An Analysis of the Cultural Dismissal of Wonder Woman
the ideals core to Wonder Woman herself , the series brought audiences closer to the current expectation of human drama within the hyperbole of superheroes by grounding a tonguein-cheek atmosphere with an earnest , empathetic protagonist . The pilot movie , aired on November 7 , 1975 , introduces a theme song featuring animated art in the style of a comic book . Wonder Woman leaps off a building , uses her lasso , stops a car , pilots her invisible plane , and frees her comic book sidekick Steve Trevor , herself , and others from bondage . The lyrics , set to upbeat 1970s trumpets , include , “ Make a hawk a dove , stop a war with love , make a liar tell the truth ... Stop a bullet cold , make the Axis fold , change their minds , and change the world !”
The first season included comic book narration blocks and supporting comedic guests such as actor Henry Gibson , and followed a lighthearted structure of Diana Prince / Wonder Woman ( Lynda Carter ) and Steve Trevor ( Lyle Waggoner ) being assigned missions at the U . S . War Department in a simple World War II setting , juxtaposed with comedy relief from Diana ’ s other comic book sidekick , Etta Candy ( Beatrice Colen ). But within this style , the show clearly integrated Wonder Woman ’ s identity . There was her super strength , her Lasso of Truth , her bullet-deflecting bracelets , a Paradise Island governed by a “ sisterhood ” of Amazons who overcame slavery in Rome and Greece to become more advanced than Western society , and a respectful , professional Steve Trevor who supported the story . Most importantly , it was centered around Carter ’ s earnest portrayal of a script preaching peace and goodwill .
Several of the episodes in the first season have ridiculous premises , but the show explored them in ways that were quintessentially Wonder Woman . In “ Wonder Woman Meets Baroness Von Gunther ,” the Baroness from the comics
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