An Analysis of the Cultural Dismissal of Wonder Woman
simply capture the criminal , but talks about his crimes with him and his victim , as well as with the authorities as her citizen self , Diana Prince . These elements continued to combine 1970 ’ s superhero action with Wonder Woman ’ s philosophy of justice .
Unfortunately , the second season ultimately minimized Wonder Woman ’ s identity in favor of a more generic adventure show . There were less feminist statements . The lyrics in the theme song were removed . The show seemed to replace its substance with what it thought was popular . After Star Wars ( 1977 ) became a phenomenon , not only did Wonder Woman fight a gas-masked alien in a cape , but the season introduced a dome-headed robot for comic relief . Most disconcertingly , although Diana did at times continue to demonstrate her signature traits , as when she calms dogs in “ Light-Fingered Lady ,” she started consistently talking , as she does in that episode , about putting criminals “ away for life and throw [ ing ] away the key .” In “ The Murderous Missile ,” after a seemingly injured motorcyclist double-crosses Diana by stealing her car , Diana is visibly angry when she says harshly , “ Thanks a lot ,” with her hands on her hips . At times in the show , Diana Prince would pretend to be more alarmed than she actually was , but after this particular thief departs , she continues to display this emotion . It could be argued that her expression of anger differentiates her from the countless female characters who suppress their anger , but the purpose of Wonder Woman , in both the original comics and the early show , was love and compassion . Anger is the easy , superhero status quo , and Wonder Woman has proven time and again that she can express her own philosophy just as strongly . Throughout the series , Wonder Woman approached adversity with unwavering strength . However , over time , her compassionate appeals , the trait for which she was created to
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