Popular Culture Review 29.2
der Woman could say feminist things and still be for women and not against men .
Thus , it is clear that the Wonder Woman live-action television series was suppressed and undone in favor of a perceived mainstream America afraid of feminism . But the undoing of the series did not end there .
SUPERHERO LEGACY
There continue to be negative reflections about the series . In his book Wonder Woman : Bondage and Feminism in the Marston / Peter Comics , 1941-1948 , Berlatsky dismisses the show as “ terminally dull ” �the back of the book reads that the television series was “ far different ” from the original comics�implying that , by not analyzing the show in greater detail , he considers the series “ completely aesthetically and intellectually worthless ” ( 187 ). Berlatsky writes that most versions of Wonder Woman do not “ engage with Marston ’ s themes ; they don ’ t build on his ideas ; they don ’ t reference or incorporate or think about Peter ’ s art . They ’ re about Wonder Woman the icon , but they don ’ t have much , or anything , to do with Marston / Peter ’ s comics ” ( 214 ). Others reflecting on the show have focused negatively on Wonder Woman ’ s costume ( Weaver ).
There are many positive reflections as well , primarily about Wonder Woman ’ s role as a strong female character ( Smith ; Weinberger ). The series resonated a great deal with young people who grew up to become comics creators . Alex Ross , Phil Jimenez , Adam Hughes , and Andy Mangels have emphasized that the show was accurate to the comics , that Lynda Carter “ became ” the character , and that they “ bought her instantly .” They saw her for the ideals she represented , and as a superhero brought to life ( Revolutionizing a Classic ). According to Ross :
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