the world, a hard outer shell that conceals his soft inside. There are aspects to Tony Stark in the films that are female-coded.
I think that some people might find these aspects difficult to see because there are three distinct personas to the character: thereās the Tony Stark that he projects to the outside world to hide who he really is that is his true armor, thereās Iron Man that is a prosthetic, an armor that shields him and allows him the protection of being who he really is, and then thereās Tony Stark, the person he is in his heart of hearts that we see only whenās alone with the artificial intelligences he created for himself, as his friends, the only friends that really, truly get to see him, because he knows that they wonāt judge him (outside of him being alone, we see glimpses of the ārealā Tony Stark in Afganistan, in his interactions with Natasha and in two scenes with Steve: while theyāre cutting wood and Tony asking Steve whether he knew).
These are the three sides to Tony Stark, and I see a lot of fans confuse his Tony Stark armor, his protective persona, with who he is because that is, by design, the loudest, most visible side to him.
There are many sides to him that are female-coded, but itās the limited agency that he is given in the narrative that is the most telling. Most of his stories seem to revolve around the stripping of his agency and his struggle to regain it. This character ā a genius, billionaire, playboy, philantropist ā who ought to be the ultimate male power fantasy has all of his stories constructed around his lack of agency and his need of a prosthetic to claim agency for himself. Itās easy to assume that an able-bodied, rich, good-looking, well-educated, white CEO of the American upper crust has all the power and control in the world, but the narrative begins disabusing the viewer of this notion right off the bat. The narrative deconstructs his agency.
What I appreciated about the Iron Man films was how they subverted the role of the damsel in distress in Pepper Potts. Especially the end of the first film in which Pepper marched through broken glass in her stiletto shoes to save Tony Stark was something that made me stop and think for days afterwards. The third film basically recreated this subversion of the trope louder for those in the back that hadnāt caught it the first time. It was Pepper Potts that was the knight in shining armor, not the title character.
And it is Tony that we see as the damsel in distress, particularly again in the first and the third films. The first film contains the iconic scene of Obadiah Stane literally removing Tonyās agency in a scene that is filmed like a sexual violation, a none-too-subtle air of erotic violence in the air as he uses his date rape technology to incapacitate Tony. This is a turning point in the film. The third film contains a scene in which Tony Stark is zip-tied to a bed frame with the villain taunting him. It is implied that Tony is similarly submissive in bed. The main villain in the scene acts like a spurned lover, a definite air of seduction to his conduct toward the tied-up hero.
That is two cases of villains making eroticized advances toward a physically incapacitated Tony Stark. And it isnāt the violence or the incapacitation that makes the scenes female-coded, it is the eroticization of it. It is female characters that are subject to eroticized violence, generally speaking. The second film does not follow the pattern, but it could be interepreted as an obsessive, spurned man making unwanted advances toward our hero.
I wrote about the interaction between Natasha and Tony previously, on how she allows us to see a side of him that we usually donāt get to see. Some people have described Tonyās hiring of her as sexist, undoubtedly influenced by Pepperās interpretation of his behaviour as he tried to figure her out (āAnd she is potentially a very expensive sexual harassment lawsuit if you keep ogling her like that.ā), but his interest in her was never that kind of interest. His eyes donāt track her sexual assets. Tony saw something of himself in her, especially in the way she was playing a role, but even more than that, I think Tony saw in Natasha Romanoff something that he wanted desperately to be. In control. Ā
Natasha Romanoff gives the air of being in control even when she gives up control, and in this she is the opposite of Tony Stark.
With this in mind, and I donāt remember whether I wrote about this before, I was quite disturbed by the way the climax of Civil War was shot not unlike a pornographic sex scene, Tony Stark being double-teamed by the super soldiers. The ending of the scene especially, with Steve straddling Tony, pounding on him, grunting, finishing it off with breathing heavily as he falls off Tony having penetrated his arc reactor with his shield, having incapacitated Tonyās prosthetic. Tony spits out blood as the super soldiers walk away from him. Itās rather symbolic, the implications of the scene very uncomfortable.
While Bucky Barnes is another character whose storyline heavily features the stripping down of agency, the female-coding of the strong, stoic silent-type is largely absent. Bucky Barnes and Tony Stark share similarities, and in this he offers a contrast to Tony.
So, yes. I do see Tony Stark of the movie-verse as a female-coded superhero because his story revolves around desperately grasping for agency. Among these hypermasculine heroes, the genius-billionaire-playboy-philantropist is at a disadvantage, so Tony Stark invented, constructed, and put on a suit that hides his true identity in order to have a measure of agency in a hypermasculine world, that allows him to assert himself. And in Civil War he was willing to sign off on his self-created agency because the establishment had managed to convince him that as a person with near unlimited resources, he was a danger to the world that he had risked his life and the lives of his loved ones to protect.
I think one of the most telling aspects of his character vis-Ć -vis Civil War is that, convinced that it is too dangerous for him to attempt to influence the outside world and other people in it, Tony Stark instead turned within and attempted to modify his own internal world, to (literally) influence his own internal state instead ā to accept what he canāt change. This is a classic strategy of the disenfranchised.
Tony Stark is the most female-coded of the male superheroes.
kianamaiart
vaporwave
turnnoffyourmind
areudirty
origamiaround
prguitarman
