‘Another woke disaster from Hollywood!’ How Captain America joined the culture wars
In the latest film from the Marvel franchise, Captain America: Brave New World, a Black hero squares up to a raging red baddie trashing the White House. Cue the conservative outrage …
Of all the times to recast the most iconically American comic-book character with a Black actor and then pit him against a violently angry supervillain with an unnaturally reddish skin tone, who also happens to be the new US president … Sorry if that’s a spoiler, but it is in the trailer for the new Captain America: Brave New World, just released into a tumultuous Trump-run America that’s itching for another culture war.
If Marvel was looking for some attention to reignite its beleaguered movie franchise, it seems to have found it – but not necessarily the good kind. If nothing else, the image of a raging red superbeing rising up from behind the presidential podium and then trashing the White House is sure to provoke a reaction. As Anthony Mackie’s Sam Wilson takes up the star-spangled shield passed on to him by Chris Evans’ Steve Rogers, his casting has already incensed a certain bracket of social media: “The new Captain America! DEI hire!”; “Sounds like another woke disaster from Hollywood”; “Boy, did you not get the memo? America just voted for Trump – your film is dead on arrival.” It’s a wonder Trump hasn’t signed an executive order banning the film yet.
Mackie gave his adversaries even more ammunition a couple of weeks ago when he told the Italian press: “To me Captain America represents a lot of different things and I don’t think the term ‘America’ should be one of those representations.” Again, you can imagine the reactions – even if, as fans pointed out, Mackie’s predecessor in the role, Chris Evans, made very similar comments when he was promoting Captain America: “I’m not trying to get too lost in the American side of it. This isn’t a flag-waving movie,” Evans said in 2011. Mackie had to walk back his comments the next day on Instagram: “Let me be clear about this: I’m a proud American and taking on the shield of a hero like Cap is the honour of a lifetime.”
These are not the only battles the new Captain America finds itself caught up in. Attention has also focused on Ruth Bat-Seraph, aka Sabra, a minor character in the movie played by Israeli actor Shira Haas. In the original comics, Sabra was “the first Israeli superhero”; a mutant with superpowers who was formerly a Mossad agent. She’s had a bit of a makeover for the movie: no longer a mutant or a Mossad agent but very much a combat-ready operative. In a joint letter, some Palestinian cultural groups complained: “By reviving this racist character in any form, Marvel is promoting Israel’s brutal oppression of Palestinians.” They have called for a boycott of the movie, and pro-Palestinian protesters picketed the Hollywood premiere this Tuesday, holding up signs saying things such as “Disney supports genocide” – again, necessarily not the good kind of attention.
As if that weren’t enough, Brave New World has been plagued by reports of rewrites and reshoots, as well as recastings. William Hurt, who was set to play the US president, Thaddeus Ross, died in 2022 and had to be replaced by Harrison Ford. It was originally slated for release in May 2024. According to one insider, late last year it had gone through three rounds of test screenings and was still getting negative feedback. The film-makers have denied this, although director Julius Onah acknowledged: “Every movie of this scale has additional photography baked into the creative process. There are things you’re going to refine and the story is going to evolve.”
Without those delays, the movie might well have come out in the late Biden era, rather than the febrile first few weeks of Trump 2.0. At least they changed the title – the original, Captain America: New World Order might have been too much for the conspiracy theorists to handle.
It was somehow inevitable that all this would befall Captain America, rather than any other superhero. He’s always been the moral conscience of the Marvel universe, and by extension, the nation. The character was created by Jewish writers Jack Kirby and Joe Simon in 1940, primarily as a wartime propaganda tool – the US actually entered the war a year later, so perhaps it worked. The cover of issue #1, showing Captain America socking Adolf Hitler on the jaw, told you exactly where his loyalties lay. Now, 85 years later, we find him socking the fictional US president in the jaw instead. And this at a time when the real-life president is happily dining with white supremacists and Nazi sympathisers such as Nick Fuentes and Kanye West (whose recent X post declaring “I’m a Nazi” ought to clear up any ambiguity). Not to mention Trump’s ubiquitous righthand troll Elon Musk, who has done nothing at all to correct impressions that he gave a Nazi salute at Trump’s inauguration a few weeks ago. It leaves you wondering who the real good guys are.
Time and again, it’s been down to Captain America to figure that out. While other Marvel movies have gadded about in weightless fantasy realms (Thor, Guardians of the Galaxy, Deadpool), the Captain America movies have often reflected off-screen political reality – and despite his ludicrously patriotic get-up (often worn by Trump supporters, or Photoshopped on to Trump himself), Cap has never been afraid to turn against his own government.
It’s worth recapping the saga so far. Origin movie Captain America: The First Avenger, released in 2011, explained how weedy army recruit Steve Rogers (Evans) was given an experimental superhero-creating serum in the 1940s, and riffed on his deployment as a wartime propaganda mascot. Things got interesting with 2014’s The Winter Soldier, in which Rogers is thawed out in the present day and finds the US about to instate a global surveillance regime that would predict and preemptively eliminate threats. This was the era of the Edward Snowden leaks, so the paranoid conspiracy element was not too difficult to swallow. But good old Cap wasn’t having it: “This isn’t freedom – it’s fear,” he said, stepping away from his quasi-military role. He was right: it later transpired that the US government had been infiltrated by the neo-Nazi organisation Hydra – again, a concept that’s no longer too difficult to swallow.
And by his side in his fight to de-Nazify the government was Mackie’s character, Sam Jackson, aka Falcon, a modern-day Iraq war veteran who befriended Rogers. In 2016’s Captain America: Civil War, Rogers and Jackson again fell out with the authorities, refusing to agree to UN oversight of “enhanced individuals” – those with superpowers. They trusted their own judgment above that of the politicians.
2019’s all-conquering Avengers: Endgame culminated with Evans’ Captain America retiring, and passing on his shield to Mackie’s Falcon. After that the saga headed into race politics and Black history – possibly blown in that direction by the cultural winds post-Black Lives Matter. In his small-screen spin-off Falcon and the Winter Soldier, Falcon hands the shield back to the government – “It feels like it belongs to someone else,” he says. Not only does he deem himself unworthy, his patriotism to a country that enslaved and discriminated against his forebears is understandably conflicted. Another Black character tells him: “They will never let a Black man be Captain America, and even if they did, no self-respecting Black man would ever want to be.” Sure enough, a new, white Captain America is anointed: John Walker, played by Wyatt Russell. But to cut a long story short, it turns out he’s unworthy, and Jackson ultimately winds up with the shield again.
Politics were very much in the minds of the Russo brothers, who jointly directed Winter Soldier, Civil War, Avengers: Infinity War and Avengers: Endgame. “Those movies are very much about what went on in this country over the past four years,” Joe Russo told me in 2021. “Some of the worst people were being attracted to politics and were representing us collectively … We believed strongly that the reach in those movies was so significant that they could be influential in helping people potentially make better decisions. We thought that they were a really powerful tool, at exactly the right time.”
Brave New World should at least satisfy fans who wanted a political action thriller along the lines of Winter Soldier, with no space people turning up from parallel universes. Mackie’s fledgling Cap initially agrees to work with Ford’s new president, but before long, he’s disobeying orders and going rogue once again to investigate a conspiracy. Despite the raging Hulk “reveal”, and the president surviving an assassination attempt, Ford’s character is not all that Trump-like: he cares about international cooperation, he has a Black female head of security, and he even gets on an exercise bike on Air Force One. Depending on how you see it, this is either a bullet dodged or a punch pulled. This president does, however, outsource tech and military innovation to a shifty, unbiddable genius scientist who’s described as “his own personal thinktank” – remind you of anyone?
There’s no telling how any of this will play in today’s movie landscape. Marvel movies have been at the vanguard of Hollywood representation in recent years but this has not translated into box-office success lately. Recent movie outings such as The Eternals and The Marvels – neither of which were directed by or centred on white men – were met with opposition by some fans (especially the vehement “Everything is woke” brigade), but also by some critics (for not being very good). Meanwhile, Marvel’s franchise-milking small-screen offshoots (Loki, Wandavision, Ms Marvel, She-Hulk, etc) and confusing “multiverse” storylines have turned off even more viewers. It’s telling that Marvel’s only recent box-office success was the more flip and irreverent Deadpool & Wolverine (led by two white guys).
So perhaps the message is: nobody’s in the mood for superheroes getting too real and political any more, and the era of applauding movies for representation has been killed by Trump’s anti-DEI edicts. Marvel seems to be hedging its bets: next up, in April, is Thunderbolts – the first outing for a new bunch of (overwhelmingly white) superhero misfits, including Florence Pugh and Wyatt Russell’s John Walker.
But ultimately, Mackie was right when he said Captain America was not really about “America”. Unlike the cosplaying Trump supporters, he’s more loyal to American values than to the flag, and over his long history, he’s often had to remind the nation what those values are. In one comic-book story (What If … #44), 1940s Captain America wakes up in 1984, where he finds a fascist “America first” president who is persecuting minorities and promising to make America great again. Cap lays it down in no uncertain terms: “Without its ideals – its commitment to the freedom of all men, America is a piece of trash! I fought Adolf Hitler not because America was great, but because it was fragile! I knew that liberty could as easily be snuffed out here as in Nazi Germany!” Maybe they can use that storyline for the next movie, if there is one.