MAPACA

Mid-Atlantic Popular &
American Culture Association

In Spider-Man: Homecoming and Spider-Man: Far From Home the characters known as the Vulture (Michael Keaton) and Mysterio (Jake Gyllenhall) are not born bad, they only turn to villainy after grave mistreatment by capitalist institutions. In both cases, industrialist Tony Stark is what accelerates their freefall from respectable enterprise. The decisions these characters make while they seek justice, revenge, and new ways to support their families quickly go from morally ambiguous to violent and reprehensible. Anyone who has seen a superhero movie understands that pace and overarching heroic narrative drive these characterizations. However, the Vulture and Mysterio are fascinating case studies which raise some interesting questions. Clearly wronged characters such as these are relatable, as are the grievances they have over the unfair actions which disrupt their lives. Yet, in the second act of each movie each crosses a line and is rendered less redeemable. What messages do major media companies send when they continuously perpetuate the image of the singular genius on a pedestal exploiting Capitalism to the fullest, while depicting those victimized by that same system as damaged, deranged, or evil? Tony Stark’s flaws, egotism, and even his technological advances which gain sentience and nearly destroy the world are depicted as charming quirks. Although both characters become larger than life villains, neither the Vulture nor Mysterio operate in isolation or outside of any larger system. They do not gather mindless henchmen. Their plans are only possible because they tap into the disillusionment of the countless other workers who have similarly been exploited by Stark. How are these Marvel/Disney films using the tropes of mad science and madness to render disaffected and damaged workers negatively while rendering the Capitalists and Capitalist systems of exploitation which put them on their path as heroic?