Wonder Woman was the last Justice Leaguer I met when I was a kid. I spent most of my afternoons watching TVO, Fox Kids, and YTV: the latter of which featured debuts and reruns of the iconic DCAU Batman and Superman series. Between the stellar superheroines (even antiheroines) in X-Men and Spider-Man, I wasn’t exactly thinking too hard about the absence of women when it came to action and adventure; but I also wasn’t keen on the difference between DC and Marvel, the latter of which seems to have an endless erection for Wolverine despite its notoriously vast and diverse galleries of narratives.
I met Wonder Woman in the early 00s when the Justice League animated series came out, and became more acquainted with her through cult coverage in documentaries or comic conventions. She seemed like a powerful character: a literal Amazon whose allies and nemeses were themed through Greek mythology, which appealed to me since I liked to read those classics in middle school. Her star-spangled costume with its trademark tripartite of red, white, and blue iconized her in the vein of Captain America: appealing to Americana and fashioning the heroism ascribed to the Allies whom ultimately won WWII whilst championing the USA. She was also strong and intent. Despite the chauvinism that marks faculty and fandom that surround a lot of canon, compared to her male cohorts, Diana was ironically less flushed or furious than forthright. What struck me about her story was how I felt it could parallel the X-Men [my favourite series tbh]. Her narrative was driven less by justice than discovery. Sure, she fought for ‘justice,’ but she was driven by a sense of urgency and reckoning that was yielded from an irresolute identity and past. She left Themyscira to war past (and despite) a realm of reservation, forged friendships, cultivated mortal enemies, and discovered the dynamics of being beyond duty.
I’m sure there would’ve been an abundance of insight into that development and likely legendary enemies or allies added to her roster had she’d been picked up with her own DCAU series—but she wasn’t. Neither were a bunch of my beloved favourites, even if they did manage to earn the odd DCAU movie special or motion comic. Which is why the recent Wonder Woman movie was so ground breaking. Not only did it grant Diana her deserved debut to the big screen, it also reaffirmed the revelatory ethos she stood for and dignified her as a feminist icon: a beacon of light and strength amidst the otherwise all-male Justice League and spotlighted narratives. Wonder Woman was never a feminist idol of mine, although I did think she was a feminist and likewise represented feminism. I was keener to Catwoman, Poison Ivy, and Zatanna when it came to DC; while Storm, Rogue, Jean Grey, Black Cat, and Calypso were my faves for Marvel. Wonder Woman was great, but I felt a bit conservative in how she emblematized Americana and idealism whereas my picks were pronounced through power, prowess, and prerogative.
That doesn’t make Wonder Woman a ‘bad’ feminist or superheroine by comparison. It just means that I hold respect and space for Diana in a different way. Admittedly, I looked at her with new respect when the Injustice games came out. She not only mobilized the misguided Amazon army to rise above an autocratic regime against her evil twin, but she inclined people to discern between independence and interpersonality as well as pride. Her feminism was explicit rather than just implied according to her prior incarnates. She spoke directly of how men can convolute women: how misogyny drove the adoption the autocracy of Superman, and how any allegiance to him was self-destructive as well as superficial against the ethos and hubris of real warriors. And, she did actually say this stuff. Not word for word or quite as abstract, but there’s a portion where she declares these principles during the story mode. It was then my heart took a dive as she proceeded to emphasize ideas with the clank of her sword against her shield, then knocked her evil twin out cold, and led the charge of her warrior sisters against Aquaman’s army. This Diana got me thinking. I could get into this side of Wonder Woman.
Then, some years later, Wonder Woman was announced. Knowing that it was going to be run and adjunct to the lackluster series of films which comprise the latest DC hero franchise, I wasn’t exactly thrilled. For me, the recent movies—Man of Steel and Batman v Superman—bastardized any original character or canon which kind of undercut the source material. Not to mention we saw Superman and Batman on the big screen many times. Given the span of time, the frequency and continuance of their reboots was becoming more of a nuisance than a running gag; a lot like Wolverine. So, a Wonder Woman narrative which shared a similar budget and campaign was refreshing, if not surprising. It wasn’t just going to be great to see an alternate take; it was going to be epic because it hadn’t been done before. Yet, I still found myself mildly unimpressed with the promos and previews—and eventually, the actual movie. Diana was reduced to romance and rebellion rather than strength, urgency, and undertaking. Themyscira read like an afterthought to her fascination with the outside world. She embarks to eviscerate not because she can, but because of clumsy attraction. This Wonder Woman was nothing like the champions I’d read into or watched onscreen over the years, and she was the polar opposite of the star Injustice had made me fall in love with. I still don’t have the spoons to do a film review, but all I can say is that she was like a caricature: a witless warrior whose quest wasn’t to innovate or liberate, but to become one of the guys.
Which is accentuated by Gal Gadot. She was briefly scandalized for being a Zionist, but people could’ve cared less once Wonder Woman broke. The movie captivated critics and was acclaimed by audiences as revolutionary. Folks fancied that it was a text which transmuted the mainstreamed misogyny and signal boosted ‘feminism’ as a matter of representation. Little girls and teens could now assumedly identify with this genre because it had afforded them a leading woman. As if Wonder Woman’s regalia hadn’t already afforded them that before this film. As if everything would’ve been undermined had it featured another actress.
Consequently, Gadot was iconized akin to Wonder Woman by fans whom thereupon imposed their ideologies. She became an avatar of ‘girl power’ in light of her casting, and further assumed the role when she refused to work with Brett Ratner whose sexual harassment was exposed in the wake of callouts which followed Harvey Weinstein. I honestly don’t think much of celebrities when it comes to activism or advocacy, especially the declaredly ‘feminist’ ones whose social justice is operant upon their social capital. For me, Gadot’s Zionism and cult of celebrity discredited any likeness to Wonder Woman and feminism as I knew it. Because, the personal is political. Politics inform and reflect our worldviews, and their principles signify encoded values we abide and legitimate. Zionism is not merely problematic nor can it be divorced from someone’s personality; and given historical horrors and current events, I don’t think it should be taken lightly, especially when it’s assumed by a prominent celebrity who is cast as some symbol of feminism or revolution. I also just don’t think it’s wise or realistic to levy that much likeness upon one person or one text. The personae of Wonder Woman and similar heroines related as feminist are vast in and of themselves. Gadot and Wonder Woman are simply singular instances, however informed they purport to be by the whole.
Which is why when this story broke, I was unmoved by the shock and outrage it has elicited from Wonder Woman and Gadot fans. Regardless of the script, Gadot’s correlation to Zionism spoke to a degree of amorality and antipathy which was evident in her deliverance of the role. I could also note that she seldom spoke of feminism or politics beyond that in real-time—which made all these assumptions of her feminist fervor all the more ludicrous, if not unfounded.
When it comes to the hype of Hollywood and celebrity, prospects aren’t so much limited as they are sustained. If something is made, it’s bought. Its dislike doesn’t discount its dollars. Which is why Wonder Woman and others like her can be commodified and commercialized through any means. If their stories are ever dignified, they’re applauded. Their mere existence is seen as radical even if there is nothing particularly innovative in how they are delivered or conceived, even in considering their constituents or market objectives. I don’t know if Wonder Woman will ever get the diverse, continued cinematic treatment equivalent to her comic counterparts. What I do know is that I’m not the only one displeased by this one as it stands; nor am I the only one who discerns between the face of the character onscreen and whom or what that face belongs to IRL. Diana might not have had the profound, perspective feature film I’d hoped for; but she has had a good run and I won’t let Gadot or any other casting discredit that.