The Changing World: Deadpool 2 and What it Means

A few days ago, I wrote a piece about the death of Margot Kidder, America’s fiery sweetheart in the 1978 blockbuster Superman. That movie brought the caped character to life in an unprecedented way. From Richard Donner’s expert direction, to John Williams’s monumental score, to Christopher Reeve’s sensitive portrayal of the wholesome hero, the world of Metropolis — and the struggle of good against evil — lit up the big screen and gripped a generation.

Long before the hit film thrilled audiences, Superman graced the small screen as played by George Reeves. For little boys of the 1950’s, the slick-haired, spandex-wearing luminary was a mammoth reason to pretend they were faster than a speeding bullet.

In between black and white TV’s The Adventures of Superman and the big screen’s Warner Bros. Pictures extravaganza, other heroes made their mark. ‘Til 1957, ABC’s The Lone Ranger had youngsters wearing masks and transforming their bicycles into horses. The sixties’ Batman met great popularity, driving young lads to their imagined Batcaves and make-believe Batmobiles.

Like The Lone Ranger, Batman and Superman were, of course, products of comic books — hand-drawn, often supernatural stories of adventure, made to engage young boys — Superman arriving in 1938 and Batman #1 releasing in 1940. And on it went, for decades: young boys were galvanized by books and movies and television and toys, making their own capes of towels and pretending to be their favorite super-powered heroes who were all Appropriate for a General Audience.

Notably, one generation — those who came up in the 80’s and 90’s– never forgot the Rated-G defenders of justice they idolized at a young age.

However, something happened as that group reached adulthood: the world grew more profane, as did those who still loved vivid characters in tight suits fighting crime.

And amid that increasing vulgarity and a rising self-indulgence — where 30-year-olds bought gaming systems and hung Spiderman posters while slinging expletives like so many webs — there flourished a desire among young entertainment professionals to make what they had adored as kids. 

And so, they did.

For the first time, industries which were once focused on children by adults became overrun with adults focusing on themselves. The result was R-rated videos games, explicit and profane comic books, and increasingly “adult” movies based on comics. 

And that is how we arrive at Deadpool 2. 2016’s raunchy superhero hit has spawned another. And if this one succeeds, there will be more. And adults with vulgar sensibilities will continue to create that content for their own enjoyment. 

Thus, we are left with a tremendous need and a pressing question: who is creating inspiring characters and making inspiring movies anymore, for children? Who will be doing so in 20 years? Who is investing in the imagination of our youth, while preserving their innocence? Where are the adults making fantastic content for the young and impressionable, who need inspiration much more than do their parents? 

Our world has become selfish. Self-focused. Social media has given rise to the epidemic of narcissism, as we continue to deconstruct traditional values.

And for the coming generation, we are failing. As a society, we are so obsessed with our own desires that we have forgotten our most instinctive of purposes: to give back to the world by giving to children, so they may do the same when they are us.

If we will only do so, we will become what our generation most wanted to grow up and be: heroes. But if we fail, our selfishness will leave their fertile and innocent imaginations in the dust, the ash of their lost potential — and ours — disappearing into the ether, up, up and away.

Please check this companion article to this piece — about Margot Kidder — here.

And by all means, follow Alex Parker on Twitter.

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