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Lost (2004-2010) is remembered for being a sometimes confusing but almost always sexy adventure show. The show follows the aftermath of a plane crash on a mysterious Pacific island, when a group of strangers must figure out how to survive in the face of no rescue and a sinister group that already inhabits the tropical rock. Lost is unique for its time in that it featured many characters of color from a variety of backgrounds and identities. Its inclusion of diverse characters was a conscious break from norms in TV. Unfortunately, a lot of the screen time was taken up by white characters, but the characters of color are not passive tokens signaling diversity.

In their critical media book Unthinking Eurocentrism (Shohat and Stam, 1994), Ella Shohat and Robert Stam include a chapter titled “Stereotype Realism and the Struggle Over Representation”. In this chapter, they state: “Filmic fictions inevitably bring into play real-life assumptions not only about space and time but also about social and cultural relationships” (178). This applies doubly to television, because TV is more flexible in its production: you can see cultural changes play out over time through one TV series in a way you can’t do with one film because TV is produced is produced continuously, sometimes for decades at a time (The Simpsons, General Hospital, Sesame Street). They continue, “film is [representation], [but] it is also an act of contextualized interlocution between socially situated producers and receivers. [To say art is constructed] is not enough...We have to ask: Constructed for whom? [W]ith which ideologies and discourses' in mind? (180). I think that Lost was made with a wide range of audiences in mind. It has action, mystery, and romance. It has moments of levity and extreme anxiety. It arrived at a tense time; the pilot came out in 2004, a mere three years after the 9/11 tragedy, when America was waging war in Afghanistan and Iraq. Ultimately it was a show about community and teamwork, and sought to unite those through their differences instead of dividing them. Lost was set in the present at the time of its release and its universe mimicked our own in many ways, including with the U.S.-led wars in the Middle East. Sayid (Naveen Andrews), a supporting protagonist, is an Iraqi national and former soldier. Sayid has a complicated and sorrowful backstory, like most of the characters on the show, but his position is unique in that his character embodies a personality that America, writ-large, was extremely suspicious of; an Arab man aligned with the government of his home country. 

The character Sawyer (Josh Holloway) is a country bad-boy who represents this suspicion. In the second part of a two-part pilot, he accuses Sayid of being a terrorist and being responsible for the plane going down. This leads to an altercation between the two men, shown in the clip below. (S01E1-2, LOST clip - Sayid and Sawyer Fight). 

The accusation is blatantly racially motivated and it is only the first of many aggressions Sawyer inflicts on Sayid because of his ethnicity. With his love of guns, sex, booze and cigarettes, Sawyer is a specific American stereotype–the hypermasculine, violent, and bigoted man. Surely there were people watching Lost whose identities at least partially aligned with these qualities; through Sawyer, they see themselves represented, perhaps in an exaggerated light, or maybe turned down a notch. Despite Sawyer’s bias and bouts of cruelty, he is an important character who grows and learns to treat people better. As Shohat and Stam write, “spectators… can accept, question, or even subvert” a work of media. Further, “the cultural preparation of a particular audience can generate counter-pressure to a racist or prejudicial discourse” (182). Lost offers a critique of Sawyer-like ideology without totally alienating those who share it, as well as giving voice to the group which they vilify. 

Since Sayid is not a one-dimensional token character, his reaction to Sawyer’s racism towards him gets its due. In the clip above, Sayid is shown to be the instigator of the fight, but he is not represented as acting unreasonably. A common racist stereotype about Arab men is that they are hot-tempered and aggressive. Lost does not try to fight this false notion by making sure Sayid is non-violent. Instead, his anger and aggression is represented with more nuance than a simple ‘Violent Arab Man’ trope. He’s responding to an attack on his character and nationality, and in the circumstances of the show, his violent response is understandable. It represents both identities in a forgiving light. 

Though Sayid’s character is an important part in the progression of Arab representation on screen, it’s not perfect. Naveen Andrews is a British man with Indian heritage, but he plays an Iraqi. This relates to Shohat and Stam’s points about representation. Those authors are concerned with white actors performing in roles meant for people of color, and they reference the satirical work How to Make an Indian Movie: ”Import a Greek to be an Indian princess. Introduce a white man to become an ‘Indian’ hero. Make the white man compassionate, brave and understanding ... Pocket the profits in Hollywood” (181). There is another layer to this that has emerged in the modern age where people of color are made into a generalized ‘other’ where they play nationalities that are not their own.  I don’t think it should be taboo for people to play across national lines; an American should be able to play a Brit, so why should a Brit not be able to play an Iraqi? But there is a line where it becomes racially offensive, or at least controversial. For many producers of media at this time, it comes down to looks; few are interested in making sure the actor who plays a guy from Iraq is actually from Iraq, as long as he ‘looks like’ he could be from Iraq. For white audiences, there is not always a lot that distinguishes one brown person from another. 

There are other times in Lost where white audiences are not the sole focus of the show. There are detailed storylines that don’t involve white characters. The first example of Lost de-centering white voices is when there is tension between two men of the group of survivors, Jin (Daniel Dae Kim) and Michael (Harold Perrineu). S01E06, “House of the Rising Sun” the opening scene is Jin brutally attacking Michael at the water in front of Michael’s son, Walt. Jin seems to intend to kill him, or at least injure him severely. Walt cries for help and Sawyer and Sayid sprint to Michael’s rescue. The following clip is the conversation that occurs after the attack. https://www.youtube.com/watch?v=K-fS679Ui1U

Sayid becomes the mediator of the disagreement with Sawyer playing a secondary role, mostly as a taunt (did you catch the ‘Omar’ comment he made to Sayid?). Jin does not speak English, but is obviously very angry. Michael is wounded and angry as well. Sayid demands to know what happened and Michael insists that the reason Jin attacked him was because he’s black. Michael says to Sayid that he ‘doesn’t know what it’s like in Iraq, but in America, Korean people don’t like Black people’. Jin does not have the language to defend his actions. Not that they were really defensible; he tackled this guy and tried to drown him because a misunderstanding over a lost watch. The racial component was self-evident and then mentioned explicitly. The conversation is almost entirely between people of color, except for Sawyer making snide remarks.

This is something remarkable, especially for a show at this time. That the white characters, identities and narratives are not the core of this scene is unfortunately kind of surprising. If there are white people around, why aren’t they getting centered? Because Lost is making a conscious attempt here to show experiences that are not normative to white americans. It is also making an attempt to show intricacies, contradictions, and irony in racial conversation. As far as a TV show like this can reasonably be, it’s realistic. Sayid would not necessarily know the background of racial tension in the US between black and asian people (Lee, 2023). Jin also would not necessarily be aware of this, because he himself is a Korean national, and also has the language barrier keeping him from understanding this particular point of tension. Lastly, Michael has reason to accuse him of racism, because as an American Black man, he’s no doubt experienced it in his life, from multiple sources. Lost presents context for the characters’ actions (it’s known for flashbacks, too) and also is understanding of multiple perspectives and not adhering to a binary view of race or experience. Despite its imperfections, Lost gave screen time and narrative depth to people who have not been historically represented in television, specifically in the action genre. Lost’s setting lends itself well to this breakdown of tradition, because once your plane crashes, the old world doesn’t really exist anymore.

References:

Lee, Carolyn. 2023. “Media Misrepresentation of the LA Race Riots from a Korean American Perspective.” 2023. https://www.dartmouth.edu/~hist32/History/S21%20-%20Media%20Misrepresentations%20of%20the%20LA%20Riot.htm.

Shohat, Ella, and Robert Stam. 1994. “Stereotype Realism and the Struggle Over Representation.” In Unthinking Eurocentrism. https://moodle.oxy.edu/pluginfile.php/1045121/mod_page/content/6/Shohat%20and%20Stam_Stereotype%20Realism%20and%20the%20Struggle%20Over%20Representation.pdf.

While vampires are notoriously known for being sexy outsiders, HBO’s True Blood amps up the sexiness and takes the vampires out of the darkness and into the light of the public eye. True Blood aired in 2008 and is set in the fictional town of Bon Temps, Louisiana. The town resides in a version of the world where vampires “came out of the coffin” two years ago via “The Great Revelation” where they made their existence known to the world. They were able to do so because synthetic blood was created, called True Blood, that allows vampires to get their sustenance from it rather than needing human blood. Although vampires are now allowed to enter mainstream society now, they are not treated as equals. The American Vampire League is a political group that is lobbying to get the Vampire Rights Amendment (VRA) passed that would put an amendment in the constitution, permitting vampires to have the same rights as humans. As interesting as it is, vampire politics are not the main focus of the show and are just embedded in through references, and some TV interviews with the AVL spokesperson, Nan Flanigan. The show actually follows Sookie Stackhouse, a waitress with telepathy, who falls in love with the first vampire she meets, Vampire Bill (underwhelming name, I know), as it is only with vampires that she doesn’t worry about reading their minds. The first season of the show focuses on a murder mystery, as bodies of women who have had sex with vampires –referred to as “fangbangers”, a derogatory term– keep piling up in Bon Temps.

In the show vampires are “othered”, having parallels with Black people and Gay people in America, with the VRA being reminiscent of the Civil Rights Act and the “God Hates Fangs” image in the title sequence being reminiscent of the homophobic Westboro’s church slogan, among other things. While there’s plenty to say about these parallels and critical race theory, what I am going to analyze is the treatment of Black people in the first season of True Blood, in comparison to the new vampire minority group.

First of all, with the shows being set in the south there are mentions of The Civil War being a significant moment of history, but no outright condemnation of it. For some reason there is a trend of making vampires confederate soldiers. The Vampire Diaries did it with Damon Salvatore, Twilight with Jasper Hale, and in True Blood it is the main love interest of Bill Compton. Since Bill is a Vampire who’s been around a bit and was an original resident of Bon Temps, Sookie’s grandma presumes he was a confederate soldier. When it is confirmed, she gets excited and wants Sookie to ask him to speak at a meeting of her Civil War historical group, The Descendants of the Glorious Dead. As the title implies they’re not going to shame Bill for having fought to keep slavery, instead he is an honored speaker at their meeting, where as you can see the confederate flag also makes an appearance

The only stance he makes on his views of the war, was that he and the other soldiers didn’t understand what they were really fighting for or had a choice, which seems a bit revisionist Despite this we are meant to believe that none of the people of the town are explicitly racist towards Black people. Sookie’s grandma’s love of the confederacy isn’t a problem for Sookie’s Black best friend Tara, who sees her as more of a mother figure than her own mother. In fact, when Tara is the only one to actually acknowledge Bill’s role in the war by asking if he owned slaves–which he responds his family did!– she is the one that gets chastised for “spoiling the mood”, while Bill having owned slaves is not confronted.

This leads to a disconnect between the southern setting of the show and its treatment of Black people as all the racism has been displaced onto the Vampire race, who are mostly white. As Sabrina Boyer describes, “In Southern texts by many Southern writers, white characters tend to experience ways of becoming black, which is a recognition of a racist region, as well as a moderately progressive way to comment on racial relations within the South”[1].She argues that True Blood’s use of “white characters that embody blackness” is part of this larger Southern trend that puts racial “otherness” on white characters to confront racism. While, she does acknowledge that this is not unproblematic and makes an argument against it later on. I disagree with the initial progressive analysis of this phenomenon. White characters will never be able to actually embody Blackness and True Blood’s take on this is problematic. The attempt to show racism through “othering” vampires–again the main being a confederate soldier–- panders to white audiences and is a weak hegemonic negotiation. Especially as the show makes no references towards intersectionality with Black vampires who rarely appear. Boyer concludes, “the series, while it] attempts to counter the hegemonic forces surrounding racism in our culture, doesn't critically engage with the fact that people of color, because of their skin or when in the act of passing they are discovered, are immediately othered”[2]. Now, this statement I agree with because True Blood’s displacement of racism onto vampires takes away from actual racism. In doing so True Blood fails its two Black characters by undermining their acknowledgment of racism and putting the oppression of actual minorities below Vampires.

Overall, True Blood takes the metaphor of othering its vampire population too far when its paralleling of oppression of actual minorities takes away from legitimizing racism towards its human population. Despite its Southern setting and call backs towards confederacy, the show does not properly tackle actual racism to justify its use of those images. By not acknowledging the racism of white people towards Black people in favor of vampire othering, the show fails its Black characters and is not as complex as it could be within concepts of intersectionality.

@theuncannyprofessoro

1. Boyer, Sabrina. “‘Thou Shalt Not Crave Thy Neighbor’: ‘True Blood’, Abjection, and Otherness.” Studies in Popular Culture 33, no. 2 (2011): 21–41. http://www.jstor.org/stable/23416382. Pg. 28

"Stranger Things," a popular science fiction horror series created by the Duffer Brothers, unfolds in the 1980s within the fictitious town of Hawkins, Indiana. Blending supernatural elements with a nostalgic homage to '80s pop culture, the narrative centers around a group of kids whose lives take a peculiar turn when they encounter Eleven, a mysterious girl possessing psychokinetic abilities. Across multiple seasons, the characters face unforeseen challenges, navigating the eerie and terrifying forces that invade their small town. Via the character of Eleven, “Stranger Things” reveals the performative nature of gender, challenging binary definitions. Although her journey is fraught with others imposing their own idea of “her” gender, on how she should look, dress, act - she ultimately becomes a vessel for their own respective will, changing with each of them and showing how gender identity is fluid and performative.

The character of Eleven in “Stranger Things" appears to the viewer in Season One as an empty canvas, free of individuality, gender, or identity after she had escaped from a secret government lab. Eleven, in addition to her supernatural powers is therefore situated  as “other”, uncomfortably outside, androgynous and unknowable. Both viewers of, and characters in “Stranger Things", use Eleven as a template for their own visions, creating identity through her appearance.  From the beginning, Eleven is nearly nonverbal, speaking only a handful of words per episode. This makes the weight that her appearance plays in our collective evaluation of her that much more critical. 

Over the course of two seasons, Eleven undergoes several transformations, each portraying a distinct identity for her character. Initially, Eleven seems devoid of individuality, gender, or a defined identity. In Judith Butler’s “Gender Is Burning”, she writes about the action of being performative, of showing how enacting social identities requires one to perform according to certain “laws”. Butler adds onto Althusser’s “Theory of Interpellation" which states that we internalize cultural values and ideologies through “laws”, which can be thought of as social norms, and that is what forms our identity (1).  

Throughout the beginning of the first season where Eleven is initially nearly naked, to the ending of the second season where Eleven is viewed as a normal teenage girl, her hair and clothing show different embodied identities that others have imposed on her, of how they think she should look like.  Butler argues that an individual's gender is not an inherent identity but rather a performance shaped by anticipated, repeated, and ritualistic expectations regarding appearance and attire. The imposition of these varied styles on Eleven does not define or articulate how Eleven perceives and comprehends herself, aligning with and confirming Judith Butler's theories on gender expression and appearance as performative. 

Throughout the series, we see Eleven as both vulnerable and strong, damaged and super-powered, androgynous and feminine. She is hard and soft, in other words boyish and girlish, as determined by stereotypical notions of gender.  All of these characteristics are quite literally embodied in her physical appearance, especially in her hair and clothing. Throughout history, the representation of a community's values has often been concentrated in these visual elements associated with women, signifying social class and attractiveness in the time period of the 1980’s. As Butler highlights, individuals who deviate from prescribed gender norms often face societal repercussions, illustrating the enforcement of these norms.  An example in “Stranger Things" that highlights societal repercussions for Eleven's deviation from prescribed gender norms occurs when she ventures into the world on her own. In Season 2, Eleven adopts a more independent and self-reliant lifestyle, this decision results in her facing scrutiny and encountering obstacles from both individuals and societal norms that expect conformity.  

From Season One to the end of Season Two, Eleven has her appearance changed, or “dismantled” four times. In her initial Season One appearance, Dr. Brenner was the creator of her appearance: she has a shaved head, appears undernourished, and is wearing only a mere hospital gown. Next, the group of boys dress her up and give her a pink dress, a long blonde wig, and a blue windbreaker. At the start of the second season, Hopper, who is hiding her from everyone, dresses her; she now has her naturally curly brown hair and is first seen in a flannel to match the one he is wearing, and later switches to overalls. This is succeeded by a punk-rock makeover given to her by her “sister” Kali; featuring slicked-back hair, dark eyeliner, lipstick, and a black blazer. Notably, each makeover is orchestrated by other characters with minimal input from Eleven herself. Her evolving appearance serves as a reflection of what other characters in the show, and by extension, the program's creators, believe she "should" look like.  

I want to focus on Season 1, Episode 4,when the boys set out to dress Eleven according to what they expect a girl to look like. By making Eleven into a “pretty” girl, the boys have remade her as a person who fits the conventionally accepted elements of appearance for a young girl, who is delicate and weak. Upon her transformation, Dustin and Mike marvel, "Wow, she looks... pretty". Eleven swiftly internalizes this lesson, repeating the word "pretty" as she gazes at herself in the mirror. The act of making her "pretty" diminishes her power and agency. By calling Eleven "pretty," it makes her fit into the conventional idea of how girls are expected to look and act within traditional male-female relationships.  

In addition to Eleven's adoption of a feminine wardrobe, whether it's a choice of her own or not, being supernatural and possessing strong  powers can often lead characters in the show to see her as “other” and dangerous. As she possesses these superpowers, she  can embody a more masculine role and potentially blur the boundaries of the gender binary, therefore “othering” her. Furthermore, the age of characters, such as Eleven, plays a crucial role in shaping how they are perceived as threatening or nonthreatening. In Eleven's case, her supernatural abilities, which are often portrayed as othered and demonized in media, are juxtaposed with her role as a vulnerable victim of trauma within the friend group of boys who aim to protect her. The juxtaposition of supernatural powers with vulnerability creates a nuanced dynamic that challenges conventional expectations. Despite possessing abilities that might typically be associated with threat or danger, Eleven's young age and the trauma she has experienced position her as more of a victim in need of protection, conforming to traditional gender norms of men being the protectors of women.

The Venture Bros. takes many assumptions from the Golden and Silver Age of comics and comments on them. It parodies certain elements of comic book history, including ‘the boy adventurer’ (Jonny Quest) trope and space-age fiction themes and aesthetics. The series follows Dr. Thaddeus “Rusty” Venture, a sad failure of a Super Scientist living in the shadow of his late larger-than-life father, Dr. Jonas Venture. Rusty is a superhero in title but not in practice, yet he still has a rotating cast of villains and sidekicks around him. His arch nemesis is a villain called The Monarch, who I focus on for this piece. I think Rusty represents the more cynical, morally ambiguous Silver age of comics while his father represents the authoritarian Golden age, to put it into Williams’ framework from “(R)Evolution of the Television Superhero”. The Venture Bros contributes to a misanthropic view of superhero narratives. All of the characters have major flaws directly connected to their association with Super Heroism and its flipside, Super Villainy. Changes in values over time are shown in the narrative through flashbacks and convoluted storylines involving many characters over several seasons. Overall, though, the series pokes fun and levies criticism against prevalent superhero notions. 

The Monarch, Dr. Venture’s Arch Nemesis, is a scrawny, goateed, middle-aged white male who has made a career out of being evil. In some ways, he is very successful, with an awesome spaceship headquarters, a team of devoted henchmen, and a sexy villainess girlfriend. However, the Monarch is shown to oscillate between overconfident and insecure, as seeking validation, and as unable to thwart his self-proclaimed nemesis, no matter how many opportunities he gets. 

The Monarch represents an attitude of dissatisfaction among men who actually have quite a bit going for them. I feel like this reflects a culture of misplaced victimhood held by some men as the liberation of women and other oppressed groups makes them feel like they are losing some kind of power or status. 

The Venture Bros. is all about funny costumes and character design. The Monarch has leaned all the way into his butterfly-and-insect-themed villainy. His costume is an integral part of his character, and he is rarely seen without it. 

His voice and mannerisms are enough to make the Monarch recognizable even when he is not in costume, but he derives much of his power from his outfit, the consistent theme of his evil operation, and his flashy technology. The Monarch has a hard time performing villainy when not in costume. In this universe, Villany is a career, and the job requires a uniform.

The show is definitely influenced by 9/11 and the entrance of Gen Xers into the media scene. The show debuted in 2003, when the Cold War Kids (not the band) were finally entering the workforce and the public eye and expressing their feelings and attitudes about social and political realities of the time. The Monarch is an expression of social, economic and political disillusionment that can go in divergent directions and lead to extremism. Venture represents apathy and adherence to established systems, despite their idiocy.

In Season 1 Episode 5 of the Venture Bros., the viewer gets a glimpse into the more neighborly side of superheroes and supervillains as they are introduced to members of The Guild of Calamitous Intent when Venture hosts a yard sale at his compound and invites all the Villains he works against, with the understanding that no harm can come to him because it is not guild-approved and therefore the villains have no legs to stand on in terms of evil. Even so, the Monarch, Dr. Venture’s sworn enemy, wreaks non-approved havok at the yard sale. In search of a suitable bathroom, Monarch and Dr. Girlfriend walk through the compound and see the sad emptiness of Dr. Venture’s life. For a moment it seems the Monarch has a realization about his Villainy and almost gives up “Arching” Dr. Venture, but when the security team gives him a fright, the Monarch vows to destroy Dr. Venture and reconstitute the Nemesis status.

I think this faltering of ideology that the Monarch experiences shows how perceived obligations are subject to change situationally. This applies to foreign relations because attitudes about domestic policy, domestic views on other countries, and also relationships between nations and states are products of history but also are fluid.

"The Falcon and The Winter Soldier" picks up the narrative immediately after the events of "Avengers: Endgame." The series navigates the post-Captain America era, with Sam Wilson (Falcon) grappling with the decision of accepting or rejecting the iconic shield. Simultaneously, a new government-appointed Captain America, John Walker, enters the scene. Against the backdrop of global conspiracies involving the Flag Smashers and the mysterious Power Broker, the storyline weaves together the struggles of identity, legacy, and responsibility. Within this narrative, the series tackles themes of racism, socio-economic disparity, and the quest for justice, elevating it beyond the confines of traditional superhero storytelling.

How do structural mythology, cultural studies, and cultural history reflect the series’ world and world-building around superheroes?

Structurally, the series follows the archetypal hero's journey, exploring the burdens and responsibilities that come with wielding superhuman abilities, particularly in the context of the iconic Captain America shield. This mythological framework serves as a foundation for the characters' development and the overarching narrative.

In terms of cultural studies, the show delves into contemporary societal issues, addressing systemic racism, socio-economic disparities, and displacement. The decision-making around Sam Wilson's acceptance of the Captain America role reflects a nuanced exploration of racial identity and societal expectations, contributing to a broader discourse on representation within the superhero genre.

Cultural history is interwoven into the narrative, notably through the aftermath of significant events like the Blip. The series reflects on the impact of these events, shaping the characters' identities and motivations. By grounding the superhero narrative in historical context, it adds layers of complexity to the world-building, making it more reflective of real-world dynamics.

In what ways are the superheroes and their abilities informed by their racial, gender, sexual, and cultural identities?

The series places a magnifying glass on the racial identity of its lead character, Sam Wilson, as he grapples with the legacy of the Captain America shield. Sam's hesitation to assume the role immediately isn't solely rooted in self-doubt but reflects a profound awareness of the racial implications of becoming the symbol of American heroism. The show captures the struggle of a Black man reconciling with the expectations placed on him in a society that has historically excluded and marginalized people of color.

In what ways do costumes and concealing identities further separate the superheroes from normal society? How necessary is it for the superheroes to hide their true identities to successfully achieve their goals?

In "The Falcon and The Winter Soldier," costumes and concealed identities play an important role in delineating the boundary between superheroes and normal society. A prime example is Sam's adoption of the Captain America mantle. When he initially decides not to take up the shield, he grapples not only with the weight of the responsibility, but also with the racial implications of becoming the symbol of American heroism. The iconic Captain America costume, with its patriotic colors and distinctive shield, is not just a uniform; it carries profound symbolic weight. Sam's eventual acceptance of the costume is not just a personal decision, but a statement about the transformative power of symbols and the role costumes play in defining superhero identities.

Practical necessity comes to the forefront for the character of Karli, the leader of the Flag Smashers. Her adoption of a mask aligns with the group's anti-establishment stance, but it also serves the purpose of protecting her identity from their enemies.

The series also addresses the consequences of revealing identities. John Walker, the government-appointed Captain America, faces backlash when his identity is exposed after a controversial incident. The lack of anonymity intensifies the scrutiny on his actions, showcasing the vulnerability that comes with a public persona.

How do the economic, political, and social events that occurred during the series’ creation and broadcast cultivate and inform the superheroes’ decisions and actions?

"The Falcon and The Winter Soldier" unfolds against the backdrop of real-world events, resonating with the racial justice movements of its time. The series discusses police brutality, racial profiling, and the struggles of marginalized communities, drawing explicit parallels to the Black Lives Matter movement.

How do the superheroes question themselves, each other, and their obligations and duties to the people around them?

Throughout the show, Sam questions whether he, as a Black man, can truly embody the symbol of a nation that has historically marginalized people of color. Sam's introspection goes beyond the physical demands of heroism, extending into the realm of identity, representation, and personal sacrifice.

How do structural mythology, cultural studies, and cultural history reflect the series’ world and world-building around superheroes? 

In the series Ms. Marvel, Kamala is a high school girl who one day acquires energy-based powers. The source of her powers comes from a bangle inherited from her grandmother who disappeared during the Partition of India. This bangle Kamala discovers in a box of her grandmother's belongings is later known to be a quantum band, that before this was only known to be heard of in myths and legends. This historical and mythological premise of the show dictates the origin of Kamala's powers and her path of discovery and growth as she develops and better understands her powers.

In what ways are the superheroes and their abilities informed by their racial, gender, sexual, and cultural identities? 

Kamala idolizes Captain Marvel who fits the stereotypical American beauty standards of being a tall, white, blond, blue-eyed woman. Kamala on the other hand is shorter, younger, sturdier, and has brown eyes and skin. While their power gap primarily arises due to experience it is also important to consider these differences when exploring how they are portrayed and respected by their communities. Kamala dreams of being just like Captain Marvel, but as the show continues she learns to embrace the identities that individualize her while in action. Furthermore, Kamala’s costume design is greatly influenced by her cultural background and she uses traditional Indian jewelry to help control her powers. While she designs her costume through inspiration from Captain Marvel’s look, Kamala incorporates things from her background and identity to help personalize her costume. It is greatly modeled after traditional Indian attire and incorporates modestly following Islamic values and Haram. Kamala’s costume being able to be an outlet for self-expression acknowledges her identity while still being a powerful hero.

In what ways do costumes and concealing identities further separate the superheroes from normal society? How necessary is it for the superheroes to hide their true identities to successfully achieve their goals? 

In general, costumes are helpful to protect themselves and their families. Additionally, since costumes conceal their identities it makes it so that others have no understanding of who they are. This makes it so the actual individual gets no recognition for the good, or bad, things that they do as it is only associated with their alter ego. In Ms. Marvel, even though Ms. Marvel becomes the talk of the town and receives a lot of attention, Kamala receives no clout for her heroic deeds. On the contrary, however, it does allow her to get away with doing things that she would otherwise get in trouble with as a teenager with protective parents. Despite this, Kamala’s costume allows for individuality which in turn doesn’t conceal her identity as well as many other superhero costumes do. In fact, in the show, her close friends and family eventually discover her true identity later even after she initially attempts to hide it from them.

How do the economic, political, and social events that occurred during the series’ creation and broadcast cultivate and inform the superheroes’ decisions and actions? 

Kamala is highly influenced by her family and community in which both parties provide protection. As a Muslim superhero, Ms. Marvel receives backlash from a government agency that is portrayed as being Islamophobic and tries to identify her. This informs her decisions and actions as she has to protect herself from the challenges of being unfairly treated and villainized due to her religion and skin tone. 

How do the superheroes question themselves, each other, and their obligations and duties to the people around them? 

In the series, Kamala always compares herself with Captain Marvel who she idolizes and sees as perfect. Thus, when Kamala thinks of herself, she overanalyzes her own imperfections. When Kamala discovers her powers, she works towards perfecting her powers as she considers it her duty to use them for good. Additionally, Kamala wants to honor her family and community while using her powers responsibly. She has a desire to fulfill her destiny of becoming a great superhero, but this often goes against her parents' desires to keep her safe and not expose her to the evils of the world. This leads to tension between her shared responsibilities of protecting others while still trying to protect herself to fulfill her obligations of being a good superhero and a good daughter.

William’s assertion that TV Superheroes symbolize our ever changing “American values” is proven true by The Boys’ (2019) critical reflection of the our 21st century nation’s hierarchical distribution of economic, social, & political power, aggressive foreign policy/patriotism post 9/11, and represents the (much needed) beginnings of progressiveness through its rebellious protagonists. The show surrounds Starlight, the newest member of the Seven (America’s favorite Superheroes/“Supes” managed by Vought, an antagonistic, all-controlling company), who, after being assaulted by her childhood idol on the first night, quickly learns that the group’s heroic image is “written by the marketers.” She teams up with Hugh–our human protagonist whose fiance was murdered by a Supe–and his gang of similarly wronged (and vengeful) misfits to destroy the Seven, and eventually, Vought. The narrative frames Superheroes as the actual villains; Williams states that “with great power comes great responsibility,” but in the Boys’ speculative America, this statement is pretty unfortunate.

How do structural mythology, cultural studies, and cultural history reflect the series’ world and world-building around superheroes?

The Boys contradicts mythos of the intrinsically good Superhero by exploring the hierarchical, power-based, hegemonic underground world of the Supes, who are closer to flawed–rather than superior–humans. Homelander’s hatred of humans and the Deep’s array of sexual assaults contrasts with their publicly perfect (mythos-based) personas. In terms of cultural studies, the international influence of Vought and its Supes mirrors our unjust attribution of social power. Ezekiel–an antagonist Supe whose homophobic Catholicism contrasts with his secret homosexuality; S1 depicts him angelically floating above crowded young fans while preaching. His sex & drug-filled life is hidden from the naive public, reminding us to question the ideology presented by God-like figures in contemporary society. Superheroes’ mode of “action and conflict” is brutal, gory, in line with 21st century’s chaotic foreign policy. Well described its international standpoint as “America the Violent,” The Boys opens with A-Train literally running through Hugh’s fiance on the street, leaving the bloody protagonist to hold his girlfriend’s (cut-off) hands (the Nation, 2023). If that’s not enough, Homelander kills humans for fun. His destruction mirrors Trump’s reign–“critics say President Trump’s foreign policy has seriously undermined America’s world leadership” (the Hill). Luckily, the fight for progressiveness is represented by both Supes and humans.

In what ways are the superheroes and their abilities informed by their racial, gender, sexual, and cultural identities?

Despite Vought’s public diversity, their performativity is evident in the structural, identity-related barriers that hinder all members of the Seven (except Homelander, whose straight white identity is, uncoincidentally, the face of America).  Homelander’s role in Vought’s decisions (and national power) contrasts with the company’s disregard of A-Train, a Black member of the Seven. His requests–such as an apology from Superhero Blue Hawk (a stereotyping racist who curb-stomped a Black man)--are typically ignored despite his sudden importance for #BLM marketing. Still, A-Train eventually kills Blue Hawk, framing him as stronger than the white, hegemonic structure that attempts to define him. Starlight’s entrance into the celebrity-Superhero world illustrates the struggle of gender; soon after signing her, Vought changes Starlight’s modest costume to a skimpy bikini, threatening to fire her if she doesn’t cooperate. The following scene depicts her in the bikini, men yelling to “show her boobs” in front of her young, innocent fans; gendered sexualization is framed as a barrier, overshadowing her identity as a strong Superhero. Maeve’s bisexuality sheds light on the heteronormativity of the Supe system; after years of hiding her bisexuality, heteronormative Homelander finds out and publicly outs her (in angry jealousy) as a lesbian. Vought’s binary view of sexuality results in their manipulation of this outing as a way to ‘diversify’ and profit–Maeve is marketed as the new face of lesbianism, illustrating her difficulty presenting her true Superhero identity in this binary system. Kimiko–a victim of human trafficking–illustrates intersectionality as female, Japanese, and Super; her cultural difference from the show’s world is evident throughout Season 1, when the boys attempt to ‘figure her out,’ somewhat like an unknown concept. Kimiko’s empowerment in later seasons indicates her contradiction of the hysterical, alien “Female,” and rather frames intersectionality as part of her uniquely heightened strength.

In what ways do costumes and concealing identities further separate the superheroes from normal society? How necessary is it for the superheroes to hide their true identities to successfully achieve their goals?

Costume reflects the humanity (or lack thereof) of Superheroes; Homelander is never shown without his costume on, which alludes to his lack of humanity and hatred of non-Supes. The costume represents his “real” persona while his humanity is “the facade” (1344). His “true,” villainous identity must thus be hidden in order to win the public’s affection and achieve his power-hungry goals. On the other hand, Starlight avoids costume and is framed as the most human Supe. In the first few episodes, we learn about her background through moments with Annie–her real name–while she sits at the bar, bowls, or walks through the park in ‘normal’ clothes. Still, she must hide her true identity to satisfy Vought’s hegemonic idea of success. Kimiko is never seen in costume, and is framed as the sweetest and purest Supe despite her introduction as the most alien. Her lack of interaction with the roles created by Vought (and the costumes that realize them) results in her formation of a singular identity rather than a “super” vs “normal” self like the Seven, and quickly settles into her Superhero strength.

How do the economic, political, and social events that occurred during the series’ creation and broadcast cultivate and inform the superheroes’ decisions and actions?

Superheroes’ paths are informed by economic (human trafficking), social (#MeToo, BLM), and political (terrorism, 9/11) events. Kimiko–a Japanese trafficking victim–fell into a vat of Compound V (Vought’s superhero serum) and gained unusually intense Super-strength. The economic value placed on her extreme strength results in her imprisonment as a lab rat and trafficking into the U.S. Her origin story addresses the nation’s concerning economic flow from human trafficking, pictured in relation to Compound V through Vought’s transnational trade. The #MeToo social movement affects Starlight after her sexual assault in by the Deep, a member of the Seven (E1). While the shows creators considered “behind-the-scenes” revenge narrative, they constructed Starlight’s public revenge with references to #MeToo after the movement’s coincidentally timed real-world emergence; the historical social movement shaped Starlight’s story (the Nation). “Flight 37”--a crashed plane hijacked by terrorists–is likely a political reference to 9/11. When Homelander tries–but fails–to save the plane, he simply leaves everyone to die and pretends he was never there. When the tragedy goes public, he expresses his sorrow through fake tears and a politically oriented speech; he demands the American need for real protection, specifically, Supes in the military. Homelander’s manipulation of a national tragedy to assist his right-wing agenda mirrors 21st century politics under Trump’s guidance.

How do the superheroes question themselves, each other, and their obligations and duties to the people around them?

Stan Edgar (a Vought executive) leads Homelander to question his own capability despite the Supe’s undefeated physical superiority. Edgar’s statement that Homelander is “not a God,” but “simply… bad product” results in Homelander’s atypically poor performance in a fight with Soldier Boy in the following scene (S3, the most important fight of the show). The physical manifestation of Homelander’s insecurity sheds a rare light on his humanity. His creation of an abusive workplace environment means that none of the Supes trust him, especially Maeve, as their past/media-friendly romance gives her more insight than the others. She consistently questions his intentions and thus keeps a poker face, smiling to avoid his (physically threatening) temper; her distrust shows as soon as Homelander leaves and a hidden fear replaces her fake smile. Starlight similarly distrusts and questions her obligation to remain in the Seven, and only stays to please her selfish mother. The eventual discovery that her mother selfishly injected baby Starlight with Compound V dissolves the Supe’s trust of and obligation to her mom; Starlight remains in the Seven, but for moral, personally driven reasons.

How do structural mythology, cultural studies, and cultural history reflect the series’ world and world-building around superheroes? 

The Powerpuff Girls constructs its world through a combination of structural mythology, cultural studies, and cultural history. Structurally, the series adheres to the superhero genre's conventions with the trio of Blossom, Bubbles, and Buttercup representing archetypal hero figures. The cultural studies lens is evident in the show's exploration of diverse characters and themes, challenging traditional gender norms by featuring female protagonists with distinct personalities. Cultural history manifests in the series' context, reflecting the late 1990s and early 2000s ethos, contributing to the development of the Powerpuff Girls' characters, their challenges, and the dynamics within their fictional world.

In what ways are the superheroes and their abilities informed by their racial, gender, sexual, and cultural identities? 

The Powerpuff Girls challenges gender norms by portraying the superheroes as three powerful and capable girls, transcending traditional gender roles in the superhero genre. However, the series does not explicitly delve into racial, sexual, or cultural identities. Instead, the characters' abilities and identities are more broadly representative, emphasizing universal themes of empowerment and teamwork, thereby fostering inclusivity. The focus is on their superhero roles rather than specific identity markers, aligning with the series' commitment to a diverse and inclusive narrative.

In what ways do costumes and concealing identities further separate the superheroes from normal society? How necessary is it for the superheroes to hide their true identities to successfully achieve their goals?

Costumes and concealed identities in The Powerpuff Girls serve to separate the superheroes from normal society by creating a distinct superhero persona. Despite their childlike bodies, the girls don't wear masks like the typical superheros, but their costumes signify their superheroic roles. The necessity of hiding their true identities is tied to protecting their personal lives and maintaining a sense of normalcy within the context of their youthful appearances. By concealing their identities, the Powerpuff Girls can navigate both the challenges of superheroism and the mundane aspects of their lives without undue interference or scrutiny. The juxtaposition of their childlike appearance with their superhero responsibilities adds an additional layer of complexity to the need for identity concealment.

How do the economic, political, and social events that occurred during the series’ creation and broadcast cultivate and inform the superheroes’ decisions and actions? 

Drawing insights from Kevin D. Williams's article, which explores how superhero narratives reflect societal changes, we can apply this framework to The Powerpuff Girls. The late 1990s and early 2000s, when the series was created and broadcast, were marked by significant cultural shifts. The show aligns with broader societal trends of the time, emphasizing themes of empowerment and diversity, which are likely influenced by the cultural climate of that era. For instance, the late 1990s witnessed a growing awareness of gender equality, and the Powerpuff Girls, as female superheroes, may be seen as a response to or reflection of this cultural shift. The series captures the zeitgeist of the late 20th century and early 21st century, with its characters embodying the values and aspirations of the period.

How do the superheroes question themselves, each other, and their obligations and duties to the people around them? 

How do structural mythology, cultural studies, and cultural history reflect the series’ world and world-building around superheroes?

My Hero Academia draws heavy influence from Western Superhero comics. The character designs themselves as well as the hero society that is built up reflects a lot of aspects specifically shown in Marvel and DC. My Hero also takes the classic Hero’s Journey mythology concept and portrays this the the main character Izuku Midoriya. He goes from being quirkiness, to inheriting one the most powerful quirks and becoming a hero. 

In what ways are the superheroes and their abilities informed by their racial, gender, sexual, and cultural identities? 

In My Hero Academia, the characters manifest quirks in a way that is usually completely unique to them. A lot of the times, quirks are influenced by genetic factors with characters usually manifesting a quirk that is similar to a combination of their parents quirk. They are similar to how certain traits are inherited in the real world. A lot of diversity is also shown through the costumes that heroes design for themselves. These designs can incorporate different cultural or personal elements that allow for characters to better express their individuality. for the most part quirks are not determined by racial identity, gender and sexuality. 

In what ways do costumes and concealing identities further separate the superheroes from normal society? How necessary is it for the superheroes to hide their true identities to successfully achieve their goals? 

In My Hero Academia, there is a whole society of heroes. It takes place in a world where 80% of humans suddenly begin to develop superpowers. Heroes are separated from society in the sense that they are looked up to and depended on by many people with weaker quirks. Being a hero is oftentimes a job that is sought after, with whole schools dedicated to teaching young students to be good heroes. Finding the right costume is important for every heroes journey, usually made to enhance their specific quirk and be recognizable and marketable. It’s not necessary for professional heroes to hide their true identities. Most of the time, being a hero is something to show off especially if you are ranked in the top ten. However, heroes do have a separation when they are on the job vs when they are off. I’ve noticed a trend in the show where older, more established heroes turn on a heroic personality when they are on the job but are completely different in their personal life.  

How do the economic, political, and social events that occurred during the series’ creation and broadcast cultivate and inform the superheroes’ decisions and actions?

The emergence of Quirks in the My Hero Academia has social implications especially highlighted in the discrimination and prejudice against those with "villainous" or "unusual" Quirks. This mirrors societal attitudes toward individuals who are perceived as different or other. While the show is not heavily influenced by real life events, a lot of the characters are based on or inspired by classic comic book characters and manga characters.

How do the superheroes question themselves, each other, and their obligations and duties to the people around them? 

Many of the older heroes in the show often question themselves and their motives. A few seasons into the show, the viewers start to see that heroes aren’t always good and the hero society is responsible for forcing people into the role as villains. There is also an arc of the show where its’ hard for the characters to trust each other because of double crossing and undercover work. The younger heroes in training seem to have a more optimistic view on being a hero because they are new to the business. Because being a hero isn’t some big secret, those with strong quirks and hero training can jump into action at any point with no worries about being caught.

The Umbrella Academy (2019) is a show that follows a group of adopted siblings, each with their own power, and their journey to solve the mystery of their father’s death and save the world from an impending apocalypse.

How do structural mythology, cultural studies, and cultural history reflect the series’ world and world-building around superheroes? 

The Umbrella Academy is set in present day (2019) yet plays around with time and timelines throughout the narrative, as one of the siblings Five has the ability to manipulate time. As for structural mythology, the show is based on the books, yet as a viewer who is unfamiliar with the original content, I would say the show is definitely set up in a mystery, as we are introduced to the siblings in the first episode, yet are constantly in the dark when it comes to the reasoning behind the 43 births and what caused it. Though the narrative setup of the death of guardian/father figure, Dr. Reginald Hargreeves, brings the siblings together to mourn his death, Hargreeves is still shrouded in mystery. What is appealing about Umbrella Academy is the diversity of the siblings themselves, and how they go through their own individual experiences dealing with their powers and how they come together to try and stop the impending apocalypse and save the world. As for cultural history, the show does include many significant moments of history, as many scenes take place in the past due to the constant time warping in the show. For example, the Vietnam War, Civil Rights Movement and even the assassination of JFK are all a part of the show, and each siblings’ experiences in the “past” have a direct impact on their own journeys and also their future. 

In what ways are the superheroes and their abilities informed by their racial, gender, sexual, and cultural identities? 

To my knowledge there is not necessarily connections between the siblings' abilities and their racial/gender/sexual/cultural identities. But, there are definitely ties between each siblings' emotions and their abilities, especially when it comes to sibling 7 Viktor. At the beginning of the series, Viktor is known as the sibling without any powers, and is ridiculed and ignored by Hargreeves as a result. Viktor sees himself as useless compared to his siblings, but it is later revealed that Hargreeves used pills to suppress Viktor's powers of manipulating sound into physical force because he deemed them to be too dangerous. Viktor unlocks these powers after not taking the pills anymore, and releases his full potential, but struggles to control his powers.

In what ways do costumes and concealing identities further separate the superheroes from normal society? How necessary is it for the superheroes to hide their true identities to successfully achieve their goals? 

When the Umbrella Academy is younger and growing up under the tutelage of Hargreeves there is a specific uniform the children wears, which features a school-like red and gray uniform and the iconic and traditional superhero mask. I think most of the difficulties when it comes to the siblings lives is that they each have their own desires aside from their constant missions and family drama. As they encounter different experiences in different timelines, the siblings find love, careers they care about, and other things that are separate from being superheroes.

How do the economic, political, and social events that occurred during the series’ creation and broadcast cultivate and inform the superheroes’ decisions and actions? 

In Kevin D. Williams’s “(R)Evolution of the Television Superhero: Comparing Superfriends and Justice League in Terms of Foreign Relations" Williams discusses how many political events and ideologies have a direct impact on the narratives and ideologies of superheroes, specifically with political climate post Cold War and post 9/11. The second season of "The Umbrella Academy" takes place mostly in the 1960s, as at the end of season 1, sibling Five saved all his siblings by taking them to the past, and they are now scattered and each experiencing their individual lives in the 60s. This places all the siblings during Cold War era US, and the narrative specifically forms around JFK's assassination and the Civil Rights Movement, which specifically impacts Allison the most. Allison becomes an active member of the Civil Rights Movement and describes her motivation and empowerment to exist outside her scope of superhero powers, which involve manipulation. I think it is interesting that the show includes the self-doubting aspect of being "super" in some ways because I think it helps make the characters feel more authentic if they're concerned how their powers impact themselves as humans. In season 2, Allison participates in a sit-in at a whites only diner and uses her powers to manipulate a police officer to stop beating her husband Ray. This causes him to run away from her because he is afraid, but the two later reconnect.

How do the superheroes question themselves, each other, and their obligations and duties to the people around them? 

Because the main superheroes are siblings, it makes for a really interesting dynamic to watch onscreen. Not only are they a family, but an estranged one that has just been reunited due to the death of their father. Of course they act just like any siblings and question themselves and each other. Because Hargreeves literally numbered them off based on their "usefulness" to him (#1-7) their childhoods were definitely not normal in the sense that he was raising them to serve him. Especially for Viktor, their childhood was extremely traumatizing and his history with certain siblings even causes fights and tension in the present timeline. During one episode, it is revealed Hargreeves instructed Allison to use her powers to manipulate Viktor into forgetting that he had powers. This relevation causes Viktor to lash out at Allison, which speaks to how the siblings' turbulent history still has impacts on their current relationships with each other.

How do structural mythology, cultural studies, and cultural history reflect the series’ world and world-building around superheroes? 

The Disastrous Life of Saiki K centers on the titular character, Saiki K, a highschool student with Superman-esque levels of psychic power. He has trademark pink hair and must wear green glasses and antennae in order to limit his powers. Saiki, as one of the only actual psychic characters in the anime, actually doesn’t want to solve problems, or help anyone with his powers, and most of the show he uses his powers to minimize attention and keep to himself. His only really widespread use of power was changing everyone in the world’s hair color to also be colorful so that he doesn’t stand out as much. In direct opposition to Saiki’s nonexistent need for attention and immense psychic power, his classmate Kaidou, has no power whatever but claims to be The Jet-Black Wings, the only person standing against The Dark Reunion, an evil organization running the world behind the scenes. This is played for satire as Kaidou loudly brags about being the Jet-Black Wings and blames every mishap on the Dark Reunion, wears red bandages on his arms to “control his power,” and a dramatic action song “Judgement Knights of Thunder” plays everytime he does anything. 

Saiki K is a comedy anime satirizing the idea of a “superhero” through Saiki K, who kind of sucks and doesn’t care that much about other people, but even in using his powers selfishly, ultimately helps the people around him. This show challenges the idea that superheroes would necessarily swing to complete good or complete evil, and makes fun of those ideas in the example of satirizing binary thinking through Kaidou’s fake enemy, The Dark Reunion. Although the show begins with Saiki K doing everything he can to avoid attention and making friends, he warms up to his classmates over the show and uses his powers for their benefit, even as he convinces himself he’s just trying to help himself. 

The origination of manga in Japan was influenced by the globalization of American comics, including superhero comics, brought during WWII. Interestingly, as members of the Axis Powers, Japan and Japanese characters were featured in American superhero comics as enemies to the nation, often depicted as racist stereotypes for wartime propaganda. On an international scale, superheroes are associated with the US, as a national export and national representation of American might and power. This can be seen in superhero anime like My Hero Academia, where All Might represents the All-American superhero figure. Shows like Saiki K and Mob Psycho 100 have superhero-like characters and themes but distance themselves from calling them that, positioning themselves as psychics rather than superheroes.

In what ways are the superheroes and their abilities informed by their racial, gender, sexual, and cultural identities? 

Saiki K definitely participates in the de-racialization of characters as Will Bridges spoke to in “The Past Tense and the Future Perfect,” which we read for Cowboy Bebop. All of the characters are assumed to be Japanese, and are very homogeneous in appearance, save Nendo, whose butt-chin and weird mohawk are played for laughs. In many ways, Saiki represents the ultimate hegemonic male character who is conventionally attractive, cishet, middle class, and extremely able bodied. The only way that Saiki represents “other” could be through his lack of romantic or sexual interest in the show, much to the chagrin of Kokomi, the self proclaimed queen of the school, who appears with a halo of light around her at all times and has caused multiple stampedes of men chasing after her. The character Kaidou, who isn’t very popular with his classmates (somewhat because he always talks about the Dark Reunion), could be acting out social rejection through his fixation on being a superhero fighting evil, above the social dynamics of highschool.

In what ways do costumes and concealing identities further separate the superheroes from normal society? How necessary is it for the superheroes to hide their true identities to successfully achieve their goals? 

For Saiki, hiding his identity is his goal. To this end, he has changed everyone’s hair in the entire world to be colorful so that he doesn’t stand out. When the school has a sports test in gym class, Saiki has to tone down his supernatural speed and strength to blend in, including teleporting a ball back when he throws it so far that it can’t be seen, and squeezing a grip strength monitor so hard that that needle goes all the way around and it looks like he has an average score. For many superheroes, putting on a costume/disguise is necessary to carry out their goals, but for Saiki, his physical appearance is connected to his supernatural abilities, and the antennae and glasses he wears serve not to express his powers or his superhero role, but rather to minimize and control them.

How do the economic, political, and social events that occurred during the series’ creation and broadcast cultivate and inform the superheroes’ decisions and actions? 

The Disastrous Life of Saiki K first appeared as one-shot manga chapters published from 2012-2011, then serialized in Weekly Shonen Jump from 2012-2018. The anime based off of this manga was aired from 2016-2018. I think Saiki K intentionally builds off of the context of preexisting superhero media to satirize it, questioning the characterization of other characters with superpowers as good and selfless or evil and self-serving- Saiki is literally just some guy and he doesn’t feel any pressure to use his powers for anyone. The anime creates a depoliticized superhero- he isn’t connected to any hero organizations or governments, he doesn’t have any enemies. He is so depoliticized and inactive as a superhero figure that his morals swing all the way around into questionable because he is so powerful, and could solve so many problems, but only changed everyone’s hair.

How do the superheroes question themselves, each other, and their obligations and duties to the people around them? 

Saiki K as a show challenges the superhero trope of questioning their purpose, sense of self and obligation to others by making Saiki antisocial and feel pretty neutrally about everyone besides himself. He always ends up helping the people around him, even when he doesn’t mean to, often doing so because it’s the easiest way to avoid being exposed, or not taking action will negatively impact him in some way. In one episode, he watches a magician on TV being locked in a box, and when it seems like he won’t be able to escape in time, Saiki teleports onto the set to save him. He does this in order to save the magician from a deadly incident which could potentially delay the rest of the tv channel, including Saiki’s favorite mystery show that after the magic show. He does help people, but his obligation is (allegedly) to himself first.

Moon Knight centers around Steven Grant, an unassuming employee at a museum gift shop, whose life is disrupted by episodes of memory loss and recollections of an alternate existence. Uncovering the presence of dissociative identity disorder within himself, Steven realizes that he coexists in the same body with the mercenary Marc Spector. As adversaries of Steven/Marc close in on them, the duo must grapple with their intricate identities while being entangled in a perilous enigma involving the formidable gods of Egypt. Like the narrative of Justice League analyzed by Kevin D Williams, Steven Grant experiences violence and struggle that impacts his own mental health.

How do structural mythology, cultural studies, and cultural history reflect the series’ world and world-building around superheroes?Moon Knight intricately navigates the multifaceted landscape of superhero storytelling by incorporating a rich tapestry of structural mythology and cultural exploration. The portrayal of Marc Spector's dissociative identity disorder adds a layer of psychological complexity to the character, challenging traditional superhero archetypes. The series deftly delves into Egyptian mythology, weaving a narrative around gods like Khonshu and Ammit, thereby expanding the cultural dimensions of the Marvel Universe. The inclusion of characters like Layla El-Faouly contributes to a more nuanced representation, avoiding clichéd racial tropes and broadening the spectrum of identities. By hiring Egyptian director Mohamed Diab, the show not only authentically embraces its cultural backdrop but also fosters diversity behind the camera. Moon Knight emerges as a sophisticated and culturally resonant contribution to the evolving landscape of superhero narratives.

2. In what ways are the superheroes and their abilities informed by their racial, gender, sexual, and cultural identities?

Superheroes and their abilities are deeply influenced by their cultural and identity backgrounds, offering a nuanced exploration of diverse perspectives. Moon Knight, for instance, introduces layers of cultural complexity by delving into Egyptian mythology and presenting characters with multifaceted identities. The show's portrayal of mental health issues further adds depth to the narrative, contributing to a broader conversation about the intersectionality of identity within the superhero genre. While normally superhero’s abilities are formed or enhanced by solely the supernatural, Moonknight’s abilities take aspects from his dissociative identity disorder and form distinct characters.

3. In what ways do costumes and concealing identities further separate the superheroes from normal society? How necessary is it for the superheroes to hide their true identities to successfully achieve their goals?

In "Moon Knight," costumes and concealed identities play a vital role in delineating the titular hero from normal society. The character of Marc Spector/Moon Knight grapples with dissociative identity disorder, which adds layers of complexity to his personas. The various costumes represent distinct facets of his psyche, blurring the lines between reality and the supernatural. This intricate dance between identities not only mirrors the broader theme of duality prevalent in superhero narratives but also underscores the character's internal struggles. In the second episode, Steven is asked to manifest his suit in order to fight a creature, but the character talking to him knows Marc - an alternate identity completely different from steven. Steven forms an all-white three-piece suit, not understanding what she means. This departure from the conventional superhero costume aligns with the series' thematic focus on internal conflicts and emotions externalized through these superhuman personas. Steven's unique vision of a "super suit" reflects his unfamiliarity with traditional superhero tropes, offering a distinct perspective on the concept.

4. How do the economic, political, and social events that occurred during the series’ creation and broadcast cultivate and inform the superheroes’ decisions and actions?

In the backdrop of "Moon Knight," the socio-political landscape of the last decade likely influenced the series, fostering a more progressive tone in superhero narratives. Especially with the rise in popularity with superhero franchises, there seems to be an increased amount of representation in superheroes. Many modern adaptations of comic superheroes take liberty and alter the story and characters in order to be more inclusive and appeal to the modern audience. Moon Knight seems to foster healthy conversations about mental illness and doesn’t treat it like a foreign and unnatural thing. The main identity of Steven is also not the stereotypical macho superhero, and he has to grow into this new unfamiliar character. Decisions and reactions to things mirror his timidness (at least initially), offering a new and refreshing perspective on superhero personas.

5. How do the superheroes question themselves, each other, and their obligations and duties to the people around them?

Steven’s internal conflicts, mirrored in the manifestation of different personas like Mr. Knight, illustrate the complexity of questioning oneself and grappling with duty. Steven's struggles go beyond conventional superhero tropes, incorporating personal identity, psychological battles, and a unique interpretation of what being a hero means. In the first episode, Steven is manifested by an ancient Egyptian god, but struggles to grapple with the alternate identity that becomes present. A domming voice commands him to do things, even when Steven as a person does not. His body becomes a sort of puppet to this entity and gradually has to submit to his demands. He is even transparent to his coworker about a fight he had with a creature overnight at the museum, trying to explain how insane of an experience it was. This diverts from traditional superhero inceptions, where they must keep their powers and identities secret. The show's exploration of Steven's internal conflicts and obligations contributes to the broader trend in superhero storytelling, emphasizing the psychological and moral dimensions that enrich the character and resonate with audiences on a deeper level.

In episode 1 of "Three-Body" (2023), the mysterious woman's delivery of particle accelerator results to Prof. Munphy, preceding his suicide, is a pivotal scene that aligns with Stephen Benedict Dyson's analysis in "Images of International Politics in Chinese Science Fiction." Dyson argues that science fiction reflects known human relations and constructs new realities, influencing the audience's perceptions. The scene resonates with Waltz's three images of international relations, particularly the "dynamics of conflict."

The mysterious woman's actions introduce an element of external influence and manipulation reminiscent of international power dynamics. The suicide of Prof. Munphy, a leading scientist, echoes the idea that "physics doesn't exist anymore," linking to the deaths of other physicists in The Frontiers of Science. This phrase becomes a common thread, suggesting a shared disruption in the understanding of fundamental principles, mirroring the destabilizing impact of international conflicts on established norms.

Dyson's analysis enhances our formal understanding of the scene by providing a framework to interpret the broader implications. The intrusion of external forces into the scientific realm aligns with the way international relations can disrupt established norms and paradigms. The convergence of Dyson's analysis with the formal aspects of the episode deepens our appreciation of the narrative's geopolitical undertones and the intricate interplay between science fiction and real-world power dynamics.

Stephen Benedict Dyson’s “Images of International Politics in Chinese Science Fiction: Liu Cixin’s Three-Body Problem” frames science fiction as a highly influential form of representation through its reflection of known human relations and its creation of new realities, which become realized and perpetuated by its audience (461). Benedict notes that the discourses of reality (or “dynamics of conflict”) present in “Three Body” (2023) mirror Waltz’s three images of international relations. I focus on a scene in Episode 1, when a representative of the Frontiers of Science–Shen Yufei–provides a scientific researcher (who later commits suicide) with a set of intangible data. 

In this scene, Yufei’s attitude is reminiscent of Waltz’s “first image” interpretation of political activity–she critiques “human nature” as the source of war (destruction) and takes a pessimistic (rather than optimistic) view of this nature as irredeemable. She portrays a betrayal “from within” humanity, similar to Ye Wenjie, as discussed by Benedict; both characters value a survival of the fittest ideology between humans and all species more broadly. Yufei reveals this negative view of humanity through an analogy; after the scientific researcher questions Yufei about the impossible data, Yufei looks towards a tiny bug on the window and states that, while it “tries hard,” and believes “a crack must exist” in the glass, only she “can give the crack… it got no choice.” Her analogy frames humans as the bugs whose ideas of a “fixed” reality is actually an illusion–the data that seems abnormal may simply be normal. Benedict’s description of a characters’ line about humans being “crushed like bugs” by the Trisolarans suggests that the bug/human analogy is reused throughout the show (471).

The cinematic elements of this scene highlight the broader narrative significance of Yufei’s seemingly small lines and hint at its analogical meaning. Directly before Yufei begins to speak, the image becomes slanted, much unlike the rest of the show’s cropping, and creates feelings of instability. The blinding brightness from outside contrasts with the apartment’s modern, yet bleak and dark interior, accurately portraying the cold negativity Yufei brings to those she visits. While the scientist’s face is bright and clear, Yufei faces the window, her face covered by shadows; her invisibility creates an image of control alongside the scientist’s vulnerable visibility and the bug’s eventual close up. As her analogy progresses, the wide shot zooms into the window to focus on the little ant that Yufei refers to, transitioning from a shot of her ominous shadow looming over the ant to a final clip of the ant scurrying around the glass, its lack of direction and goal representing humanity’s lack of a truly known reality/clear path.