A few weeks ago, the blogs and news outlets that follow this kind of story got their hands on some casting script pages and character descriptions for the CW’s developing Wonder Woman project. From these very sketchy documents and the network’s superhero history, it looks like they’re going the fairly traditional route with Diana’s origin: Already mostly grown, Diana is a visitor from the Amazon’s island Themyscira to America, with Steve Trevor acting as a kind of guide to what appears to Diana as a mostly alien culture. Most heartening is the idea that this take on Wonder Woman seems to hem much closer to the eponymous and excellent 2009 animated film than the atrocity that was the David E. Kelley pilot. So why do I think this approach to her origins is so important? For the same reason it worked so well–and so unexpectedly and complicatedly politically–in the 2009 version. When Diana’s outsiderness is emphasized, she can point out the ludicrousness of certain aspects of contemporary culture’s gender politics. After encountering a woman who asks Steve to move a desk for her to get her pen, she says, “Remarkable, the advanced brainwashing that has been perpetuated on the females of your culture. Raised from birth to believe they’re not strong enough to compete with the boys, and then as adults, taught to trade on their very femininity.” Themyscira is a place literally removed from patriarchal power, which allows Diana to see the effects of such all the more clearly when she comes to America. Even when she feels she must adhere to the culture to hide her identity, she does so mockingly.
This is the kind of Wonder Woman we need, a feminist and a warrior, a superhero and a woman trying to live in this world. Moreover, this seems like the kind of superhero the CW might actually be able to deliver. With Arrow working at similarly complicated but worthwhile approaches to class warfare, the path seems marked for a more political Wonder Woman.
As some have pointed out, Arrow sometimes suffers from its approach, with class warfare attributed to a nefarious cabal of evildoers and Oliver Queen’s propensity for killing off underlings undercutting the institutional nature of class disparities. But this dichotomy between the stated morals of the hero and the actions that seem to perpetuate that which he or she is trying to battle is part of the base mythology of superheroes. Superman’s “truth, justice, and the American Way” can toe the line of fascism. Heroes and their nemeses are often designed as two sides of the same coin: Captain America and Red Skull share their patriotism; Thor and Loki are both gods; and Batman and the Joker both use the power of theatricality and fear. For Wonder Woman, her main nemesis has most often been her visual representation. She is a woman warrior who can look like this:
But more often looks like this in her media incarnations:
The balance of Wonder Woman as a feminist subject and as an object of desire is one she must strike in order to succeed. The Lynda Carter version of Wonder Woman reflected this difficult balance as it aired during the height of “jiggle television” that was also the height of second wave feminism. Objectification is part of the CW take on superheroes (one need only count the astounding number of minutes Ollie’s been shirtless on Arrow), but it’s often countered by fairly decent character development to make these heroes rounded, complex individuals instead of one-dimensional symbolic ciphers. By emphasizing Diana’s outsider perspective, she can have it both ways: commenting on the ridiculousness of a culture that makes a habit of reducing a woman who lifts cars to a mere object of the male gaze without disrupting the unfortunate television and comic book standards that make that gaze the norm.
Finally, and perhaps more importantly for the “Why” of my title is the fact that Wonder Woman can be doubly mythic, tapping into both wider allegorical mythical figures because of her connection to the Greek pantheon while also standing as a mythic feminist icon, representing its changing politics and cultural place. Wonder Woman can fight war by fighting War (Ares) or fear by fighting Phobos, but she can also wage war against sexism because she has so often been held up as a demigod of feminism, striding across the world and its entertainment media as a warrior for the feminist cause. She, like all good myths, is a woman out of time who can thus be of any time. As female lawmakers are thrown out of their own legislatures for saying “vagina,” and women’s healthcare hearings feature panels of all men, her time is once again now.