In a recent substack post, Celeste Davis of Matriarchal Blessing discussed the many rich and famous guys who’ve gone from pudgy and nerdy looking to buff and muscular, including Jeff Bezos and Christ Pratt. I don’t find this terribly remarkable — while the pressure on men to look good isn’t as intense as with women, it does exist. In our modern world I don’t think it’s that far off from someone forty years ago getting rich and switching to bespoke suits.
Davis argues that what this is really about is becoming invulnerable: “The invulnerability arc shows up in just about every myth, story and hero we have for boys—be they modern or ancient, religious or secular. The story goes like this: once upon a time there was a weak, shrimpy boy, who eventually through pain and violence is transformed into a fortress of muscle and power. Now no one makes fun of him. Now he is a hero.” Cases in point, Disney’s Hercules, Harry Potter, Batman, Captain America. Davis goes on to argue that if your goal is a long, healthy life (and for a lot of these dudes, it is), becoming buff or paying for radical medical treatments won’t work as well as having a community of friends around you.
That conclusion I do not dispute. Davis’ interpretation of the “invulnerability arc” as the essential Boy’s Journey … not so much. Since she brings up the Marvel and DC cinematic universes, let’s look:
Iron Man: Tony Stark (Robert Downey Jr. of course) discovers his munitions manufacturing has made the world worse. Sets out to atone. And far from being invulnerable, he starts the movie in good health, then ends up a guy relying on the world’s most advanced pacemaker. The comic book doesn’t start Tony out in such a guilty place, but does emphasize even more that he’s not invulnerable —drain his armor’s power, he’s dead. Jack Kirby cover below.
Superman: No arc. He’s an invulnerable child who grows up into the world’s most invulnerable man.
Thor: Arrogant jackass whose arc is learning not to be such a jerk.
Captain America: (Steve Rogers in the Jack Kirby scene above is saving a Cap imposter, by the way). No question his origin involves going from a scrawny 4-F into the perfect man. But I think it’s more significant that his quest isn’t to become strong, it’s to fight fascists. That’s why he applies in the comics (and IIRC in the film). That’s what drives him. And it’s not that he’s invulnerable —

— it’s his indomitable spirit, as in the Gene Colan image above.
Hercules? Disney’s take is an outlier, portraying him as a wimpy kid; in mythology, Hercules strangles venomous snakes while he’s still in the cradle. Marvel’s Hercules (at the bottom of Kirby’s cover) and most other pop-culture presentations are much the same — superhuman from the get-go.
Harry Potter is far and away the worst argument for her position. Her synopsis: “A shrimpy nerdy orphan is shunned by his family, forced to live in the hall closet and be beat up by his cousin. Eventually he fights in some battles and after securing The Deathly Hallows, becomes the master of death and savior of the world.”
Okay, that’s technically true, but only technically. The real story is a miserable lonely good gets away from his abusive caregivers, make friends, finds a parental figure who isn’t shitty and learns to be happy. The books are an endorsement of exactly what Davis says we need, community. Harry wouldn’t have made it to book two if he didn’t have Ron and Hermione (particularly, of course, Hermione) fighting alongside him. He wouldn’t have finished the series alive if he hadn’t trained his fellow students into Dumbledore’s Army.
Harry is all about community. In a sense that’s what makes him the perfect opposing player for Voldemort, who has no use for other people except as pawns or followers.
Likewise, few superheroes these days come without a supporting cast. Green Arrow and Flash on the CW have sizable backup teams, for instance. Movie Batman is probably the closest to what Davis talks about; I think he’s more an anomaly than a template.
Looking at pop culture more broadly, I think the post underestimates the number of characters who don’t have origins in a conventional sense. In cop shows we may get some backstory but a lot of the time they’re simply there, no origin. Jack Bauer on 24 ditto — his childhood and how he came to be a tough guy is never detailed that I recall.
In short, I don’t think the post nailed the zeitgeist as much as she thinks.
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