Even before the first episode of X-Men ‘97 aired, Disney’s revival of the classic 90s animated series faced accusations of being “woke” by segments of online fandom, mainly related to the character Morph being announced as non-binary by show creators (Tinoco, 2024). Given that Morph is a shapeshifter, able to take the form of any gender, human or even animal, the X-Men ‘97 creative team stood firm in defending their decision to make Morph nonbinary (Migalla, 2024). Although, as an X-Men fan, I often wonder why inclusion and diversity in representation angers some X-Men fans so much.

X-Men stories have always been about combating prejudice, and fans and comic scholars have long perceived their messaging as allegories for modern social issues, from racial injustice to prejudices toward LGBTQ+ communities. However, a particular group of fans (mostly of my demographic) took to Reddit, YouTube, and X to announce that Disney’s social justice warriors ruined X-Men ‘97. 

In my research, I often examine the intersection of fandom and reactionary politics.  I am increasingly convinced that ”woke” is not simply a favored right-wing buzzword meant to label something or someone as progressive, needlessly inclusive, or an instrument for social justice (Alfonseca, 2024) but an algorithmically recognized moniker. Many content creators and influencers center their brands around complaints and grievances directed toward diversity and inclusion, with Disney being a favorite target. In many ways, audiences searching for anti-woke content have developed into a niche consumer market, a very profitable one intensified by our digital economy and influencer culture.

Some fans see the constant rebooting of intellectual property like the X-Men in order to make it fresh and exciting for more diverse audiences as pandering or pushing political propaganda. Others have accused X-Men ‘97 of messing with canon or “retconning,” a cardinal sin in many fandoms (even though it often happens in comics). However, I am reminded of an argument Andrew J. Friedenthal makes in the book Retcon Game. Retconning also has progressive potential, especially when content creators (who were often once fans themselves) update popular culture content with elements that are relevant to modern discussions.

Yes, sometimes revivals and reboots of popular intellectual property are driven by uncreativity and greed. However, retconning also opens the door for new voices, unique perspectives, and more complex writing.To put it differently, retconning the X-Men (even with something as trivial as Morph identifying as nonbinary) is not about injecting a political message into a once politically neutral IP but modernizing X-Men’s pre-existing social commentary. I would argue that X-Men ‘97 epitomizes the positive qualities of retcon. Although set in the 90s, the show references our current sociocultural and political climate. A prime example would be the terrorist group “Friends of Humanity” storming a government proceeding, a clear allegory to the Capitol Insurrection.

As Friedenthal writes, the hostility towards retconning in the world of comics mirrors similar complaints from those who see critical historians focusing on the contributions of marginalized communities and crafting more nuanced arguments about the past as historical revisionism. Yet, it is essential to understand that history “is not an ossified body of fact, but rather a constantly evolving site of interpretations of the past” (Friedenthal, 2017, p. 157). When it comes to history, we are always retconning because we are continually unearthing new information. Critical historians are not attempting to change or erase the past but to understand it better. Sometimes, what we initially taught about history is proven wrong, told only part of the story, or was intentionally misrepresented to maintain the dominant ideology. Thus, in some cases, retconning is necessary because it incorporates the progress we have made as a people. When it comes to the X-Men, I say: retcon away. 

References

Alfonseca, K. (2024, January 23). What does 'woke' mean and why are some conservatives using it? ABCNews. Available at: https://abcnews.go.com/Politics/woke-conservatives/story?id=93051138 

Friedenthal, A. J. (2017). Retcon game: Retroactive continuity and the hyperlinking of America. Univ. Press of Mississippi.

Migalla, S. (2024, March 15). X-Men '97's "Woke" Insult Shot Down After Online Backlash - "Did We Teach You People Nothing?" Screenrant. Available at: https://screenrant.com/x-men-97-morph-woke-controversy-producer-reaction/
Tinoco, A. (2024, March 24). ‘X-Men ’97’ Morph Voice Actor On Backlash Over Describing Character As Non-Binary: “It Didn’t Surprise Me At All”. Deadline. Available at: https://deadline.com/2024/03/x-men-97-morph-backlash-over-character-non-binary-1235867032