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The Fantastic Four: First Steps
Movie

The Fantastic Four: First Steps

2025 • Action, Adventure, Sci-Fi

Woke Score
3
out of 10

Plot

Forced to balance their roles as heroes with the strength of their family bond, the Fantastic Four must defend Earth from a ravenous space god called Galactus and his enigmatic herald, the Silver Surfer.

Overall Series Review

The Fantastic Four: First Steps presents a mixed ideological profile, ultimately anchored by its core theme of family and traditional moral conflict. Set in a charming, retro-futuristic 1960s, the film successfully recaptures the spirit of 'Marvel's First Family' by placing the strength of the Reed-Sue marriage and their newborn child, Franklin, at the center of the conflict against Galactus. This powerful embrace and defense of the nuclear family and motherhood acts as a strong counter-force to several progressive character re-imaginings. The most prominent themes flagged as 'woke' center on gender dynamics. Sue Storm's character is intentionally redefined to be the primary emotional, intellectual, and diplomatic anchor of the team, a clear 'Girl Boss' update to move her away from the 'Invisible Girl' archetype. Similarly, Johnny Storm's classic 'womanizing' swagger is consciously replaced with a more introspective and socially 'aware' persona, which reads as an overt emasculation of a traditionally masculine archetype. However, these changes do not translate into a narrative of male incompetence or outright vilification. Furthermore, the plot's explicit celebration of motherhood and the family unit in a life-and-death moral dilemma is the dominant and conservative message. The film also notably features a female version of the Silver Surfer (Shala-Bal), a 'gender-swap' that is a clear injection of diversity into the herald's role. Ultimately, the film avoids the highest 'woke' scores due to its fundamental affirmation of a transcendent moral code (protecting the innocent) and the institution of the family.

Categorical Breakdown

Identity Politics4/10

Score reflects the mix of forced diversity (gender-swapped Silver Surfer/Shala-Bal) and minor race-swapping (Pedro Pascal as Reed Richards), which injects intersectional casting. However, the core team is largely 'white' and the plot avoids lecturing on privilege or systemic oppression, focusing instead on universal heroism and family meritocracy, preventing a high score.

Oikophobia2/10

The score is low because the core narrative is about defending Earth (one's home) from an external, cosmic threat (Galactus). The retro-futuristic 1960s aesthetic suggests a nostalgic reverence for a bygone era, rather than a deconstruction or self-hatred of Western civilization or its ancestors.

Feminism6/10

The moderate score is earned by the clear, explicit, and pre-release publicized 'reimagining' of both Sue Storm and Johnny Storm based on modern 'gender politics.' Sue is deliberately elevated to be the primary intellectual and emotional force, and Johnny's traditional 'womanizer' masculinity is replaced with a sensitive, 'self-aware' character (emasculation). This pushes the score to the high-moderate range. However, this is significantly counterbalanced by the central theme being the powerful defense and celebration of a *newborn child* and the nuclear family, which directly contradicts the anti-natalist trope of a 10/10 score.

LGBTQ+2/10

The score is low as the central relationship is the traditional, heterosexual nuclear family (Reed and Sue are married with a baby) and this family unit is explicitly celebrated as the anchor of the world's defense. Credible plot summaries do not mention centering alternative sexualities, deconstructing the family, or promoting gender ideology. Highly critical reviews that accuse the male characters of acting 'gay' are based on subjective, non-plot-specific portrayals rather than concrete narrative themes.

Anti-Theism1/10

The film scores very low due to plot elements that appear to embrace spiritual themes. The central moral conflict regarding the sacrifice of a child is interpreted as engaging with the Abrahamic story of the Akedah (Genesis 22). Furthermore, the character Ben Grimm is explicitly associated with his faith and 'local synagogue' in cultural commentary, suggesting a positive or respectful portrayal of transcendent faith rather than hostility toward it.