The Marvel Cinematic Universe:

Gendered Representations of Women Superheroes

Abstract
This research uses qualitative content analysis and a few instances of comparison to identify and state the

reasons for the gendered representations of women superheroes in the Marvel Cinematic Universe. Gendered

representation refers to the manner in which women superheroes are depicted in stereotypical, identical, and

unoriginal storylines that reflect society’s constraints (defined by the social constructionism theory). The first

finding is the similarity in MCU’s female protagonists’ origin stories. The redemption arcs in which the women

characters are forced into the superhero-villain world, showcase limited agency and regret as feminine qualities in

a derogatory manner. The second finding is how the female superheroes share an almost identical personality

which is a gross misrepresentation as it confines women to a certain ideal. The third finding is the importance

given to family in the character arcs of women superheroes as a stereotypical presentation of women as family-

oriented. The fourth finding is the “Damsel in Distress” characterization of women despite them being able

enough to protect themselves. The last finding is the pattern of sacrificial endings. Women are depicted as

sacrificial and sexual symbols and do not have storylines that extend their individual plots. In contrast to women,

male characters are given a wide variety of storylines and personalities that only broaden their gender roles, while

female roles become ever more constraining. Such representations in the Marvel Cinematic Universe reinforce

men as the social standard and unfortunately continue to present women in a negative and restricting fashion.

Charvi Khandelwal

Genders, Sexualities, and Race: An Intersectional Perspective

Professor Han

16 September 2022
 LITERATURE REVIEW

Introduction - Gender and Gender Roles

Ontologically, gender is understood in several ways, each with its own repercussions for the type

of research conducted on a certain topic. Views range from an essentialist perspective that presents a

dichotomous understanding of an individual’s physical sex (male versus female) as a biological fact that

determines their gender (masculine or feminine) to a postmodern view that presents gender and sex as

[1]
fluid, non-dichotomous social constructs.

Taking the social construction perspective, even though there is little fundamental difference

between genders, there are drastic differences observed in the portrayal and personalities between men

and women. This is due to the way men and women “perform gender.” Gender is an idea that is enforced

and consolidated by its continuous performance. This can be seen in the manner of speech, outfit

choices, and color choices to name a few. Gender is a process of doing to reinstate the idea of belonging

to a certain gender group. This is the way that gender is socially constructed.

However, the socially-constructed idea of gender is most popular as gender is performed

differently and has different definitions in varying races and cultures. If it were essentialist and

biological in nature, women and men from different races would not be portrayed differently in media.

While sex differences are rooted in biology, how gender is understood and performed is based on

culture.

This culture is presented in media and differs geographically. In media, the reinforcement of

gender stereotypes like muscular men and petite narrow-framed women, and feminine women and

masculine men are often seen. In Korea, for example, the media would portray men as more

interdependent than women as the quality of interdependence is valued there. However, in the US, we
see media portraying more women as interdependent than men, as the interdependence quality is

negatively viewed. Overall, though, it is observed that across different cultures, media portrays men with

more qualities that the culture prizes and presents women with characteristics that are regarded as

inferior.[2]

The reason for the existence of different gender roles and stereotypes for men and women is

mainly based on one gender profiting off the marginalization of another gender. For example, a

traditional role required from females is to be submissive, and this benefits a traditionally dominant

male. Another role traditionally required from females is the quality of sacrifice and caring for others,

and this again benefits males. In media, the sexualization of women benefits the male gaze, while other

characteristics enforce gender norms or create a new set of unreal gender beliefs. This is the reason for

differences in not only real-life gender representation but also inequality in representations in media.

This points to a clear conclusion - there is a negative difference in the portrayal of men versus women,

in a largely male-dominated society.

Women in Media

It was stated that “representation in the fictional world signifies social existence; absence means

symbolic annihilation.” Similarly, underrepresentation and incorrect representation of women in media

is seen. The underrepresentation and wrong representation of women in media falsely depicts that there

are more men than women and that men are the cultural standard.[3] This is mainly done to benefit the

dominant group in society - men.

Women in media are often still presented in the domestic sphere, as mothers or sisters, occupied

with family, love, and friendship. Conversely, men are presented in the public sphere as the breadwinner
and occupy themselves with politics and technology. Though lately there have been some positive

changes, the general pattern remains similar to that detected in the 1970s.[4]

In films, women are still shown to exhibit a more submissive and gentle-mannered demeanor,

whereas men are shown to possess more powerful and rugged behaviors. There is a difference in the

way masculinity and femininity are depicted in movies. This is seen in Legally Blonde[5] and the James

Bond[6] movie series. Legally Blonde explores the transformation of a stereotypical white rich girl into

an independent and career-driven woman who battles the hegemonic norms. However, this movie

depressingly casts femininity with its demonization of the color pink, women using their sexual traits to

their advantage in acts of manipulation, and the depiction of women in power as evil, calculating, and

mean, to name a few. Meanwhile, James Bond’s character is the symbol of toxic masculinity, and he is

also a rapist. In James Bond’s world, the vast majority of women are little more than his sexual

playthings.[7] Such a portrayal of women in media is dehumanizing and degrading and depicts the gross

inequality in media representation amongst genders.

This incorrect representation continues in not only movies but also other forms of media, like

anime and TV shows. This is especially true when it comes to women characters from anime or fantasy

movies, where the singular goal of the woman character is to be either the conquest that the male

protagonist or a group of men have to obtain or solely as the love interest of the said male protagonist. In

colloquial terms, this would be termed eye candy.[8]

Action Movies - The “Tough Girl,” “Damsel in Distress,” and Sexualized Object tropes

Action movies are made with the view of men in mind while genres like comedy and romantic

movies are made with women in mind. Superhero movies, while intended more for a male audience,
also capture a female audience due to elements of empowerment of women. However, this

empowerment is littered with a stereotypical, objectified, and downgraded representation.

The first trope is the “Tough Girl” trope that identifies a storyline where the female character in

an action movie behaves in a manner identical to that of a man and the only difference is that she is a

woman. The second trope is the “Damsel in Distress” trope which identifies a recurring narrative in

which one or more men must rescue a woman who has either been kidnapped or placed in general peril.

Such tropes are a stereotypical depiction of how women cannot be feminine and strong at the same time.

These tropes are integral to this research as it depicts the manner in which gender misrepresentation has

been normalized.

Another representation is the “Tough Girl” trope in action and superhero media. This trope is the

extreme opposite of the “damsel in distress” stereotype. It might seem to be a step in the right direction

to have strong women characters who share equal strength with their male counterparts and behave

similarly to male action heroes. However, this trope denies women actors depth in their character and

their personality by making them female clones of male characters, but more sexualized. Rather than

showcasing characters that are relatable and aspirational to women, these characters are usually

portrayed almost completely out of gender norms and create a new set of gender stereotypes.[9]

In an analysis of female characters in action movies, the findings revealed that 58.6% of the

female action characters were portrayed in a submissive role to the male hero in the film, and 42% were

romantically linked to him. The average woman was young, white, highly educated, and unmarried.

They engaged in masculine types of violence yet retained feminine stereotypes due to their submissive

role and romantic involvement with a dominant male hero character. These findings suggest continued

gender stereotypes set within a violent framework of contemporary American cinema.[10]

Female Superheroes - DC and Marvel

If female representation in superhero media is closely analyzed, a trend of either the “Tough

Girl” trope or the traditional stereotypical route, or a combination of both, always accompanied by

sexualized behaviors and outfits is observed. These reflections are seen in the characters of Selina Kyle -

Catwoman,[11] Diana Princess - Wonder Woman,[12] Harleen Quinzel - Harley Quinn,[13] Natasha

Romanova - Black Widow,[14] Wanda Maximoff - Scarlett Witch,[15] Gamora,[16] and Agent Carol

Danvers - Captain Marvel,[17] to name a few, from the DC and Marvel cinematic universes.

In the case of Catwoman, her body movements are sexualized and camera-focused to cater to the

male gaze. Her outfit is tight-fitting and leaves no space for extra fat, reinforcing the stereotype of the

feminine, petite body. Despite her slender frame, she takes on muscular men.[18] Her dialogues are

sarcastic, flirtatious, and always spoken sensually. Twice in The Dark Knight Rises,[19] she is

traditionally rescued by Batman who is always presented as the savior. The film, therefore, relies on the

stereotype that women need rescuing, and that a happy ending consists of a heterosexual relationship.

Next, the case of Harley Quinn shows an abusive relationship and sexualization to the point where

viewers are looking at her “rear shots.” Batman or Superman’s behinds are not the focus of movies, so it

is an unequal representation of women in media.[20] Lastly, the ‘Tough Girl’ trope is emphasized through

Wonder Woman, who, despite having her movie series, lacks the character depth and variation that is

afforded to other, male superheroes. Wonder Woman’s depiction is uncharacteristic of the female gender,

while it is seen that male superheroes obtain variations in storylines that are more reflective of the male

society.

At the same time, there is positive progress in women’s representation in media. For example,

the 600th issue of Wonder Woman celebrated the Amazonian superhero’s longevity in print media. To

mark the occasion, the issue reinvented the superhero’s iconic costume to make it less revealing,
introducing dark trousers and a blue, starred jacket. This shift to more practical, less sexualized wear

arguably reflects changing attitudes about gender and the growing female presence in the comics

industry. Nevertheless, the change prompted some controversy online amongst fan communities.[21] This

controversy revolved around fans unhappy with the costume change as it was too modest, juvenile, did

not flaunt or emphasize her body as a superhero’s outfit should, and was not in line with her Amazonian

and Greek roots. While a few of the concerns were understandable, others showed the normalized

sexualization of female superheroes, again highlighting the problematic history of the representation of

women as powerful figures.

This study will focus on the Marvel Cinematic Universe, which is more subtle in its

misrepresentation of women, unlike DC.

The MCU and its injustice

The equality in the representation of female and male superheroes in the Marvel Cinematic

Universe has been a debatable topic for a long time. With only one female superhero in Phase 1 (Black

Widow), Marvel does not do justice to its female audience and its campaign for an egalitarian society.

Even the portrayal of Black Widow is overly sexualized, as she is continuously dressed in skin-tight

catsuits with her zip opened halfway to show her cleavage.[22] Phase 2 oversaw the introduction of two

other female main characters - Scarlet Witch and Gamora. However, the advent of three female

superheroes who share similar storylines and lack depth, in a largely male-dominated superhero

universe, is not equal representation.

Before exploring the existing body of knowledge regarding the equal representation of female

superheroes in the MCU, the definition of “equal” must be clear. Equality is not limited to an equal

percentage of male and female superhero characters or equal screen times. Equality also consists of how
the characters are visually depicted, how they interact with other characters, and how accurate these

characters are in representing a diverse female community.[23] From this definition, it is conclusive that

gender representation is unequal in the MCU.

To examine this, the paper will analyze the portrayal of Black Widow, Scarlet Witch, and

Gamora (from the Guardians of the Galaxy series) in the MCU.

Misrepresentations - Sexualizations, Interactions, Character Depth, and Sacrifice

The first difference in representation we see is in the over-sexualization of women superheroes.

Black Widow's skintight catsuit is always unzipped to show off her cleavage. Next is Scarlet Witch’s and

Gamora’s tight corsets, which also aim to show more cleavage.[24] This is impractical in combat and not

an ideal standard of strong women that young girls can look up to. Unrealistic body standards are

another observation where the female cast has unnaturally tiny waists and the perfect hourglass body

which embodies more sex appeal than the symbolic strength expected of a superhero. These are

sexualizations aimed to satisfy men in order to almost compensate for casting a female as a lead.

The next difference noticed is in the interaction between the male and female superheroes. While

Black Widow and Captain Marvel are generally accepted by the Avengers as part of the team, there are

still moments where their strength, power, and capability come as a shock to male characters. They are

seen as abnormal because of how powerful they are for a woman. When male characters within the

movies display equal levels of strength and power, it is very rarely seen as shocking by other characters.

[25] The only reason the female superheroes are seen as particularly shocking and impressive is that it is

unbelievable to other characters that any woman could be strong enough to rival a man. This is an

outright inequality in representation as it creates an automatic bias that suggests that women are not
normally strong, unlike men. This inequality defeats the purpose of presenting women as equal

superheroes in the MCU community.

The reduction of Black Widow, Marvel’s beloved and only original female heroine, into a sex

icon, love subject, or sacrificial symbol is a major inaccurate representation. Her story arc is filled with

double standards, where she is over-villainized for her past despite her male peers having done worse.

Natasha Romanoff’s (Black Widow) backstory is revealed in Avengers: Age of Ultron[26] and portrays

Natasha as monstrously feminine, conflating Natasha’s inability to be a mother with her moral

wrongdoings as a spy. Natasha’s character arc is largely centered around her desire to repent for the

crimes and wrongdoings that she committed before becoming an Avenger, and her sacrificial death in

Avengers: Endgame[27] further ties her atonement with this theme surrounding motherhood and family.

[28] These patronizing and regressive arcs are not reflected in the male superheroes. This emphasizes

Marvel’s poor representation of the female community.

Another difference observed is the difference in fighting techniques. The male superheroes are

glamorized for their brute physical and muscular strength. The female superheroes, however, as we

come across Scarlet Witch and Black Widow, are centered around the traditional notions of female

power, including manipulation, sexuality, and masquerade.[29] Male superheroes use their weapons and

full-body combat moves, whereas Black Widows’ moves are sexually attractive and frequently include

taking down opponents with her thighs. Females’ victories are achieved through wit, nurturing,

compassion, and persuasion rather than the weaponry, physical strength, aggression,[30] and other forms

of violence that should also be acceptable for females to portray.

The last major difference that can be noticed is in the creation of male superheroes as symbols of

strength and female superheroes as sacrificial and sex symbols. This can be seen in the sexualization of

Black Widow, Scarlet Witch, and Gamora. Moreover, the symbol of sacrifice idea is supported by the
manner in which Black Widow, Scarlet Witch, and Gamora, all three female protagonists of the MCU,

are sacrificed as an ending to their character arc. For female characters in the MCU, this is not an

uncommon theme as even Jane Foster, the newly introduced Lady Thor, was given a budding character

arc and a sacrificial ending in the same movie. To have most female characters presented in such a way,

whereas male characters enjoy longer story timelines, and different ends to their character arcs is a

definite misrepresentation.

One disagreement that arises in the gender representation debate revolves around the sex appeal

characteristic of female superheroes. While the MCU has empowering female characters like Storm and

Mystique who are physically strong, athletic, proficient, confident, and intelligent, characteristics that

are counter-stereotypical for female characters, they still do have a sex appeal. It is debated that true

feminism should allow female characters to dress and act of their own accord, and if it is sexually

attractive, that is the character’s choice. However, what is not recognized is the fact that such differences

are forced onto characters by their creators and serve to reinforce traditional gender role beliefs in

female audience members, rather than challenge them.[31] Moreover, if producers are interested in

representing the empowerment of women, maybe they should allow the actions of the female characters

to symbolize that instead of the male gaze viewed through cameras.

Lastly, it is observed that the three main female superheroes from Phase 1 and Phase 2 met

unsatisfactory endings. Marvel is indeed introducing a wide range of diverse female characters with

Captain Marvel,[32] Kamala Khan[33] (Ms. Marvel), Jessica Jones, Jane Foster (who also meets a

sacrificial end) in Thor: Love and Thunder[34], Yelena from the titular movie Black Widow[35], and Shuri,

Okoye, and Nakia from Black Panther[36]. However, it is distressing that all the original female

superheroes had to be sacrificed to make this possible.

What do we not know yet?

Almost every difference in the gendered representation of Marvel superheroes has been explored.

Most of these differences focus on the visual aspect of women's superhero representation. This

comprises their outfits, body image, visual interaction with male superheroes, and their sexualized body

movements. However, a major point that is still unclear is the differences in themes in female and male

character arcs. The gendered character arcs in the MCU are yet to be explored by scholars. Moreover,

the similarity in personalities of female superheroes is another area that hasn’t been identified. The

female superheroes are also depicted as vastly family-oriented to an extent to which male characters are

not; however, there isn’t much body of research to support these claims. Lastly, a vast body of research

indicates the depiction of women as sex symbols, but few depict women superheroes as sacrificial

symbols. This paper’s research into the thematic storyline differences will help give a more holistic

understanding of the equal representation of superheroes by Marvel. This paper’s research entails the

following:

1. Origin Stories

2. Personality Traits

3. Family

4. Damsel in Distress

5. Sacrificial endings
 METHODS

This paper uses a qualitative content analysis method for its findings. The literature review examined

and presented a few existing statistical data from existing authors’ findings. However, this paper’s

findings are purely based on content analysis. This paper also contrasts male and female superheroes in a

few instances. This is done not for the objective of comparing male and female characters, but rather to

bring light to the fact that if male characters can be accurately represented, female characters deserve to

be accurate and relatable portrayals of the female community too.

Data Used

Being a Marvel fan, I regularly binge-watch their superhero movies. However, on my recent

Marvel movie marathon, I observed surprising and distressing trends in their movie lines. Hence, this

study analyzes primary data from the Marvel Cinematic Universe (MCU) which comprises movies, TV

shows, and their respective spin-offs. I have taken this wide data set to compare female characters with

ease. The MCU has significantly fewer female characters in comparison to its male characters. So, to

analyze more characters and find the differences and similarities in their portrayals (with regards to

outfits, storylines, character arcs, fighting styles, movements, and personalities), the paper has chosen

this data set. Namely, this research will be analyzing The Avengers,[37] Avengers: Age of Ultron,[38]

Avengers: Infinity War,[39] Avengers: Endgame,[40] Iron Man 2,[41] Captain America: The Winter Soldier,

[42] Captain America: Civil War,[43] Guardians of the Galaxy: Vol. 1,[44] Guardians of the Galaxy: Vol 2,

[45] Black Widow,[46] WandaVision,[47] (TV show) and Doctor Strange in the Multiverse of Madness.[48]

The characters that the paper will analyze are Black Widow (Natasha Romanoff), Scarlet Witch (Wanda

Maximoff), Gamora, and Nebula.

 The research used the Avengers franchise to better understand the interactions and storylines of

Black Widow, Scarlet Witch, Gamora, and Nebula. Black Widow has been in the Avengers since its first

movie release - The Avengers.[49] Scarlet Witch was introduced in the second release - Avengers: Age of

Ultron,[50] and Gamora was introduced in Avengers: Infinity War[51] along with Nebula.

The research used Iron Man 2[52] and the Captain America series to better understand Black

Widow’s character. Black Widow also appears in all the Avengers movies, in Captain America: The

Winter Soldier,[53] and in her titular movie, Black Widow.[54]

The research used the Guardians of the Galaxy series to create the storyline, character plot,

character arc, and personality of its female protagonist, Gamora. Gamora also appears in Avengers:

Infinity War.[55]

The research used WandaVision[56] and Doctor Strange in the Multiverse of Madness[57] to

analyze the Scarlet Witch and her backstory. Scarlet Witch’s development is also seen in Avengers: Age

of Ultron[58] and Captain America: Civil War.[59]

The research used Guardians of the Galaxy series to create the storyline, character plot, character arc,

and personality of its female second lead, Nebula. Avengers: Infinity War[60] and Avengers: Endgame[61]

were used to explore Nebula’s redemption arc.

Themes

The first theme is “Origin stories.” It expands on findings that bring to light the uncanny

similarities in the story arcs of the main female superhero characters of the MCU. The pattern of all

three female protagonists being forced into the villain-superhero world, having less agency, and

undergoing redemption arcs were characterized under “Origin stories.”

 The second theme is “Personality Traits.” When emotions expressed by female characters were

followed by negative instances, it was characterized it under “Personality Traits.” The paper noticed that

the male superheroes did not have any such pattern. The inability of female characters to trust people

easily was also characterized by “Personality Traits.” Using trickery and manipulation was coded under

“Personality Traits.” Lastly, seduction was also portrayed under “Personality Traits.”

The third theme is “Family.” This theme is broken down into three sub-themes: marital,

motherhood, and relations. If the desire to live together with a significant other and the desire for peace

were expressed, it was categorized under the “Marital” theme. Interactions with kids, or expressing

desire to have kids expressed, were categorized under the “Motherhood” theme. Lastly, if interactions

with parents and siblings appeared frequently, it expressed the “Relations” theme.

The fourth theme is the “Damsel in Distress.” Whenever a situation of a helpless female

superhero or one in danger arose and was followed by their rescue by a male superhero, it was

categorized as “Damsel in Distress.”

The last and fifth theme is “Sacrifice.” A fatal and selfless act by the women superheroes was

themed under “Sacrifice.”

RESULTS AND DISCUSSIONS

Theme 1: Origin Stories

An origin story is an account or backstory that takes on a character’s journey in transforming into

a protagonist or antagonist. With the female superheroes taken for this research, their origin stories map

out their history, intentions, and other life aspects that ultimately lead to them attaining superhero status.

This research identifies an origin story pattern amongst female superheroes. It is observed that female
characters are forced into the superhero-villain world by beginning their journey as villains, enjoying

less agency, experiencing regret, doing everything in their power to prove their loyalty, and continuously

needing to redeem themselves from past actions. The female characters that will be analyzed here are

Black Widow, Scarlet Witch, Gamora, and Nebula.

Black Widow

The first female superhero is Natasha Romanoff, who was adopted by her parents - super soldier

Alexei Shostakov and Black Widow agent Melina Vostokoff. However, while on a mission to retrieve

intel from S.H.I.E.L.D.,[62] they need to escape to Cuba to their boss, General Dreykov. Dreykov then

splits the family and indoctrinates Natasha and her sister, Yelena, into the Red Room (also known as the

Black Widow Program, this was a secret Soviet-Russian training program that involved taking young

women and turning them into elite spies and assassins known as Black Widows) to make them

brainwashed master assassins. Working as an operative for the KGB, Natasha was targeted by

S.H.I.E.L.D. However, she was given a chance at redemption by Clint Barton (Hawkeye), who tasked

her with the mission of assassinating Dreykov. Following Clint Barton’s display of mercy, Black Widow

undergoes a redemption arc where she succeeds in killing Dreykov and taking down the Red Room too.

After proving her loyalty to S.H.I.E.L.D., she is recruited to their ranks and forms the Avengers, after

which she has been one of the most frequently appearing superheroes in the Marvel Cinematic Universe

(MCU).

Scarlet Witch

The second female superhero is Wanda Maximoff (Scarlet Witch). She was a native of Sokovia

who grew up with her fraternal twin brother, Pietro. Born with the latent mythical ability to harness
Chaos Magic, she developed a hatred against Tony Stark (Iron Man) and rallied anti-American protests

after the Novi Grad Bombings killed her parents. Years later, the twins were found by HYDRA (an

authoritarian-subversive paramilitary terrorist organization bent on world domination) and underwent

experiments with the Scepter (a staff weapon that served as the original containment vessel for the Mind

Stone, one of the six Infinity Stones) which amplified their magical abilities to fight against the

Avengers. In this way, Wanda became a villain fighting against the Avengers. However, in the

subsequent events with Ultron (a rogue artificial intelligence who sought an extinction-level genocide

against the human race) in Avengers: The Age of Ultron,[63] Wanda sided with the Avengers as she

realized Ultron’s motives to destroy humanity. She too then undergoes a redemption arc until she is

finally a superhero after proving her loyalty to S.H.I.E.L.D.

Gamora

The third female superhero is Gamora. When Gamora is a young child, she is met by Thanos, an

intergalactic warlord, who comes with his army to murder half the population of her homeworld - Zen-

Whoberi. He adopts her when he sees her as a young child who opposes his army of Titans. He respects

her fierce nature and raises her to be an assassin. However, in an attempt to redeem herself from Thanos’

evil, she takes on a quest to secure an Orb, along the course of which she meets other outcasts - Peter

Quill (Starlord), Rocket Racoon, Groot, and Drax (the Destroyer). Together they form the Guardians of

the Galaxy, where Gamora makes up for her past sins and finally is labeled a superhero.

Nebula

The last female superhero taken for this analysis is Nebula, the adoptive sister of Gamora.

Initially, Nebula stands against Gamora and her mission of righteousness. As the right-hand woman of
Ronan the Accuser during his and Thanos' quest to retrieve the Orb, she helps him fight the Guardians of

the Galaxy. In Guardians of the Galaxy: Vol 2,[64] Nebula again attempts to kill her sister; however, after

being told how Thanos had brainwashed her, Nebula helps her sister and leaves to pursue her revenge

against Thanos. In Avengers: Infinity War[65] and Avengers: Endgame,[66] Nebula undergoes a

redemption arc where she proves her loyalty to the Avengers, helps them in their fight for humanity

against Thanos, and finally achieves superhero status.

Findings

There is an exact pattern in all these origin stories. The first is that none of the female

superheroes choose to enter the superhero-villain world. It is a choice that is forced upon them by their

circumstances or other antagonistic characters. This is in stark contrast to male superhero characters like

Captain America and Iron Man. Steve Rogers chooses to enter the US Army during World War 2. He

then chooses to be injected with the Super Soldier Serum (serum to enhance the human body and mind)

and starts his journey as Captain America. Tony Stark, a billionaire industrialist who owns Stark

Industries, is kidnapped by the Ten Rings (a terrorist organization) in Afghanistan. With his life on the

line, Stark creates an armored suit which he uses to escape his captors. From this, it is understood that

male superheroes make active choices which female superheroes are denied. The MCU's use of such

representation reiterates the idea that women do not make active choices in an attempt to portray women

as people having limited agency and freedom. This is done to benefit the dominant group — men — to

benefit themselves (as it gives them more authority). Women’s choices are made for them by either their

parents, partners, or other relatives (usually males which again reinforces the gender hierarchy norm). It

also represents another gender stereotype of how women do not make active choices due to “feminine

indecisiveness” and men make active choices that benefit themselves due to male dominance and
superiority. Another explanation for women superheroes having less agency than the male superheroes

in the MCU is that it is a representation of our society's ideals that violence doesn’t come to women

naturally.

The second finding is that all the female superhero leads in the initial phases of the MCU have

villainous origins and a story arc that consists of them redeeming their bloody past. None of the male

superheroes have antagonistic origins, and the male characters who are cast as opponents usually stay

true to their roots and display no remorse, unlike the female villains who experience regret and repent

for their “misdeeds”. This female representation is inaccurate and a reflection of how society has

constructed female gender roles to be remorseful and display regret whereas the same is not required of

the male gender.

Theme 2: Personality

Apart from the similar sexualized outfits and actions, the paper observes a similarity in

personality in all three original female protagonists of the MCU - Black Widow, Scarlet Witch, and

Gamora. For all the female characters, their expression of emotion is shown in a negative light.

Moreover, it is also observed that all three of them share the personality of being manipulative, using

trickery, and being distrustful.

Emotions as a Weakness

Firstly, the paper observes that Black Widow, Gamora, and Scarlet Witch are physically strong,

but their portrayal of emotions makes them weak or stereotypically feminine. In Captain America: The

Winter Soldier,[67] Black Widow asks Captain America the question, “What are we?” He replies that they

are friends after which she seems slightly hurt. Despite that clarity, at the end of Captain America: The
Winter Soldier,[68] Natasha kisses him softly and asks him to “take care” as a stereotypically feminine

act. Next, in Avengers: Age of Ultron,[69] Natasha breaks down when she confesses her love for Hulk and

laments how she is incapable of having kids. Here, her vulnerability portrays her negatively as weak.

With Gamora, in Guardians of the Galaxy: Vol. 2,[70] the “Personality Trait” behavior is seen when she

convinces Peter Quill to give his father Ego a chance. However, agreeing to come to Ego’s home planet

is a trap. This shows again that when Gamora appealed to her emotional side, she was in danger. Next, in

Avengers: Infinity War,[71] in Knowhere, on a mission to retrieve the Death Infinity Stone, Gamora meets

her adoptive father Thanos, and kills him, but it appears to be a ruse. And the moment she reveals her

concern for Thanos, he tricks her and ultimately bargains with her for the Soul Stone, showing that her

emotions were the cause of her undoing (as she is sacrificed by Thanos). Lastly, in Captain America:

Civil War,[72] in an event in Lagos, Wanda’s (Scarlet Witch) efforts to contain a blast were not efficient

and the blast instead ripped apart an upper-story floor of a hotel nearby, causing civilian causalities.

Wanda cries as she feels immense guilt and is blamed and villainized despite having saved Captain

America’s life.

Male superheroes are also many times responsible for unwanted wreckage. However, the males

aren’t afforded the same vulnerabilities. Even at times when they do appeal to their emotional side, they

have been applauded for it. This positive use of emotions is seen when Iron Man stops trading in arms,

Captain America goes back in time to live a long happy life with his former love, Peggy Carter, and

when Starlord accepts his emotions only to find out that he has special powers and can use his emotions

as fuel for magic.

This double standard in emotional expression is an unequal gender portrayal as the male

characters are applauded for it while the female characters are chastised for it. This superhero

representation opposes the stereotype of males being unemotional and portrays the act of feeling
sensitivity in a positive light. However, while it broadens the male gender role, it actively maintains the

female gender role of stereotypically being more emotional and also portrays it in a negative light by

showing it as a weakness for the women instead of a strength. It is portrayed this way to keep the

balance tipped in favor of the males and maintain the gender hierarchy.

Manipulation

The second similarity lies in their skeptical and manipulative natures. Black Widow trusts few

people in the beginning and reveals her missions to none. Unlike the male superheroes who instantly

trust one another and do not withhold information, having all female protagonists as skeptical does

reinforce a standard. Black Widow’s manipulation can also be seen in the manner in which she tricks the

God of Trickery - Loki - himself in The Avengers.[73] While this can be noted as a sharpness on Black

Widow’s part, the Avengers’ choice to send their only female Avenger to counter Loki is reminiscent of

typical female manipulation. Next, we see that in Guardians of the Galaxy Vol. 1,[74] Groot, Rocket,

Drax, and Starlord all trust each other quickly enough despite much deceiving, but it takes Gamora until

the end of the movie to finally trust the group due to her past experiences of trusting strangers (like her

adoptive father - Thanos). She is also manipulative in the way that she tricks Ronan and goes behind

Thanos to acquire the infinity stone for herself and hinder Thanos in his path to destroy the world. The

male superheroes do physical tricks while the women play mental tricks. Lastly, Scarlet Witch has the

superpowers of controlling minds and warping realities. Her strongest power is mind control and

manipulation, and due to her past, she also doesn’t trust easily until after the events of Captain America:

Civil War[75] (two movies after her debut in Captain America: The Winter Soldier).[76]

This pattern of manipulation and skepticism is resonant with the image of women in power. This

is done to reject the idea of powerful women as positive because women are traditionally supposed to
nurture rather than command. However, when a woman does digress from this stereotype, society labels

her with negative connotations as the dominant male gender group is threatened. The MCU propagates a

similar stance by portraying their female superheroes as wicked rather than ingenious like how they

portray the male superheroes.

Findings

Female characters need to be accurately represented, which does not happen if all the already

underrepresented female main characters show almost the same personality traits. This becomes

particularly problematic when looking at the wide variety of male personalities in the Marvel Cinematic

Universe. Steve Rogers is an all-American boy next door, filled with patriotism and good morals. Tony

Stark is a snarky tech genius who runs a huge company and always has a witty comment ready. Bruce

Banner is a kind fatherly type, who struggles against his temper. Thor Odinson is a strong and honorable

warrior whose ignorance about Earth often provides comic relief. When looking at all of these very

different and strong personalities, one begins to wonder why the only three female main characters are

not only given so little personality but also share most of these few personality traits.[77]

Theme 3: Family

There are three sub-themes in the ‘Family’ theme:

1. Marital

2. Motherhood

3. Relations
 The study analyzes Black Widow, Gamora, and Scarlet Witch. It is observed that Black Widow

and Scarlet Witch are characterized by all three “Family” sub-themes, while Gamora’s entire storyline is

subjected to the “Relations” Family theme. It is an inaccurate representation of the female community as

not all females consider family as their top priority. Rather than representing the female community, the

MCU represents the gendered stereotypes where women are expected to place family above everything

else. As will be observed, this depiction of females is a gross misrepresentation.

Marital

In Avengers: The Age of Ultron,[78] Black Widow, a capable and independent fighter, expresses

her interest in riding off into the sunset and having a family with Hulk amid a global dilemma. Hulk

doesn’t express this desire first and neither do other male superheroes. It is outrageous that Black

Widow’s entire story arc for that movie revolves around her incapability to birth and start a family. This

is an incorrect representation by the MCU, who are interpreting women’s highest priority as marriage,

against their ambitions. The same is seen with Scarlet Witch, in the TV show WandaVision.[79] Wanda

imagines a happy, full, and supportive life with her love, Vision. Such representations are only found in

the characterizations of female superheroes. The only exception is Captain America who uses the events

of the “Time Heist” in Avengers: Endgame,[80] to go back in time and spend a full and happy marital life

with his long-lost love - Peggy Carter. The problem arises in the fact that only a few male characters are

presented in such a way whereas all female characters hold the marital theme, which suggests that the

female population holds marriage as the most important. The MCU represents its lead females in such a

way as it is coherent with society’s constructed roles of a woman’s goal in life to be married and produce

offspring. Marriage is considered to make women complete, and this is the reason the MCU continues to

portray its female characters in such a way.

Motherhood

In Avengers: The Age of Ultron,[81] despite Black Widow's rich and complex back-story,

references to her horrific training in the Red Room were much too brief and her reaction to her forced

sterilization is interpreted as an indictment of women unable to bear children. Natasha calls herself a

“monster” because she has been rendered infertile. Marvel reduced the leading female superhero

character into a woman with only the aim of bearing children, amid a humanity-wrecking war. This is

the stereotyping of a character which is a gross misrepresentation of what it means to be a woman.

Moreover, in the same movie, Bruce Banner (Hulk), also expresses an inability to provide offspring, but

he does not brand himself negatively and as a monster.

With Scarlet Witch, after the events of Avengers: Endgame,[82] she creates her reality in the TV

show WandaVision.[83] In her alternate reality, she imagines herself with her love, Vision, and a happy

family with two boys. However, the concluding sequences of WandaVision[84] depict her departure from

her children and husband, Vision. Following the series’ aftermath, Wanda appears in Doctor Strange in

the Multiverse of Madness[85] where she has transformed into a villain - all for the sake of her kids. She

is determined to find her kids in the alternate dimension (on Earth-838). Following her “motherly

instincts,” Scarlet Witch commits genocides and gets corrupted by dark magic to “protect” her kids.

With this representation, the MCU places utmost importance on a woman being a “good mother,” even

if it requires becoming a villain.

What is troubling is that the same importance is not placed on fatherhood as is stressed on

motherhood in the MCU. The MCU displays its female characters in this way as it is in line with

society’s interpretation of motherhood being the epitome of womanhood. Fatherhood is not shown as an

important theme for male superhero characters as fathers in this world are free from the burden of being
their children’s direct caretaker. The responsibility of children is single-handedly placed on the mother

as it is a duty as part of a female’s gender role, and the MCU only furthers this idea.

Relations

In Black Widow,[86] Black Widow is shown with her family, and her sister, mother, and father

help her in her mission to save girls from her previous spy facility. Rather than presenting a more

individualistic Black Widow as is done for Iron Man and Captain America in their solo movies, the

MCU presents a Black Widow who embraces her family, is vulnerable, and takes everyone together in

the spirit of harmony to end in living a clichéd happily ever after rather than a plot-developing teaser

movie ending, unlike what we see for the single male superhero movies. This is a strong instance under

“Relations.”

In Gamora’s character, too, the “Relations” theme is strong. Apart from her superhero life with

the Guardians of the Galaxy, the only other part of Gamora’s life revolves around her relationship with

her abusive adoptive father, Thanos, and her previously evil sister, Nebula. Such a backstory again

highlights only one theme - family. Her story is coded into the “Relations” theme.

Findings

This devotion of women to the family around them instead of themselves is inaccurate as women

in society do not always have family as their top goal. These stories reiterate women’s unfair gender role

in society as integral to family.

Though there is nothing wrong with the family theme, it is a misrepresentation of females in the

fact that apart from their work life, their story is not individualistic, it is only family oriented. It also

reinforces the stereotype of motherhood as an ultimate purpose for a woman. It is a gendered

representation as male superheroes are not given such storylines. They have stories involving the army,

spy agencies, businesses, etc., while female superheroes are not afforded the same variety. Fatherhood

and family themes are seen only in one male superhero, Clint Barton (Hawkeye). However, as each male

superhero is different it creates a more accurate representation of the male gender, whereas the already

underrepresented females are stereotyped into similar stories. It is noticed that family affects the

identities and how the female superheroes view themselves in ways that family does not affect male

superheroes. Gender is represented in such a way in the MCU as it reflects society’s expectation of

adherence to the role of women as devoted to the family to benefit the constructed role of men in

positions of greater authority.

Theme 4: The Damsels in Distress

This theme examines how Black Widow, Gamora, and Scarlet Witch are continuously rescued by

specifically male superheroes. It analyzes the portrayal of women as persons who need to be saved

despite being capable enough to protect themselves, in order to give men a medal of valor.

Black Widow

In Avengers: Age of Ultron,[87] Black Widow is taken captive by Ultron (the villainous Artificial

Intelligence) and is rescued by her love interest in the movie, Hulk (Dr. Bruce Banner). This act of aid is

appreciated but makes the scene misogynistic because similar themes of rescue are not seen for men

where male superheroes are rescued by their female superhero love interests. In Captain America: The

Winter Soldier,[88] the platonic relationship between Captain America and Black Widow is heavily

sexualized with chemistry. In the opening scenes, Captain America, Black Widow, and a few other

S.H.I.E.L.D agents are aboard a pirate hijacked ship with hostages and Steve rescues Natasha from a
fatal explosive incident. In another scene in Captain America: The Winter Soldier,[89] Natasha is again

protected by Steve as they are hit by a missile. In another scene in this movie, Natasha takes on the

Winter Soldier and is overpowered by him, and he shoots her on the left shoulder. Captain America

comes to the rescue again.

Gamora

In Guardians of the Galaxy Vol 1,[90] in a scene where their aircraft is shot down by Nebula,

while all the Guardians are escaping from Ronan and Yondu (the leader of a rogue group - the

Ravagers), Gamora is thrown into space where she survives for a few minutes due to her body

modifications. However, it is Peter Quill who comes to her rescue and saves her from death, in keeping

with the traditional roles of women needing to be rescued by men.

Scarlet Witch

In Captain America: Civil War,[91] Wanda Maximoff is restrained within the Avengers Compound

by Tony Stark (Iron Man) as she is a weapon of mass destruction without a US visa. Instead of being

able to use her powers as one of the strongest superheroes in the MCU, Wanda requires rescue by

Hawkeye. It is true that in Avengers: Infinity War,[92] Wanda protects and rescues Vision, but this is a

futile attempt, unlike the successful attempts of male superheroes in rescuing their female superhero

subjects.

Findings

Female superheroes are always rescued by male superheroes instead of by other female

superheroes. This representation automatically depicts a gender dynamic that maintains cis-gendered
male superiority. Male superheroes are also aided sometimes by other male heroes. However, this is not

represented in the MCU as them being rescued, but rather as them being “backed up.” When women

superheroes are aided, it is shown as them being rescued from helpless situations. The MCU presents

their women characters as damsels in distress in adherence to the gender role of women being fragile. It

also propagates the gender role of men being brave saviors to depict males as the ultimate heroes in

alignment with the normative gender hierarchy.

Theme 5: Sacrificial Endings

By analyzing these characters - Black Widow, Gamora, and Scarlet Witch, the paper identifies a

trend where female characters tend to end their character acts by either sacrificing or attempting to

sacrifice themselves. A difference in emotions associated with female and male sacrifice is also

observed.

Black Widow

In the “Time Heist” in Avengers: Endgame,[93] to reverse the events of Avengers: Infinity War,[94]

the Avengers need to go back in time and obtain the Infinity Stones before Thanos acquires them. The

sacrifice of Natasha Romanoff is the ultimate step required for the Avengers to obtain the Soul Stone.

When Red Skull informs Black Widow and Hawkeye that they must sacrifice something that they love,

the two fight over which would be the one to die, each wanting themselves to be the one, resulting in

Romanoff tricking Barton, then sacrificing herself. Black Widow soundlessly sacrifices herself, while

Hawkeye makes a mention of sending love to his family before he attempts to jump off the cliff. The

soundless sacrifice of Black Widow highlights her selfless nature. She also has a family, as is understood

from Black Widow.[95] However, she turns out to be the more selfless one between herself and Hawkeye,
which reinforces the stereotype of women as selfless persons required to sacrifice themselves to be

respected and immortalized in memory.

Gamora

Gamora is the first one to be sacrificed to obtain the Soul Stone. She was sacrificed in Avengers:

Infinity War,[96] by Thanos who tricked her by using her emotions against her. When Gamora realizes

Thanos’ plans, she initially tries to sacrifice herself, but Thanos prevents her from foiling his plans of

world eradication. This shows how Marvel handed the same conclusion to two of their three main

female characters, which is unoriginal, an inaccurate representation of sacrifice being required only from

women, and a depiction of a lack of dedication reserved for their female leads.

Scarlet Witch

After the events of WandaVision,[97] Wanda is corrupted by the evil sorcery book the Darkhold

and kills many innocents throughout Doctor Strange in the Multiverse of Madness,[98] so that she can

steal the powers of America Chavez, a universe-hopping teen with powers she cannot control. Wanda

wants to use those powers to find an alternate version of her children, who got erased when she

deconstructed the Hex at the end of WandaVision.[99] However, in doing so, she ends up as an

unstoppable tyrant pushing forward for her desires, determined to strip power from others even if it

causes untold death and devastation. However, at the end of the movie, after Wanda sees that her

children are scared of her (in the alternate universe of Earth-838), she is broken out of the Darkhold’s

corruption and realizes the destruction she has caused. As a result, she sacrifices herself to destroy the

Wundagore Castle and every copy of the Darkhold within the Multiverse.
Findings

It would be understandable for one main female MCU character to be killed in sacrifice. But for

all three Phase 1 and 2 female protagonists to be killed off in sacrifice, and two of them in the exact

manner of sacrifice, creates an unfortunate pattern and instills a belief that a woman is not brave until

she has sacrificed herself. It is an unequal representation as the same is not required of the male

superheroes. The MCU presents its female superheroes as objects of sacrifice to strengthen the belief

that according to standard gender roles, women are supposed to sacrifice for the benefit of others and a

woman is good only if she sacrifices. Sacrifice is a noble quality; however, the presentation of all female

characters as a symbol of sacrifice enforces an ideal that men are not subjected to. Even though there are

characters like Iron Man and Vision, who do sacrifice themselves in the events of Avengers:

Endgame[100] and Avengers: Infinity War[101] respectively, this sacrificial pattern is not seen in the male

superheroes whose motives for sacrifice are different. For women, their sacrifice stems from the motive

of saving their loved ones and being selfless while male sacrifices are done to save the entire world and

to be brave and heroic. It is gendered for women to show that they love and care only through sacrifice.

Sacrifice is coupled with the gender role of women to be primary caregivers in the family and society.

Women’s unpaid sacrifices in society as mothers, wives, and daughters are what the men in power can

thrive from while they get paid for their services. This sacrificial symbol in female superheroes is

MCU’s enforcement of a woman giving up her desires and benefits for the benefit of others and a social

construction where the dominant gender group – males – always gain.

 CONCLUSION

Gender differences arise from the social construction theory. The media reinforces gender stereotypes

and the right way to perform gender through its representation. The underrepresentation and

misrepresentation of women in media, specifically in movies, points to a bigger societal problem: gender

inequality. In the superhero movie industry, it is commendable for women superheroes to have their

place too. However, this progress is tarnished by sexualization, lack of interactions, character depth, and

equal strength, the need to be rescued, and stereotypical storylines.

Further research into specifically superhero movies in the Marvel Cinematic Universe reveals

that along with underrepresentation, female superheroes were given similar villain origin storylines that

forced them into the superhero-villain world, followed by redemption arcs, which are representative of

women having less agency and the need for remorse. It also reinforces how violence and strength do not

come to women naturally. The next finding is that the three main female superheroes of the early MCU

phases - Black Widow, Scarlet Witch, and Gamora - shared almost identical personalities, with only

different looks. All three characters had their emotions as a weakness. All three are manipulative and

skeptical. The female protagonists also share the burden of having family themes including non-sexual

family relations, sexual family relations with their love interests, and motherhood. The act of female

superheroes being rescued by male superheroes is another theme. The last theme is the outrageous trend

of sacrificial endings for all three female protagonists. It seems as if the only honorable route for women

superheroes is selfless death whereas the male superheroes enjoy endless respect with multiple choices

of life, which are not offered to female superhero storylines. Such similarities in their character

storylines in an already minuscule female roster draw attention to the gross inaccuracy in female

representation in MCU superhero movies.

 These misrepresentations of female superheroes reiterate the normative gender roles of women

as non-violence-oriented, repenting, emotionally weak, manipulative, untrusting, family-oriented,

sacrificial, and selfless caregivers. Despite being superheroes, the female gender is what restricts them

and stereotypes the characters’ abilities as a reflection of how women are ideally presented in society.

With so many similarities across the storylines of Black Widow, Gamora, and Black Widow, the

only female protagonists in the MCU’s original phases, the female gender is wrongly represented for the

most part. However, the MCU is introducing many new female superheroes in their upcoming phases

and slowly erasing the barriers between genders. But, it is unjust that the original females of Marvel had

to suffer for their successors to flourish.

Limitations

The first limitation of the paper was the inability to investigate gender representation as a whole.

It examined only female representation. Male superhero representation (although it is in a much better

place than that for females) is also littered with stereotypes and patterns. Another limitation is the lack of

automated coding resources. It analyzed only the three major female superheroes in the MCU who

appeared in Phase 1, Phase 2, Phase 3, and Phase 4. Given the proper resources, this paper could have

taken all the female characters from all phases and analyzed them, which would help in giving a more

accurate female representation in the MCU research.

Suggestions for future research

Future research should take in a bigger data set, analyze gender, race, and sexuality

representations and inclusivity, and examine the scope for improving storylines in the MCU to be a more

accurate representation of the people.

 ENDNOTES

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[2]Cuddy, J, et al. Men as Cultural Ideals: How Culture Shapes Gender Stereotypes Working

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[3] Gerbner and Gross, 1976 quoted in Wood, Julia T. Gendered Media: The Influence of Media

on Views of Gender THEMES in MEDIA. 1994.

[4]Krijnen & Van Bauwel, 2015 quoted in Krijnen, Tonny. 2020a. “Gender and Media.” The

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10.1002/9781119429128.iegmc016.

[5]Robert Luketic, 2001

[6]Guy Hamilton, 1964; Martin Campbell, 2006; Marc Forster, 2008; Sam Mendes, 2012

[7]Collegian, Boen Wang | The Daily. 2015. “The Toxic Masculine Ideal of Bond, James Bond.”

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[8]Sunil, David. 2020. “The Superwoman Trope - an Analysis on Excessive Masculine Woman

Superheroes in Movies, Anime, and TV Shows.” International Journal of English Literature and

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[10]Gilpatric, Katy. 2010. “Violent Female Action Characters in Contemporary American

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[11]Christopher Nolan, 2012

[12]Patty Jenkins, 2017 & 2020

[13]David Ayer, 2016

[14]Joss Whedon, 2010-2019

[15]Joss Whedon, 2015 & Sam Raimi, 2022

[16]James Gunn, 2014 & 2017

[17]Anna Boden and Ryan Fleck, 2019

[18]Kinnunen, Jenni. 2016. “Badass Bitches, Damsels in Distress, or Something in Between? :

Representation of Female Characters in Superhero Action Films.” Jyx.jyu.fi. https://jyx.jyu.fi/

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[19]Christopher Nolan, 2012

[20]Mukherjee, Supriyo. 2016. “It’s Sad How Harley Quinn Has Been Sexualized to a Point

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[23]Ameter, Jess. n.d. “Gender Portrayal in the Marvel Cinematic Universe.” UCCS|

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[24]Ameter, Jess. n.d. “Gender Portrayal in the Marvel Cinematic Universe.” UCCS|

Undergraduate Research 12 (2).

[25]Ameter, Jess. n.d. “Gender Portrayal in the Marvel Cinematic Universe.” UCCS|

Undergraduate Research 12 (2).

[26]Joss Whedon, 2015

[27]Anthony Russo and Joe Russo, 2019

[28]Barranco, Peyton. 2021. “Sexy, Sterile, Sacrificed: Black Widow in the Marvel Cinematic

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[29]Barranco, Peyton. 2021. “Sexy, Sterile, Sacrificed: Black Widow in the Marvel Cinematic

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[31]Anna Boden and Ryan Fleck, 2019

[32]Meera Menon, Adil El Arbi, Bilall Fallah, and Sharmeen Obaid-Chinoy, 2022

[33]Taika Waititi, 2022

[34]Cate Shortland, 2021

[35]Ryan Coogler, 2018

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[37] Joss Whedon, Joe Russo, Anthony Russo, 2012

[38] Joss Whedon, 2015

[39] Anthony Russo and Joe Russo, 2018

[40] Anthony Russo and Joe Russo, 2019

[41] Jon Favreau, 2010

[42] Anthony Russo and Joe Russo, 2014

[43] Anthony Russo and Joe Russo, 2016

[44] James Gunn, 2014

[45] James Gunn, 2017

[46] Cate Shortland, 2021

[47] Matt Shakman, 2021

[48] Sam Raimi, 2022

[49] Joss Whedon, Joe Russo, Anthony Russo, 2012

[50] Joss Whedon, 2015

[51] Anthony Russo and Joe Russo, 2018

[52] Jon Favreau, 2010

[53] Anthony Russo and Joe Russo, 2018

[54] Cate Shortland, 2021

[55] Anthony Russo and Joe Russo, 2018

[56] Matt Shakman, 2021

 [57] Sam Raimi, 2022

[58] Joss Whedon, 2015

[59] Anthony Russo and Joe Russo, 2016

[60] Anthony Russo and Joe Russo, 2018

[61] Anthony Russo and Joe Russo, 2019

[62] Strategic Homeland Intervention, Enforcement, and Logistics Division - an American extra-

governmental counter-terrorism and intelligence agency tasked with maintaining both national

and global security

[63] Joss Whedon, 2015

[64] James Gunn, 2017

[65] Anthony Russo and Joe Russo, 2018

[66] Anthony Russo and Joe Russo, 2019

[67] Anthony Russo and Joe Russo, 2014

[68] Anthony Russo and Joe Russo, 2014

[69] Joss Whedon, 2015

[70] James Gunn, 2017

[71] Anthony Russo and Joe Russo, 2018

[72] Anthony Russo and Joe Russo, 2016

[73] Joss Whedon, Joe Russo, Anthony Russo, 2012

[74] James Gunn, 2014

[75] Anthony Russo and Joe Russo, 2016

[76] Anthony Russo and Joe Russo, 2014

‌
[77]Ameter, Jess. n.d. “Gender Portrayal in the Marvel Cinematic Universe.” UCCS|

Undergraduate Research 12 (2).

[78] Joss Whedon, 2015

[79] Matt Shackman, 2021

[80] Anthony Russo and Joe Russo, 2019

[81] Joss Whedon, 2015

[82] Anthony Russo and Joe Russo, 2019

[83] Matt Shackman, 2021

[84] Matt Shackman, 2021

[85] Sam Raimi, 2022

[86] Cate Shortland, 2021

[87] Joss Whedon, 2015

[88] Anthony Russo and Joe Russo, 2014

[89] Anthony Russo and Joe Russo, 2014

[90] James Gunn, 2014

[91] Anthony Russo and Joe Russo, 2016

[92] Anthony Russo and Joe Russo, 2018

[93] Anthony Russo and Joe Russo, 2019

[94] Anthony Russo and Joe Russo, 2018

[95] Cate Shortland, 2021

[96] Anthony Russo and Joe Russo, 2018

[97] Matt Shackman, 2021

[98] Sam Raimi, 2022

[99] Matt Shackman, 2021

[100] Anthony Russo and Joe Russo, 2018

[101] Anthony Russo and Joe Russo, 2019