There’s a simple magic to going to the movies. For two hours, the lights dim, the world outside fades away, and we’re swept into another reality. Lately, though, it feels like an uninvited guest is showing up at every screening: politics. From the director’s chair to the critic’s column, there’s a growing insistence on viewing entertainment through a political lens, and frankly, it’s exhausting. Two recent blockbusters—Superman and The Fantastic Four: First Steps—illustrate the problem perfectly.
Superman: Pre-release Politics
Before Superman even hit theaters, director James Gunn described the movie as a story about “an immigrant” and “kindness.” Those comments immediately lit up political commentary, with some critics on the right accusing Gunn of shoehorning progressive talking points into a beloved character.
After watching the film, I was puzzled by the uproar. The movie tells the story of an alien from another planet who shows extraordinary compassion—in other words, it’s a classic Superman story. Gunn’s comments seemed less like a natural description of his film and more like a marketing strategy designed to align the character with modern political debates. If the intent was to connect the story to current immigration controversies, the parallel never really materialized. If anything, the theme of a displaced population under attack felt more reminiscent of Putin and Ukraine than anything in American politics.
Regardless, Superman itself delivers. It honors the hero’s 80-year legacy while feeling fresh, thanks to strong performances by David Corenswet as Superman and Rachel Brosnahan as a sharp, savvy Lois Lane. It’s an exciting, tightly told story—the kind of film that doesn’t need political framing to find an audience.
Fantastic Four: Critic-Driven Controversy
A few weeks later, The Fantastic Four: First Steps landed in theaters, and the political shoe was on the other foot. This time, it wasn’t a director making headlines but a critic. While the movie earned nearly 90% positive reviews, independent critic Brooke Obie panned it from a purely political perspective. She argued that setting the film in the 1960s was a “dog whistle” to MAGA supporters and that the heroes’ refusal to sacrifice their baby to a villain carried “pro-life” overtones. She concluded that the filmmakers “should have considered more carefully the political implications of this film’s visual narrative.”
But here’s the thing: just because a mother refuses to sacrifice her child doesn’t mean the story has anything to do with abortion. That’s a universal, human instinct. In fact, Sue Storm’s ferocity in protecting her baby rings profoundly true to the mothers I know—the kind of women who would rip a car door from its hinges or attack a grizzly bear if it meant saving their child from harm. To reduce such a powerful and instinctual act of love to a political talking point misses the entire point of the story.
Should filmmakers be required to run their stories through a checklist of how every scene might be interpreted through today’s political battles? The answer from the audience seems to be a resounding “no.” Fantastic Four opened to a massive $118 million, only slightly behind Superman’s $125 million. The year’s biggest opening so far, A Minecraft Movie, was largely disliked by critics but adored by audiences—again showing a disconnect between political or thematic analysis and what moviegoers actually want.
Audiences Want Entertainment, Not Agendas
The lesson seems obvious: the people who actually buy the tickets—the lifeblood of the industry—don’t care about political litmus tests from creators or reviewers. They just want to be entertained. If you want a master class in how to do it right, look at Tom Cruise. Top Gun: Maverick and his Mission: Impossible films avoid overt political statements and focus solely on delivering thrilling, expertly crafted entertainment. That approach appeals to everyone.
Making a movie overtly political almost guarantees you’ll alienate at least half your potential audience. Why do that when you can simply tell a great story? Audiences are burned out on opinion pieces disguised as entertainment. They’re not looking to be lectured; they’re looking for escape, fun, and connection.
James Gunn will probably continue to weigh in on political issues, and Brooke Obie will continue to analyze films through her particular lens. But other filmmakers and critics would do well to pause before turning every story into a culture-war battleground. The path forward for beloved, enduring entertainment is clear: focus on great storytelling and leave the politics at the door.
Quick Takes: The Movies Themselves
For all the noise surrounding them, both Superman and The Fantastic Four: First Steps are excellent films and absolutely worth your time.
Superman
This film works because it stays true to the core of the character while injecting just enough freshness. David Corenswet embodies the Man of Steel, balancing righteous anger and deep compassion. Rachel Brosnahan’s Lois Lane is clever, relentless, and magnetic, creating a dynamic that feels both classic and new. At just over two hours, the pacing is spot on, and the story is filled with real stakes and emotional weight. It’s a strong start to what could be an exciting new era for Superman.
The Fantastic Four: First Steps
This iteration is tighter, cleverer, and more engaging than the 2005 version. Setting it in the 1960s was a brilliant decision that gives the movie a unique flavor and opens the door to an intriguing franchise future. At a brisk 1 hour and 55 minutes (including credits), it moves fast and keeps you invested. If anything, the characters could have been developed a bit more deeply, but in the moment, you won’t care—you’ll be too busy rooting for the heroes and booing the villains. It’s good, old-fashioned popcorn moviemaking.
The Bottom Line
If you haven’t seen Superman or The Fantastic Four: First Steps, go. Both remind us why we love going to the theater in the first place: they’re immersive, entertaining, and built around characters we care about. And that’s what audiences want—films that transport us, not divide us.
The next time you step into a theater, don’t worry about the political debates swirling outside. Just sit back, let the lights go down, and enjoy the magic.
