Sam Wilson Isn’t the Black Hero We Need

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[This essay contains spoilers for Captain America: Brave New World.]

As a devoted admirer, I’ve found myself squarely in the middle of the debate surrounding “Captain America: Brave New World.” Given our nation’s current state of division and the ongoing discourse about the essence of the American Dream, it seems both apt and exasperating. The movie undeniably has its share of structural and technical imperfections that no amount of polishing can erase. However, a substantial portion of this divide stems from our individual expectations.

Just like in the comic books, the transition from Steve Rogers to Sam Wilson isn’t without controversy. It’s a testament to how deeply these characters resonate with us, and it underscores the enduring allure of the Captain America legacy.

Amidst unprecedented levels of corruption, indifference, and self-interest in America, with fundamental civil, social, gender, immigration, and educational rights being eroded daily, there seems to be a lack of clarity on how to proceed. Our elected leaders are not our saviors, the wealthy aren’t either, and the majority white voters have not come to our rescue. Interestingly, as discussions revolve around the themes in Brave New World, there is a growing demand for superheroes to intervene, to spark change. However, it’s not just any superhero who can save us, who can confront America as it stands today; it’s the African-American one.

In various discussions, both online and offline, there’s been a debate about whether the character of Captain America in “Brave New World” takes a firm stance. Some argue that Sam Wilson isn’t progressive or assertive enough, and his political message may not be clear in 2025. They suggest that instead of working to fix a deeply flawed system led by a problematic President, he merely maintains a neutral position. Critics claim that Captain America has been depoliticized. However, I would counter that this isn’t the case. While the film did face production issues, which I acknowledge, the portrayal of Captain America is not one of them. The character Sam Wilson doesn’t conform to white liberal expectations through his Black representation.

Once upon a time, I held the conviction that if our modern heroic era had progressed as far as it has now, and if these productions took on greater responsibilities, we could achieve even more. For a brief while, I thought I saw this happening, reflected in our comics and films, a dedication to empathy, inclusivity, and justice that was genuine. But I soon realized it was just another facade, corporations and individuals pretending to care about justice, only to abandon the cause as soon as they were given the chance. And Disney, the distributor of the very movie we’re discussing, is no exception. So let me be clear: my thoughts on Brave New World should not be interpreted as support for the corporation, which I believe shows little concern for Black people. Instead, my focus lies with the creative minds behind the film – the director, Julius Onah, the writers, and the actors – and what they aimed to achieve with this production, despite some aspects being more successful than others.

The groundwork for a Black Captain America was established with the miniseries, “The Falcon and the Winter Soldier” (2021), which delved into the struggles and battles that Sam Wilson (Anthony Mackie) would encounter as a Black man wielding the shield. Though it received more favorable reviews than “Brave New World,” it was not without its detractors, who criticized Sam’s role in representing a America that has not always shown the same affection towards Black people as it does to itself. In the final episode of the miniseries, Sam expresses his belief that “The only power I have is that I believe we can do better.” A decade prior, this sentiment was echoed in “Sam Wilson: Captain America” No. 2 (2015) by Nick Spencer and Daniel Acuna, where Sam had stated, “Steve Rogers believes that when the chips are down, when its values are at stake – his country will do what’s right. And me? In my heart? I can only hope it will.” Despite this conviction, some critics of the show found Sam’s optimism overly idealistic or even naive. Additionally, some viewers felt that the sidelined Captain America, Isaiah Bradley (Carl Lumbly), was not realistically portrayed as being moved by Sam taking up the shield, as well as a Smithsonian tribute to him and his troop’s contributions to the Korean War and their acknowledgment of the injustices they faced during that time.

Addressing those criticisms, I penned, “For The Falcon and the Winter Soldier to offer genuine commentary, it needed to mirror real-world issues. As for Sam’s future as Captain America, it should transcend our current reality and envision a hopeful future where change is possible…Sam’s success as Captain America hinges on recognizing the past and present, but he can’t be stuck in them. Instead of merely responding to the world, Sam needs to take action for his role to matter, even if that means challenging traditional narratives like the tormented Black hero or the noble negro, which we’ve relied upon to create realistic media. Realism is crucial, but when it comes to the first African-American superhero, there’s a chance to dream beyond the bleakness of reality.

In “Brave New World,” the concepts are embodied and the true essence of superheroes as inspirational role models for young minds is utilized. Although these characters aim at a wider audience now, they continue to revolve around the idea of envisioning an improved world.

In revisiting Aldous Huxley’s Brave New World, we find ourselves resurfacing some similar criticisms, such as Sam and Isaiah’s decision to attend a White House event, hosted by President Ross (portrayed by Harrison Ford), a figure neither of them can entirely trust. The movie does well to portray their lack of trust in Ross. Sam invites Isaiah not just out of his own loneliness but also because he believes that Isaiah’s achievements should be acknowledged and not kept hidden. Isaiah agrees, partly due to respect for Sam who has earned it, and partly because, despite the hardships he’s endured, he still considers himself a patriot. It’s challenging to reconcile these feelings, but many Black Americans, especially those with military service or family members who served, can relate – feeling both pride in their country’s service and frustration over the ongoing devaluation of their worth in America. As the grandson of a WWII veteran who fought for his country only to return home still barred from white spaces, required to work multiple jobs just to make ends meet, and denied the right to vote, I understand the intricacies of feeling both included and excluded by the White House and all it symbolizes.

In the movie “Captain America: Civil War,” Sam isn’t comfortable with hanging out with Ross, the one who imprisoned him. He’s wary of Ross’ intentions when he asks him to reactivate the Avengers. Throughout the film, Sam strongly resists working for Ross and shows a lot of anger towards him. Mackie skillfully conveys this anger when Ross asks the Japanese Prime Minister if they want a photo with Captain America, implying that Ross thinks he can use Sam like a puppet. Sam’s anger is especially strong after Ross calls him “son,” which feels disrespectful. Although Sam could have physically attacked Ross, the film explores how anger should be managed rather than acting on it impulsively.

When Isaiah is jailed for allegedly attempting to kill Ross, despite evidence suggesting mind control, Sam goes against Ross’s orders and embarks on a mission to expose the conspiracy, accompanied by his partner Joaquin Torres (Danny Ramirez). Many discussions about the movie have pondered why Sam didn’t just free Isaiah. I believe this is significant because of the context and the characters involved. Sam recalls how releasing a friend from prison played out for Steve, leading to a manhunt that fractured the Avengers. Aware of Ross’s nature, Sam decides not to intensify the situation but instead trusts he can uncover the truth without forcing Isaiah into becoming a fugitive, with Ross being known as the Hulkhunter, a president who has earned this nickname. Even in envisioning an improved world where Sam Wilson could be accepted as Captain America, the film must adhere to existing storylines and character attributes to create tension.

The preconceived ideas about Brave New World, especially in its third act, may lead to some dissatisfaction. Many people anticipated the characters Sam Wilson and President Ross/Red Hulk to symbolize liberal America’s struggle against President Trump. However, neither the characters nor their fictional universe align with this interpretation. Ross and his Red Hulk counterpart were established long before Trump’s political ascent could be considered a joke. Furthermore, the movie was produced well before Trump was re-elected, an event that was unlikely to foresee. While Ross is indeed corrupt, he doesn’t embody Trump in the way people might expect. Consequently, Sam doesn’t confront him like a Trump surrogate would be portrayed.

In contemporary times, some viewers found Sam’s intervention in calming Ross from his Red Hulk state, following a presumed battle, to be overly simplistic. Moreover, Ross’s move to admit fault, step down, and serve jail time faced criticism. The fact that Sam visited Ross later, believing in his ability to change and ultimately work together, has been interpreted as Sam giving leniency to MAGA. However, this perspective overlooks the essence of the movie: it isn’t a battle between Liberal America and Right-Wing America. Instead, it’s about a superhero-turned-counselor persuading the world’s most powerful individual to acknowledge his mistakes. Isn’t that what we aspire for? For individuals from marginalized groups to have their hard-earned skills recognized and heard? To bring change, prevent conflict, free the unjustly imprisoned, and make leaders accountable for their actions and strive for improvement?

It’s intriguing how Brave New World is being criticized for not addressing issues that its creators couldn’t have foreseen, as these same critiques weren’t directed at any of the Chris Evans-led Captain America films. Even though Captain America: Civil War was released during Trump’s first presidential campaign, there was no pressure for Daniel Bruhl’s character, Zemo, to embody Trump. The film didn’t engage with the contemporary political climate, and even the Nazi background of Zemo’s comic book persona was altered.

In essence, Nazis are hardly portrayed or connected with in any of Steve’s films. Originally a Nazi organization in comics, HYDRA has been redefined as a universal evil entity instead of being linked to the Nazis. When Steve discovers that HYDRA is deeply embedded within the American government in the film “Captain America: The Winter Soldier” (2014), there’s no exploration of policy or systemic oppression. Even the Red Skull character, played by Hugo Weaving, was separated from Hitler in “Captain America: The First Avenger” (2011). Despite the existence of Neo-Nazis and oligarchs as real-world threats, Steve Rogers’ role was confined to being a conventional superhero rather than a revolutionary figure. He doesn’t physically fight any Nazis, except for an actor playing Hitler in a stage performance, which symbolizes the political commentary offered by these entertaining yet passive films. These movies were allowed to be outstanding superhero productions, but not explicit political allegories. So why is there less tolerance for politics now when it comes to Sam Wilson’s story?

There’s a strong yearning among Americans for Black individuals to take the lead, given our historical tendency to do so, often resulting in imprisonment, neglect, and assassination. Now, there’s a growing fascination with Sam Wilson spearheading a symbolic movement, transforming into a fictional Civil Rights icon to instill action. Essentially, there’s an urgent social need for Black people to rescue America once more. However, let me clarify: we had that chance in reality, not just in stories. Black people, especially Black women, made it crystal clear what was at risk. Unfortunately, we squandered the opportunity because the idealized white liberal narrative didn’t quite fit the bill, leaving us to grapple with reality while trying to fill fictional characters with roles we struggled to fill with real people.

To be frank, I find it troubling that Black superheroes are expected to carry higher levels of wisdom and shoulder greater responsibilities than their white counterparts, often at the cost of their original character development. Superheroes don’t have the power to save us. If you wish to challenge this oppressive system you claim to despise, then fight it yourself. Instead of expecting Black individuals in both reality and fiction to conform to your expectations, let them dream and strive for a future that surpasses the present. We are engaged in envisioning and believing in a world beyond our current circumstances.

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2025-02-17 02:25