Suffice to say, and it’s like admitting the obvious, superhero movies have all but dominated the industry for the better part of two decades. When superheros were created, back in the 1930s, they were done so in response to fascism and the rise of Hitler — in fact, many issues featured the likes of Superman squaring off against the Third Reich. This, in a way, could explain the allure of the genre today, with the rise of our fear-mongering media all but declaring the country as being in total bigoted and immoral chaos. It’s no surprise that “nerd culture” has become hip; editor-in-chief at Marvel Comics, Axel Alonso, has said, “It used to be that cool people looked down on nerds. Now I know a lot of cool people who pretend to be nerds.” Even President Obama praised the movement by saying, “I think America’s a nerdier country than it used to be when I was a kid – and that’s a good thing!” The Spectator’s Will Lloyd recently described the dire situation in this country best: “The bleak worldview of the traditional nerd – quietly seething, victimized, powerless, friendless, obsessed and solaced by trivia, disenchanted with the authorities and institutions that fail to protect them from predatory bullies – has become the worldview of many Americans.” When 1984’s “Revenge of the Nerds” was released, it was seen as this outrageous, almost fantasy-like depiction of how nerds would actually want the world they live in to be like. After being evicted from their dorm by the alpha jocks, the dorks decided to plot revenge and change the toxic masculinity bogging them down by fighting the privileged. It anticipated the rise of nerds as cultural heroes. It no longer is a fantasy. We are truly living in the era where nerds have had their revenge, but the movies have become wackier and much less artful. Contribute Hire me
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