The Complicated Ethics of Dog Sledding

Front-runners in the 2018 Iditarod are closing in on Nome, Alaska, and 60+ mushers and over 850 sled dogs are not far behind on the roughly 1,000 mile course between Willow and Nome. This year’s Iditarod marks the 46th annual running of “The Last Great Race,” a super marathon that tests the resilience and willpower of the mushers and dogs that brave the extreme conditions and intimidating distance in Alaska’s arctic frontier over the course of 8-12 days. Stretches of this route were used by Native Alaskan Athabaskan and Inupiaq people well before Russian fur traders arrived in Alaska, and dog-sledding also played a crucial part in the famous Klondike Gold Rush of the late 19th century. The most famous dog sledding event happened in 1925 when mushers raced to Nome to deliver a serum for a diphtheria epidemic that threatened to wipe out the entire community. Dick Wilmarth won the first ever Iditarod race in 1973, and since then the race has become a nationally recognized event fueled by hundreds of volunteers and millions of dollars in corporate sponsorship.

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The 2018 map for the Iditarod: roughly 1,000 miles of Alaskan wilderness. Map from Iditarod.com

The 2018 race kicked off amidst some well-documented turmoil, including a shrinking budget, the loss of a major sponsor, increased criticism from animal rights groups, and a dog-doping scandal involving one of the biggest names in dog mushing. In a way, these mounting blows to the sport are not exactly shocking, considering that recreational and commercial dog sledding feels uniquely out of time – a 19th century phenomenon surviving against all odds into the 21st century. Indeed it is that sense of history and tradition which provides much of its appeal: dog sled races like the Iditarod and Yukon Quest exist not only as modern sporting events, but as nostalgic touchstones for a different time, when humans and their animals proved the power of their extraordinary spirit in the face of nature’s most frightful conditions.

Lapland dog sledding by Echoes89, on Flickr
Two sled dogs in Lapland, Finland. “Lapland dog sledding” (CC BY-NC-ND 2.0) by Echoes89

Tradition can be a vital function of culture, especially those cultures trying to stay alive in the midst of assimilation and extinction. But tradition alone should not tip the scales against the weight of injustice: a point proven again and again over the course of human history. In fact we are still trying to learn this lesson; many of humanity’s most unforgivable crimes were (and continue to be) couched in the thick fog of tradition. I am not equating sled dog racing to those worst of human errors, but the criticisms against the industry of sled dog racing do seem worth examining. Nothing good should fear scrutiny or critical analysis, so it seems like a good time to ask, not for the first time: is dog sledding actually good for dogs? Or more precisely, is it bad for them?

If you talk to dog mushers, or even the majority of Alaskans, they will tell you how much sled dogs love to run. These huskies and malamutes are bred for frigid temperatures and lots of exercise. Anyone who has ever kept one of these rugged northern breeds as a pet will know how much exercise they require to be truly content. Often their love of the outdoors outpaces that of their human guardians, something that not enough pet owners consider when adopting. But it is important to note that these sled dogs are not pets: under Alaska law, sled dogs are considered “sport animals,” and the state’s animal cruelty statutes do not apply to them.

Along the trail - Alaska by JLS Photography - Alaska, on Flickr
Musher Nik Petit taking a break with his dogs in Alaska. “Along the trail – Alaska” (CC BY-NC-ND 2.0) by JLS Photography – Alaska

Alaska is not the only state where this is the case, and it is important for fairly obvious reasons: without the protection of animal cruelty laws, animals like sled dogs or livestock do not have the same legal standards for humane treatment. This has made it difficult for animal rights groups to hold responsible those owners of commercial or sporting operations who engage in questionable tethering or kenneling practices, or even culling (the act of killing non-useful animals). So this distinction between pets and sporting animals is important for both sides of this debate. Mushers want you to know that these dogs are not the same as your beloved household pets: they are strong and rugged animals, trained and genetically equipped to run great distances in extreme cold. Ironically, there are more problems with dogs overheating than becoming hypothermic. But for animal rights advocates, this legal distinction means that animal abuse can occur with little to no legal recourse. Those groups argue that this leads to an industry which is legally and morally inscrutable; if the state doesn’t give basic protections to sled dogs, how can the public trust that animal welfare is a top priority?

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A sled dog kennel, where the dogs spend much of their time. Source: “Dog sled kennels” (CC-BY-SA-4.0,3.0,2.5,2.0,1.0) by Chensiyuan on Wikimedia.org

Merely pointing out this legal distinction is not an implication that there is widespread animal abuse happening in the world of sled dog racing. In fact it is clear that most mushers have a deep affection for their dogs, and a bond formed through shared experience on the trail. Alaskan cult hero DeeDee Jonrowe is known for her perseverance in the face of incredible hardship, and her love for the dogs which helped her when she needed it the most.

“The sweetness of the dogs and the bond with the dogs is what it’s all about,” she said in an interview a few years after a car accident that killed her grandmother and left DeeDee hospitalized for two weeks. “It’s a companionship and bond, and emotional give and take, that makes this sport unique. . . dog care is first and foremost the principle of dog racing.” Interviews with other mushers echo this sentiment of respect and devotion to the animals which make the race possible.

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DeeDee Jonrowe and her team of sled dogs in Alaska. Source: “2013 Iditarod Ceremonial Start” (CC-BY-2.0) by Harmonia Amanda on Wikimedia.org

Sentiment only goes so far, however, and animal rights advocates worry that the public sees just the tip of the iceberg when it comes to dog racing and commercial sled dog tours. Fans and onlookers come out for the beginning and end of the race, as if that was the story. But the real story of dog mushing and the lives of these animals is lived in all that time before and after the run, when dogs are bred and trained and kenneled from birth.

The worst case scenario played itself out in Whistler, Canada in 2010 when an employee of Howling Dog Tours was ordered to kill 100 of the company’s 300 dogs when the business fell on hard times following the Vancouver Winter Olympics. There were too many healthy dogs to find homes for, so they were destroyed by shooting, stabbing and blunt force and dumped in a mass grave. The story came out when the employee who carried out the mass culling filed a claim for post-traumatic stress disorder. Another sled dog tour company in Snowmass, Colorado received national attention when Dan MacEachen of Krabloonik dog tours was charged with eight counts of animal cruelty in 2013, citing malnutrition, poor kennel conditions and insufficient veterinarian attention. He had previously pleaded no contest in 1988 for a charge of animal cruelty for breaking bones in a dog’s face during a “vicious” beating.

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Alaska’s animal cruelty statutes specifically exempt sled dogs from the protections enjoyed by pets. Source: “Exploring Alaska” (CC) by 1st Lt. Elias Zani

It is clear that commercial sled dog operations open up the possibility for mistreatment and abuse of dogs, even if most of the humans involved harbor no ill will towards the animals that provide the lifeblood of their businesses. Many of the owners and employees of such operations say that the public simply doesn’t understand the biology and needs of sled dogs, but it is troubling that so many large kennels have run into trouble over accusations of neglect, malnutrition, poor living conditions and legal culling.

In 2011, the Whistler Sled Dog Co. was established about 20 months after the infamous Whistler dog culling, in an effort to shake up the dog sled industry and prove (or disprove) if commercial dog sled tours could be profitable while maintaining animal welfare as the top priority.

The operation folded after two seasons.

Volunteer Director Sue Eckersley said in the documentary Sled Dogs that “We weren’t providing the level of care and the level of life that we were comfortable with as animal welfare people . . . margins are very small and the season is short. It didn’t make sense on a financial level at all.” After just two years of operation, the dogs were handed over to Whistler Animals Galore (WAG) whose job it has been to find homes for over 80 dogs.

oboe. by tobym, on Flickr
Humane Mushing is a cause which champions dog sledding with an emphasis on the welfare of the dogs. Source: “oboe.” (CC BY-NC-ND 2.0) by tobym

The implications of the “Whistler Sled Dog Experiment” are troubling. For those two seasons, they were the #1 booked sled dog tour operation in Whistler, and they still did not last even three seasons trying to balance animal welfare with financial viability. If this is true, what does it mean for other sled dog operations around the world? The unsettling suggestion is that you can have profitability or animal welfare, but not both. If true, it certainly wouldn’t be the first time that following the money led us into a Dagobah-esque cave which brought us face-to-face with our own humanity, and what we are willing to sacrifice in the name of our own goals and profits.

At the same time we should be careful not to conflate commercial sled dog tours with individual mushers, even if they face many similar challenges. Despite what some animal rights groups may try to suggest, dog sledding is not typically a very profitable venture. Maintaining kennels and providing food for dogs is quite expensive, and most mushers will tell you that mushing is not a sport about money, but about passion. Like multiple Iditarod winner Lance Mackey told USA Today during his own financial hardships, “Everyone thinks I’m rich because I won the damn Iditarod. The fact is, the more involved and competitive you become, the more you have to spend to be competitive.”

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A team of sled dogs taking off from the start in Willow, Alaska. Source: “Go!” by Jonathan Ross (CC)

So let’s get back to the driving question: is dog sledding actually bad for dogs? It would be easy to say that commercial and competitive dog sledding is intrinsically cruel, an industry which sacrifices the lives of its dogs to satisfy the passion (or bottom line) of the humans driving the sleds. And it would also be fairly easy to take the other side, and argue that these dogs are truly doing what they love and what they are trained for – that PETA and organizations like it are filled with hopelessly misguided reactionaries that don’t have the first clue about the realities of mushing. As is usually the case, the truth lies somewhere in between.

When it comes to the Iditarod and other sled dog races, there is a physical toll. Some of the health risks faced by dogs include issues with dehydration, pneumonia, ulcers and gastric distress. Mushers argue that the number of dog deaths and injuries is commensurate with the sheer number of dogs in the race, and that pets face just as many risks staying home. The line for acceptable health risks in a race this grueling depends on who’s drawing it, but it doesn’t seem unreasonable to ask for more stringent practices to protect the health of the dogs, not just during the race but also in that vast majority of  time when they are out of the public eye.

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The biggest change that musher Danny Seavey would make to the Iditarod: “Do away with the prize money.” Pictured: Lance Mackey winning the Iditarod prize money in 2010. Source: Lance Mackey (CC-by-2.0) by Harmonia Amanda

Recreational dog sledding is a sport which enriches the lives of animals and humans – a way for both parties to get out in the elements and get the exercise they need for health and enrichment. Any time that humans act as stewards for animals, there will be isolated cases of cruelty – but dog sledding itself is not intrinsically inhumane. It is when the sport becomes motivated by competition or profit that things tend to get complicated. There have been too many charges against inhumane dog kennels to ignore: it doesn’t take a lawyer or a musher to look at the conditions and body language of some kenneled dogs to know that something isn’t right. Short seasons and large kennels are a nasty combination for dogs that often don’t get enough food, exercise or social interaction. Perhaps there is a way to keep sled dog tours in business while treating dogs humanely, but this would require rethinking standards and regulations for kennels, as well as changing the legal protections of these creatures that we profess to love. The legal loophole which denies sled dogs protection under normal animal cruelty laws is a major impediment in the quest for humane practices.

Photograph of Seward and Susitna [Alaska by Smithsonian Institution, on Flickr
An unidentified mail contractor transports mail between Seward and Susitna, Alaska in 1913. Source: Smithsonian Instution via Flickr
Three-time Iditarod musher Danny Seavey was asked recently by a fan: is the Iditarod inhumane? He then took to Facebook with an honest, thoughtful and no bullshit response to the question. In it he addressed some of the biggest controversies of the race (doping, dog deaths, kennel conditions, veterinary care) and even proposed a few ideas to improve these areas. He poked some holes in the idea of increased mandatory rests, proposing instead a “starting line” system at every checkpoint, which would leave the decision to run up to the dogs. He also acknowledged the bad optics of tethering, while at the same time defending its practice. Altering Alaska’s animal cruelty statutes would require mushers and dog handlers to come up with new strategies for kenneling and tethering, a logistical problem which is “probably where we should be concentrating our efforts,” according to Seavey. The biggest change he would make to the race? “Do away with the prize money. . . if you can’t afford to lose, maybe you shouldn’t be out there.” Perhaps the most important takeaway from the post is the attitude towards open and constructive dialogue. Like Seavey says right off the bat: “If we insist we’re 100% right, and the other guy is 100% wrong, we’re all doomed. Maybe PETA has a point on a few things. Maybe they’ll learn a thing or two from us. You never know until you listen.”

For the future of the Iditarod, changes to the race may have shifted from possible to necessary: a report by The Foraker Group shows the dire financial and cultural realities of the event, as relationships with corporate sponsors fray in the wake of animal rights protests and the mishandled doping scandal. There are signs of life from the Iditarod Trail Committee (ITC), as they have vowed to develop a “best care” kennel management program, in addition to shaking up the list of board members to remove long-standing conflicts of interest. Critics say that they have heard this before, and that it will take real action to prove the ITC is sincere in enacting substantive change to protect animals and mushers. The Iditarod and the centuries-old sport it represents is facing the harsh realities of the 21st century, and ignoring those realities would be neither moral or practical. Tradition, as we have learned, can only take you so far.

Featured Image: “Dog Sledding in Prince George British Co” (CC BY-NC-ND 2.0) by Kris Krug

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Rondy Days in Anchorage

B&W Carousel, Anchorage AK

The Fur Rendezvous festival (usually referred to as “Fur Rondy” or just “Rondy”) is a winter tradition that has been taking place in Alaska for over 80 years. Initially it was put on when the fur trade was still a major industry in Alaska, and the 3,000 or so Anchorage residents needed an excuse to let loose and look forward to Spring. The event has been lengthened somewhat in recent years to lead into the start of the Iditarod race in early March. For more information and a schedule of events visit the official website.

The Horrible, Beautiful Sound Of Annihilation

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Natalie Portman in Alex Garland’s Annihilation (2018), by Paramount Pictures and Skydance.

Before Alex Garland’s mysterious new sci-fi film Annihilation came out this weekend, many people had fixated on a very particular detail in the film’s original trailer.

It was four notes.

People in the comments underneath the trailer called it “the sound,” or “the effect,” but it really is just a melody: four notes that for some reason people have been responding to in funny and curious ways. Co-composer Ben Salisbury was even interviewed about the unnerving melody, and he said that it was the only part of the original soundtrack that made it into the trailer.

On the full soundtrack you can hear that it is actually seven notes – a four note melody, a pause, and an unnaturally low, three note response. The full track in particular is weirdly affecting, especially in the theater: the vibration of monolithic bass, the shimmering synth – and those ponderous, tumbling notes of distorted alien brass. It’s less like a song and more like a melody falling into a void. When pressed about what to call this particular motif, Salisbury called it “the demon opera theme.” It is a fittingly hypnotic motif for a movie that is designed to make us question everything.

 

Annihilation is based on the novel by Jeff VanderMeer, and its main subject is Lena, a biologist and professor played by Natalie Portman. She is intelligent and resolute, but she is haunted by the specter of tragedy following the disappearance of her husband Kane (Oscar Isaac), who disappeared during a classified military mission 12 months ago. That is, until the day he returns quite suddenly, and doesn’t remember a thing about the mission or how he got back.

As it turns out, he was one part of a team that went into an inexplicable natural phenomenon that has been deemed “The Shimmer.” No one who has gone into The Shimmer has returned, until Kane, and he goes violently into a coma shortly after. A five-woman team is assembled to head into The Shimmer: a biologist (Natalie Portman), a psychologist (Jennifer Jason Leigh), a physicist (Tessa Thompson), a paramedic (Gina Rodriguez), and an anthropologist (Tuva Novotny). Where trained soldiers have failed, the government hopes that a team of scientists might succeed.

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The female-centric cast of Annihilation has received backlash from sexist male moviegoers clinging to misogynist tradition. Source: Annihilation (2018) by Paramount Studios and Skydance.

Annihilation’s writer and director Alex Garland is best known for his 2014 sci-fi thriller Ex Machina, which he also wrote and directed. He also wrote the screenplay for 28 Days Later, Dredd, and Sunshine, as well as the novel The Beach (Danny Boyle directed the film adaptation). Garland has expressed disappointment over the fact that his newest film will only make it into theaters in three countries – China, Canada and the U.S.A. Less than stellar test screenings and some creative differences with the executive producer have led to the film skipping most international theaters on its way to streaming on Netflix, a way for distributor Paramount to hedge its bets on a movie it thinks too strange and “complicated” for audiences. This is a real shame considering Annihilation is a film best seen and heard on the big screen.

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The dangers faced by the women in Annihilation are as profoundly psychological as they are terrifyingly physical. Source: Annihilation (2018) by Paramount Studios and Skydance.

The fact that Garland and his producer Scott Rudin won this creative battle through final cut rights is good news for moviegoers, because here is that “originality” that so many movie fans have mourned as dead in Hollywood. This part horror, part sci-fi thriller is as ambitious as it is beautiful, both narratively and visually. It spends the main part of its runtime raising questions that seem unanswerable, yet manages somehow to answer just the right amount of those questions while leaving enough mystery to haunt you after it is over.

There is a probing curiosity at the heart of this film, one which makes us think in surprising ways about genetics, human psychology and our place in the universe. Its increasingly surreal world is like a beautiful and horrific Alice in Wonderland – its obscene beauty gnaws away at our sense of comfort and normalcy through patient pacing, incredible art design and that powerful original score by Ben Salisbury and Geoff Barrow. The score itself uses space and minimalism in a way that enhances the dreamlike story, until the film’s breathless final act demands something powerful and floor-shaking.

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Director and writer Alex Garland says he purposefully did not re-read the film’s source material, to make the movie feel “like a dream of the book.” Source: Annihilation (2018) by Paramount Studios and Skydance.

Studies have shown that music can change the way we perceive the world, and I can’t help but think of this as I hum that four note phrase again, days after I watched this film. There is something parasitic about the motif, as if my own moods and perceptions are being subtly refracted, even if I’m not always aware of it. This shifting of perceptions is the power of film as well as music, and in this case the two come together to make something strange and thought-provoking and memorable.

Some movies are fun to watch but don’t hold up well to closer examination (see Star Wars: The Last Jedi), and then there are movies like this one. They leave you feeling challenged and bewildered, but their impact persists and even grows after the film is over. Ex Machina had the same lingering aftereffects – the sign of a film not content to rest on entertainment value alone. Leaving the theater after Annihilation I felt a bit like Natalie Portman’s Lena: I wasn’t sure what just happened, but I was pretty sure I wasn’t the same.

 

Far North Bicentennial Park, Alaska

Snowy Road, East Anchorage AKAnchorage is Alaska’s largest city by far, and holds about 40% of the state’s population. That only amounts to just north of 300,000 people, even though the area of the municipality is nearly 2,000 square miles. Alaska is the least densely populated state in the country – not too surprising considering large parts of it are made up of tundra and inhospitable icy wilderness.

If you are driving in Anchorage and head east towards the foothills of the Chugach Mountains, you may very well end up on a road like this one, where the sounds of traffic fade away. I took this photo with my Nikon DSLR near sunset when the light was still touching the tops of the frosty trees.

Black Panther: The Hero We Need Right Now

Marvel’s Black Panther opened this past weekend to the tune of a monster $235 million opening weekend box office pull, good for fifth highest of all time. It is riding a massive wave of pre-release hype, positive reviews, a chart-topping Kendrick Lamar original soundtrack, and most importantly a cultural sense that here, finally, is a superhero movie that has been long overdue.

Black Panther the hero first appeared in a 1966 Fantastic Four comic created by Stan Lee and Jack Kirby, the same year that James Meredith was shot during his “Walk Against Fear” in Mississippi. It was the same year that Willie Ricks and Stokely Carmichael made “Black Power” a slogan for a modern civil rights movement. Spoiler alert: in the ensuing half century we have not defeated racism. Great strides in civil rights have been hard earned since then, but the overarching issue of systemic racism in the courts and streets of this country are as complicated as ever.

As recently as 2013, a new slogan and movement arose as a reaction to the murder of Trayvon Martin and subsequent acquittal of his slayer George Zimmerman. #BlackLivesMatter was born out of the shared sorrow and rage over the simple fact that this country has never cared about the lives of black people. On movie screens black people have been, at best, tokens. At worst, they have been wild-eyed archetypes of savage otherness. Off the movie screens they have been forgotten by the school systems, marginalized by politicians, and murdered by law enforcement.

Black Lives Matter by xddorox, on Flickr
Source: “Black Lives Matter” (CC BY 2.0) by xddorox

I don’t apologize for being political, because politics touches every aspect of our lives. The arts have always been political, and anyone who claims otherwise either has an agenda or has fallen victim to someone else’s. We are living in a time when the discrimination and widespread incarceration of black folks is as problematic as ever, and the President of the United States goes out of his way to defend white nationalists and sexual predators while broadly attacking minorities and immigrants. “America First” and MAGA have become the de facto mottos of racism and xenophobia in the USA, an obtuse and deeply troubling reaction to shifting demographics and a perceived sense of endangerment to the white patriarchy. I would argue that these days, it is irresponsible to be apolitical.

And now here is Ryan Coogler’s Black Panther, starring Chadwick Boseman as T’Challa, newly crowned King of the African country of Wakanda. While Wesley Snipes’ Blade gave moviegoers a kickass black Marvel superhero in 1998, Black Panther marks the first time that a black hero has gotten a feature film in the modern Marvel Cinematic Universe. Not only that, but it is a dominantly black cast, directed by a young black filmmaker who showed what he was capable of with his gripping and racially charged debut feature Fruitvale Station. Fault Disney and Marvel for plenty of things, but they picked the right guy to helm their movie.

Ryan Coogler by Gage Skidmore, on Flickr
Director Ryan Coogler, who previously directed Fruitvale Station (2013) and Creed (2015). Source: “Ryan Coogler” (CC BY-SA 2.0) by Gage Skidmore

The stellar cast gives much-needed positive representation to both women and black people, two demographics pathetically underserved by Hollywood. It would have been a bitter irony indeed if Black Panther had championed black characters while simultaneously depicting an all-too-common regressive depiction of women. Instead, the heart of the cast is made up of Lupita Nyong’o, Danai Gurira, Letitia Wright and the inimitable Angela Bassett – female characters who are as brilliant as they are strong. T’Challa may be the King of Wakanda, but it is the women who keep the kingdom running.

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The fierce Dora Milaje “Adored Ones,” Source: Black Panther (2018) by Marvel Studios

All of this would have been for nothing if the movie had sucked. Director Coogler has said that his priority in making Black Panther was first and foremost to make a good movie. We are able to talk about its meaningful cultural impact because it works as a film: it is action-packed while thoughtfully tackling important issues, it is shrewdly cast and well-acted, and the movie in general is gorgeous.

Speaking of casting, it would be wrong to write about Black Panther without mentioning Michael B. Jordan’s role as Erik Killmonger. Jordan elicits more sympathy as the villain in this movie than some superheroes do as protagonists in their own films. Killmonger is far from the old school archetype of evil: his grief and fury are understandable responses to the injustices of a world that never cared about him, or people like him. I had a strange but not unwelcome ambivalence throughout the film because it was impossible to outright dislike him, or even disagree with much of what he was saying. He is the villain not because of his rage over global black suppression, but because he would use imperialism and violence to turn the tables. His is a deeply tragic character, and perhaps the finest illustration of the script’s narrative savvy

It probably wouldn’t be a bad idea to pump the brakes for a moment. Black Panther is not going to save the world. Black Panther is not going to stop cops from killing black kids. In fact it’s dangerous to imply that it even could. Of course a single movie cannot right the pervasive wrongs of our society, just like Obama’s election could not eradicate racism. At the end of the day it is another superhero movie, just one feature in Marvel’s multi-wave plan for cinematic domination.

But it is a step in the right direction, if only because black boys and girls can go to the movie theater and find role models that look like them, characters with strength and depth and wit. Women that go to movies normally dominated by white male action heroes can see a host of strong and intelligent female characters with range and nuance. White audiences can experience what it feels like to be a token. An antagonist can be someone who channels the rage of a whole people, while inciting thoughtful debate about the methodology of liberation. Yes, you can call it “just” another superhero movie. But it captures the zeitgeist of our culture at what seems like just the right time, and that makes it feel like something more.