It’s September 27, 1997, and nothing of interest has happened in the day since the prior episode, nor have any charts changed.
“Brave New Metropolis” is a difficult episode to talk about, because it is essentially a rough draft of the much-superior Justice Leaguetwo-parter “A Better World.” Still, it does have a few elements of its own that are worth looking at, most particularly its biggest flaw: its attempt to keep Superman’s hands clean.
This is, or should be, the much-needed counterpart to “Blasts from the Past”: the story in which fascism rises from within instead of being imposed from without. The story in which Superman (as the exemplar of “truth, justice, and the American way”) reveals the ease with which “the American way” becomes fascism. It should practically write itself: beyond even the ease with which the protector fantasy slides into fascism, the fact that Superman’s powers are inborn, racial traits makes for an easy connection to the American eugenics movement that Hitler cited as a model.
But the episode shies away from this, unwilling to make that confrontation (yet–“A Better World” will do rather better on this front). Instead, it makes Lex Luthor the true tyrant. Fair enough: capitalism, and capitalist-driven imperialism (aka “mercantilism”), are the root causes for American slavery and genocide. But ultimately this results in the same problems as “Blasts from the Past”: fascism is still othered, the creation of greedy individuals, slavery and genocide located safely in the (by American standards) distant past.
But they’re not. They are here and present, so deeply embedded in our culture that they might as well be in the air we breath and the water we drink. They are not some alternate universe, viewed through a twisted, crackling mirror cooked up by a not-quite-mad scientist; they are our world.
The episode almost gets it. Superman’s black costume is basically the same as he wears in The Death of Superman, but without the dual machine guns, and the usual S-shield replaced with one based on the Nazi SS logo. The line between a Superman given over to violent, toxic masculinity, and one who is outright leading a fascist state, is thin. But by losing its nerve and having Superman be essentially Luthor’s patsy, the episode loses the thread of that critique–we end up with the rather incoherent image of a Superman in a Hugo Boss version of his costume that doesn’t realize that he’s involved with a fascist regime and never bothered to notice that Jimmy Olson was in a resistance cell. (The That Mitchell and Webb Look “Are We the Baddies?” sketch comes immediately to mind.)
But if “SSuperman” isn’t actually engaged in actively oppressing the populace, how is what he does any different than “our” Superman? He flies around, ignoring the established structures of power, and when he sees a criminal as defined by the powers that be, he helps capture them. (Note that in the scene where we see him fighting the resistance cell members, he doesn’t actually kill any of them–he is slightly reckless, but overall treats them pretty much the same as our Superman treats violent criminals.) The only change is that Luthor and his security forces, rather than the city government and police, are the powers that be.
In short, this episode is trying to have its cake and eat it too. It wants to explore the terrifying prospect of a Superman gone full fascist, but it wants him to also be a revolutionary figure who kills the tyrannical Lex Luthor, but in a deniable way that keeps his hands clean, “accidentally” tearing the tail off his aircraft so it crashes into the giant Luthor/Superman statue.
Consider the title. Brave New World is not about fascism per se; rather, it is more about eugenics and industrialization, the application of the logic of the assembly line to all of human life. Of course the distance from there to fascism isn’t at all far: Henry Ford, revered as essentially a prophet in Brave New World, was an anti-Semite who profited off Nazi-provided slave labor, and the Holocaust was the Nazi application of the techniques of mass production to the already extant idea of concentration camps (another American invention, though to be fair the British came up with the same idea in the same year, 1899).
But the episode blurs that (admittedly fine) distinction by making Luthor, rather than Superman, the real dictator–Brave New Worlddoesn’t even have a dictator, its dystopia being oligarchical instead, as “meritocracies” tend to be. But a superhero story must have its supervillains, so there must be a singular dictator, perhaps with some henchmen, whom our hero can punch and thereby save the day.
It is, in other words, a very rough draft indeed.
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