From Hero to Zero: Superman’s Betrayal and the Enduring Appeal of Gunsmoke: The World of Woke, By Chris Knight (Florida)
The release of the newest Superman movie in July 2025 has sparked controversy not for its cinematic quality but for its political undertones, as highlighted by Andrea Widburg in her American Thinker article. Director James Gunn's framing of Superman as an open-borders advocate and star David Corenswet's reluctance to embrace "the American way" signal a shift toward progressive ideologies that clash with the character's origins. Created by Jewish immigrants Jerry Siegel and Joe Shuster, Superman embodied the Judeo-Christian values of truth and justice, intertwined with the constitutional principles of the American way. Meanwhile, the resurgence of Gunsmoke, a 1950s–1970s Western outranking modern "woke" content like Disney+'s Marvel and Star Wars offerings, underscores a public rejection of politicised entertainment. Here I will discuss how Superman's "woke" transformation betrays its creators' vision and why Gunsmoke's timeless human drama resonates more than ever.
Siegel and Shuster, sons of Jewish immigrants who fled antisemitic persecution in the Russian Empire, created Superman in 1938 as a symbol of hope and resilience. His Kryptonian name, Kal-El (Hebrew for "Voice of God" or "Light of God"), and his motto — "truth, justice, and the American way" — rooted him in biblical and constitutional ideals. As Widburg notes, these reflect Jesus's proclamation in John 14:6 ("I am the way, the truth, and the life") and Deuteronomy 16:18–20's emphasis on justice, paired with the Constitution's promise of limited government and individual liberty. John Adams's assertion that the Constitution requires a "moral and religious people" underscores this synergy, positioning Superman as a defender of Judeo-Christian ethics and American sovereignty.
James Gunn's portrayal of Superman as an immigrant championing "basic human kindness" in the context of open borders, aligns with progressive Leftist narratives, particularly the Democratic Party's 2025 rhetoric decrying Trump's immigration enforcement. Dean Cain, who played Superman in Lois & Clark, criticised this politicisation, arguing that Superman's traditional motto is "immigrant-friendly" but supports legal limits, not lawlessness akin to "Somalia." Cain's warning that Gunn's stance could hurt the film's box office reflects conservative backlash, echoed on X by users like @SuperFan1776, who lamented, "Superman used to stand for America, not globalism. Gunn's ruined him."
David Corenswet's hesitation to say "the American way," instead vaguely referencing "all those good things," further signals a rejection of Superman's patriotic core. Widburg ties this to broader Democratic anti-Americanism and support for immigrants.
The Superman controversy mirrors a wider trend of "woke" politicisation in entertainment, particularly Disney+'s Marvel and Star Wars franchises. Nielsen's 2025 streaming rankings reveal that Gunsmoke, a 1955–1975 Western, outperformed all Disney+ originals, securing the 18th spot with more streaming minutes than high-budget, identity-driven shows. Disney+'s only top-20 entry, Bluey, is an Australian import, not an original, highlighting the failure of its "grooming syndicate" content, as Widburg calls it, steeped in sexuality, identity politics, and political posturing.
Other legacy shows like Grey's Anatomy (#2), NCIS (#3), and Family Guy (#4) also outranked Disney+'s offerings, suggesting audiences crave authentic human stories over ideological agendas. Posts on X, such as @RealTVFan's claim that "Disney's woke trash can't compete with Gunsmoke's real characters," reflect this sentiment. The failure of Marvel and Star Wars, despite billions spent, underscores a market rejection of narratives choosing DEI and globalism over universal themes.
Gunsmoke, with 480 radio episodes (1952–1963) and 635 TV episodes (1955–1975), remains a cultural touchstone. Set in Dodge City, Kansas, and centred on Sheriff Matt Dillon (James Arness), it offers complex, relatable characters navigating moral dilemmas. Unlike Disney+'s simplistic focus on identity politics, Gunsmoke explores timeless themes of justice, duty, and human nature. Its lack of A-list stars, save for early Burt Reynolds appearances, emphasises storytelling over spectacle, resonating with "Normal People" seeking mature drama.
The show's six-month dominance in 2025 streaming charts is no fluke. Its nuanced portrayal of difficult choices, whether upholding the law or showing mercy, mirrors the moral complexity absent in modern "woke" content. A 2023 Variety analysis notes that Gunsmoke's appeal lies in its "grounded storytelling and universal human struggles," contrasting with Disney+'s "preachy, agenda-driven" shows. This aligns with John Stuart Mill's On Liberty (1859), which champions open discourse to refine truth through debate. Gunsmoke's dialogue-driven narratives embody this, while woke content, like Gunn's Superman, often assumes ideological infallibility, stifling discussion.
The Leftist politicisation of Superman reflects the broader Western trend toward thought control, as discussed in Gullick's Daily Sceptic article. Mill's warning against suppressing dissent to maintain power applies to Hollywood's push for progressive conformity, where narratives like open borders or anti-Americanism dominate. Gunn's and Corenswet's statements risk creating what Mill calls a "deep slumber of a decided opinion," where unchallenged ideologies, like those in Disney+'s flops, alienate audiences.
Thomas Aquinas's natural law, defined as "the rational creature's participation in the eternal law" (Summa Theologiae, I-II, Q. 91, A. 2), ties to Superman's original ethos. Siegel and Shuster's hero embodied rational moral discernment rooted in biblical justice and constitutional liberty. The woke reinterpretation severs this, replacing divine and civic order with relativistic values. Gunsmoke, by contrast, upholds Aquinas's Christian natural law framework, portraying characters striving for justice within a moral universe, resonating with audiences seeking authenticity.
Widburg's critique of Superman aligns with Shari Goodman's American Thinker thesis that elites, including Obama, are orchestrating a dystopian transformation of America through migration, cultural erosion, and information control. Gunn's open-borders rhetoric and Corenswet's anti-Americanism could be seen as cultural steps in this plan, softening Superman's patriotic core to align with globalist ideals. However, attributing this to a coordinated elite agenda lacks direct evidence. Hollywood's leftward shift predates Obama, rooted in 1960s counterculture and accelerated by corporate incentives, not a singular conspiracy.
The popularity of Gunsmoke suggests a cultural pushback, akin to Trump's 2024 election with 78 million votes, as Goodman notes. Audiences and voters alike reject woke narratives, favouring stories and leaders that affirm traditional values. Yet, Superman's mixed reviews and Cain's warning suggest commercial risks for politicised content, with box office data pending to confirm this trend.
The woke transformation of Superman, as seen in Gunn's immigration stance and Corenswet's rejection of "the American way," betrays the vision of Siegel and Shuster, who crafted a hero embodying Judeo-Christian ethics and constitutional liberty. This shift mirrors the broader failure of Disney+'s ideologically driven Marvel and Star Wars content, outshone by Gunsmoke's timeless human drama. Mill's call for open debate and Aquinas's natural law highlight the moral and intellectual stakes of this cultural battle. As audiences flock to Gunsmoke's authentic storytelling, they signal a rejection of woke dystopia, yearning for narratives that, like Superman once did, champion truth, justice, and the American way.
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