Thanks for this. Got me thinking. I'm gonna write something in the next week or so on this. I think the film addresses the "the superhero as fascist" trope that's been pretty common in most superhero media for the past 15 years pretty directly. While I don't know if I'd call the film pro-palestine, it can definitely be read as anti-war which some Superman narratives have been historically. Superheroes used to be the domain of the Left when they emerged. The main villain in this movie is a CEO billionaire who thinks he's better than everyone.
Yes but remember: anti-war can easily be repurposed as part of a globalist message. Read my post Your Own Private Idaho for more, including further reading.
Apart from links to any specific situations in our historical moment, I think it's more about an approach:
In a bit of a rush so I'll recycle a piece of my review of the movie to make my point for me (forgive the hacked translation job):
"Ironically enough, this version of Superman neutralizes the idea of superpower way more than most recent superhero films.
Every single character on screen has some kind of talent they can contribute to try and save the day. Someone can fly, someone else is an unstoppable reporter, someone’s a quantum genius, someone has unlikely charm, and someone knows how to say a comforting word at the right time. And Metropolis doesn’t get saved without all of their contributions.
And all characters, no exception, find themselves in a set of circumstances where doing the right thing is impractical, risky, or bears some personal cost.
And in times like the ones we're living through, I think I’m starting see the point of cinecomic as a genre. Because most of us will never fly at supersonic speed or lift a building.
But we all have some kind of gift that we can use for good, and and all of us are in circumstances that render doing it inconvenient.
And sometimes watching a guy in leotard and cape helps us remembering that heroism isn't about what you can do, but about choosing to do the right thing anyway."
Off to see the film tonight in our little (red) upstate town. Will report back.
Thanks for this. Got me thinking. I'm gonna write something in the next week or so on this. I think the film addresses the "the superhero as fascist" trope that's been pretty common in most superhero media for the past 15 years pretty directly. While I don't know if I'd call the film pro-palestine, it can definitely be read as anti-war which some Superman narratives have been historically. Superheroes used to be the domain of the Left when they emerged. The main villain in this movie is a CEO billionaire who thinks he's better than everyone.
Yes but remember: anti-war can easily be repurposed as part of a globalist message. Read my post Your Own Private Idaho for more, including further reading.
Antiwar Superman stories go back to the beginning; in the original Action Comics he fights world leaders trying to start wars.
Yes, but this doesn't mean he wasn't used as soft power during the Cold War.
No Other Land won the Oscar for best documentary feature. The idea that pro-Palestine narratives need to be disguised is absurd.
Apart from links to any specific situations in our historical moment, I think it's more about an approach:
In a bit of a rush so I'll recycle a piece of my review of the movie to make my point for me (forgive the hacked translation job):
"Ironically enough, this version of Superman neutralizes the idea of superpower way more than most recent superhero films.
Every single character on screen has some kind of talent they can contribute to try and save the day. Someone can fly, someone else is an unstoppable reporter, someone’s a quantum genius, someone has unlikely charm, and someone knows how to say a comforting word at the right time. And Metropolis doesn’t get saved without all of their contributions.
And all characters, no exception, find themselves in a set of circumstances where doing the right thing is impractical, risky, or bears some personal cost.
And in times like the ones we're living through, I think I’m starting see the point of cinecomic as a genre. Because most of us will never fly at supersonic speed or lift a building.
But we all have some kind of gift that we can use for good, and and all of us are in circumstances that render doing it inconvenient.
And sometimes watching a guy in leotard and cape helps us remembering that heroism isn't about what you can do, but about choosing to do the right thing anyway."