implied in the name. By adding “super,” the hero should be able to defeat anything. There is
something “more” to the hero. In order to have a “super” hero, the character is often given
ultimate strength (e.g., “Steve Rogers,” or “Captain America”), or is a genius (e.g., “Tony
Stark,” or “Iron Man”). It is no longer “regular” people that are saving the day, but rather people
with enhanced capabilities.
Even when superheroes are parodied, such as in the program The Big Bang Theory, there
is still a desire by “normal” people to be superheroes (Brown, 2016, p. 131). The main characters
of this show, mostly male and considered to be “geeks,” have dressed up as their favorite
superhero characters in various episodes (p. 132). As Brown states, The Big Bang Theory (2007–
present), as a parody of geek culture, shows how superhero films impact fans (p. 132).
Superheroes, then, are considered the ultimate form of human greatness, or in some cases alien
greatness (e.g., Superman). Thus, the zeitgeist suggests that regardless of who you are, there is
always a desire to be a superhero.
These films are telling the audience that the superhero form, for instance the physical
strength, is the ultimate goal to achieving worthiness. Furthermore, because the MCU is a
franchise, people are not limited to watching these characters save the day in films. Franchises
are created by “…megafilms designed to sustain a product line of similar films and an ever-
expanding array of related entertainment products…” (Schatz, 2009, p. 30). Therefore, audiences
are not limited to these films to see these characters. These characters, Captain America, Iron
Man, Thor, etc., are on food products, clothing, toys, etc.—they permeate many aspects of
people’s daily lives, especially children’s.
Through transmedia, the audience continues to interact with the characters, their stories,
and the ideologies after they watch the films. As long as these movies continue to yield a high