The problem with Nazi allegories in fiction

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Of note – simply because it’s right around the corner, and a pretty good indication of what I have in mind – is the upcoming CW DC crossover event. Crisis on Earth X is set to unite the Arrow, Flash, Supergirl and Legends of Tomorrow heroes in one great big extra-dimensional fight against their alternative selves from Earth X – a secret world where the Allies lost the second World War, and all our heroes are thus Nazis.

There’s something uncomfortable about this, I think, in a way that’s not necessarily easy to articulate. It’s not that it’s normalising Nazis, exactly, because it isn’t. Rather, it’s rendering them as objects of fantasy, villains that exist only in secret alternate earths – when that isn’t really the case. It doesn’t matter if you refer back to the idea of the awful atrocities committed (and the special crossover does put concentration camps in a key role), there’s an implicit suggestion that these are ultimately just cartoonish figures by placing them in that role.

An attempt to articulate something I’d been thinking about for a few years now; I also spoke a little about Star Wars, but the main focus is Arrow etc, because it was timely. I’m quite behind on the Arrowverse shows, but I did watch the Crisis on Earth-x crossover. It was… quite something.

Looking back, this article actually posted the same weekend as one of the more egregious of those New York Times Trump voter profiles, about a man who was a literal Nazi, being celebrated because he actually quite liked Seinfeld. Which was patently ridiculous, and got me pondering the role of fiction in reaching this climate. The above is very much a starting point rather than the definitive word on the comment, but I think it gestures at something that’s broadly on point.

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Supergirl and the question of refugees, immigrants, and illegal aliens

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The show is exploring the theme of immigration through their various dispossessed alien characters – an entirely understandable choice. It’s attempting to convey the message, basically, that there’s no need to be suspicious of refugees, and to treat them with acceptance and tolerance – an entirely admirable decision. It’s not, however, conveyed particularly effectively, because many of these same dispossessed aliens end up being the ‘threat of the week’ – while the episode is saying one thing about refugees, while demonstrating another through its plot. This paradox was painfully evident in the aforementioned episode Welcome to Earth, wherein one of the alien refugees does turn out to be evil, despite frequent insistence that this wouldn’t be the case – it’s a frustrating lapse that undercuts the message that Supergirl is reaching for.

What makes this particularly frustrating, though, is that there are several other avenues open to the writers from which to explore this concept – many of them more effective than the direction they opted for.

Here’s an article I’ve been meaning to write for a little while, about how Supergirl has been handling the themes of immigration. There’s a chance it might form something of a broader series of articles – alongside, I suspect, “Legends of Tomorrow and historical racism”, “Arrow and capitalism” and then something else about The Flash just to cover all four – but I wouldn’t hold your breath there.

(Yeah, I never did do those other ones. Would’ve been interesting to see what I came up with. Ah well. If I remember correctly, actually, I wrote the above post in school during a free period. Those were the days. Anyway, I’ve not re-read the above; I suspect the basic point I was going for still works, but forgive me any lapses borne from ignorance.)

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