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Still determined to earn membership in the infamous social club of villains, The Legion of Doom, Harley Quinn recruits The Queen of Fables into her crew for a dangerous heist. She helps The Queen of Fables escape from Gotham City's prison for mentally ill, Arkham Asylum, only to learn that The Queen has few scruples when it comes to committing crimes. Harley realizes that despite characterizing herself as a Gotham City Supervillain, she still has "a line" that she would never cross. She refuses to murder, harm, or terrorize innocent people or bystanders. She still looks up to Rogues like the Joker and his peers, but she recognizes the difference between their methods and hers; It's as if she instills some of the principles she learned as a trained therapist, "do no harm." Or, at least, in Harley's case, "do the least harm to get the job done."

In this episode, Harley has some formative experiences that impact her sense of self. As we see her continue to set herself apart from other villains, we also see her form new schema and modify or question past schema about herself and the world. We witness a form of individuation as she begins to see her unique values and qualities, separate and different from people she used to look up to like the Joker. Furthermore, we notice her exhibiting self-determination, which is a psychological theory based on concepts of human motivation. As long as Harley feels she can influence outcomes in the future--such as earning membership in the Legion of Doom--she will be proactive, work harder, and learn more in the process. That's self-determination. We are motivated by three basic needs that drive our behavior: autonomy, competence, and relatedness, and as it turns out, Harley exhibits most of these characteristics. Despite her willingness to work hard, Harley also notices that most of the members of the Legion of Doom lack the very things she sees in herself: integrity and compassion.

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As Harley Quinn masterminds strategies to get the attention of the Legion of Doom, Commissioner Jim Gordon of the Gotham City Police Department shows signs of mental exhaustion. Commissioner Gordon seeks Batman's emotional support by casting the batsignal late in the night. Upon arriving on the rooftop, Batman exercises his boundaries and advises the Commissioner to keep personal disclosures out of "work" conversations. Insisting that they're mere coworkers and not friends, Batman insists that Gordon stick to business at hand: catching Gotham's cowardly criminals.

Physical wear and tear is a normal part of any job that requires late shifts, large caseloads, and crisis response work. Cops, first responders, social workers, emergency room staff and therapists are susceptible to workplace exhaustion. But factors such as trauma exposure, few breaks or vacations, and lack of support can lead to workplace "burnout." Commissioner Gordon not only appears tired, with disheveled clothes and dark circles under his eyes, but his demeanor is different. His helplessness and pessimism convey something deeper than stress: moral injury. He is emotionally and spiritually drained from his job in law enforcement. The myriad of Gotham's rogues and miscreants have taken a toll on the Commissioner.

Burnout isn't simply feeling stressed out on the job. Burnout is characterized as the emotional reaction comprising three elements: Exhaustion, Cynicism, and Inefficiency. Commissioner Gordon demonstrates all three signs to some degree, but what stands out is his persistence and interest in social support (which is a good sign!). Even though Batman rejects his invitation to connect over their common humanity, Gordon finds the emotional support he needs from a surprising place: a piece of physical evidence. (Hint: It's Clayface's sentient arm!). However bizarre the duo may seem, we learn that sometimes a compassionate friend who truly validates you and what you're going through is all you need to feel less alone.

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In a memorable episode of DC's Harley Quinn series, Harley suffers a paralyzing identity crisis. With the help of Dr. Psycho's telepathic powers, her friends magically transport into her mind to free her. As they travel through the regions of her brain, Harley and her friends revisit some of her most formative experiences, revealing a history of childhood neglect, loneliness, and abandonment. Much like therapy, Dr. Psycho's supernatural transference into Harley's brain invites her to examine and explore how her past experiences shape her present self. Harley learns about her "stuck points," which are strong beliefs about oneself that can prevent recovery from trauma.

Many of the "portraits" in Harley's mind are unpleasant, sparking a mixture of negative reactions and feelings. When she encounters the memory of the Joker transforming her into his devoted sidekick - an event which would lead to years of intimate partner violence - Harley notices that her recollection is fragmented and foggy. With further examination and the support of her friends, she is able to fill in the gaps, shocked that what actually happened between her and the Joker was very different from how she had remembered it.

Traumatic experiences are relatively common, and trauma alone doesn't necessarily lead to mental health problems. What is actually predictive in the development of illness (like PTSD, depression, and chronic suicidality) are the factors that follow the trauma, and the experience of multiple traumas. Over time, recurrent traumatic "insults" to our system can lead to structural changes in areas of the brain responsible for memory formation, emotion regulation, and problem solving. When a person, much like Harley, is exposed to multiple traumas, they are often unable to experience enough recovery time. Our bodies are designed to recover from high-impact stress during "rest and digest", a regulatory process that allows our nervous system to heal and repair the body by sending relaxing signals to our brain. Harley's nervous system, in contrast, is frequently on high alert due to a longstanding history of exposure to violence, interpersonal abuse, and abandonment. Her overactive, dysregulated nervous system isn't sending critical reparative signals to her brain; over time, this repair deficit can worsen distress and distort memories. Harley Quinn's highly impulsive and risk-taking style may be her way of seeking instant relief from these negative feelings.

The Harley Quinn series uses fantastical and supernatural story beats in clever ways. Here, the harrowing quest through Harley's mind is representative of hard work in the therapeutic sense. Counseling is a journey, and at times can feel scary, even suspenseful. But what can be learned in therapy often outweighs the discomfort, risk, and uncertainty some clients may first feel. Most trauma therapies involve processing difficult memories by "turning on" our prefrontal cortex through talking about our own narratives, our stuck points, and newly formed schema about key topics like safety/danger, trust/threat, control/helplessness, and self-hate/self-worth. Our ability to take control of the re-wiring in our brain is in essence a very real superpower, and it is never too late to begin healing from past trauma.

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The Penguin is a live-action crime drama following the misdoings of one of Batman's notorious rogues, Oswald Cobblepot (renamed Oz Cobb for the series). Set immediately after the events that take place in the film, The Batman (2022), it's a gripping and disturbing showcase of Oz's self-serving, Machiavellian pathology as he ascends the mob underworld of Gotham City. The Penguin is a villain origin story with a realistic angle: from childhood, Oz has sought the admiration from others and is willing to harm, deceive, and manipulate in order to achieve a sense of importance. Oz exhibits a longstanding personality type called vulnerable narcissism, which is characterized by deep feelings of insecurity, introversion, and a fragile sense of self. Easily injured, Oz will do everything it takes to maintain a feeling of importance: even kill.

Throughout the series, Oz is observed fearing rejection and ridicule, reacting strongly to criticism, holding unhealthy relationships, exhibiting emotional instability, and lacking empathy for others. Oz takes on a young mentee, Victor Aguilar, who is a bit like him: often overlooked, self-doubting, and adrift. We also meet the person Oz is closest to, his mother, who struggles with dementia and alcoholism. But Oz cannot help his aggressive need for power and attention; fundamentally, his relationships are injurious and conditional, and are susceptible to his whims of entitlement.

The Penguin is a masterclass in conveying the story of a pathological protagonist with an arc. Oz's insecure attachments and instrumental violence are realistically consistent traits that remain uninterrupted and unmistakably characterological, but glimpses of his projected fragility make viewers search for a connection with this villain. As it is set in the fictional corruption-stewed Gotham City, it is no surprise that the story fulfills a "horrorization" of mental health and therapy. The "experts" and "counselors" have self-serving motives and in some instances do more harm than good. Sofia Falcone's psychiatrist, Dr. Rush, administers an exaggerated, terrifying version of Eye Movement Desensitization and Reprocessing Therapy (EMDR), a real mental health treatment technique that involves the use of a moving light. The back-and-forth motion of the light is believed to promote bilateral stimulation, a neurobiological process described by the EMDR developer that inhibits the amygdala, which is the part of the brain responsible for fear and anxiety. According to the theory, shifting the eyes back and forth helps to suppress distress responses, decreasing the physiological arousal that is often associated with traumatic or painful memories.

EMDR is not without some controversy. Recognized by the World Health Organization (WHO) and the American Psychological Association (APA) as an evidence-based practice for the treatment of PTSD, EMDR has been widely embraced by clinicians and clients who like it for its ease, brevity, and effectiveness. But the exact mechanism responsible for therapeutic effects remains unknown, and despite the scientific-sounding explanations for eye movement as the working factor, other self-stimulating movements like tapping and vibrations yield similar results. Meanwhile, relaxation and exposure practices during trauma processing are believed by some experts to be the specific components of the treatment that actually work. Moreover, some psychological scientists warn that eye tracking remains unfalsifiable, and that EMDR is at best a pseudoscience that, despite its rise in popularity, can only claim to be modern-day mesmerism. Listeners of the show are encouraged to speak with trained, credentialed professionals when seeking advice and treatment for trauma related distress.

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As she continues to learn the ropes of becoming a supervillain in Gotham City, Harley Quinn seeks an important aspect of gaining bad-guy credibility: A nemesis! Lex Luthor has Superman. Cheetah has Wonder Woman. The Joker has Batman. In fact, Harley believes a high-profile antagonist like Batman would be the perfect match to ramp up her reputation. But, despite her attempts to gain Batman's attention, she has to settle for Boy Wonder, Robin, an adolescent tiny-statured sidekick no one takes very seriously. Harley will be the laughingstock of Gotham's underworld if she doesn't shake him.

Once again, Harley discovers the challenges and disappointments of following in the Joker's footsteps. That pathway doesn't seem to quite work for her, but she's not yet self-confident to write her own manual. Meanwhile, Harley gains much from gathering a supportive crew. With Clayface, Dr. Psycho, Poison Ivy, and a new member, King Shark, by her side. Harley is not only able to hatch smart plans but also sees the importance of having companions who accept her as she is, with few selfish expectations to gain from her ascension as a supervillain. Toward the end of the episode, Batman does show up to rescue his sidekick, which of course catches the attention of the Joker, who simply doesn't want to share the Bat. A bloody battle ensues amidst the reality that Harley simply isn't super-powered enough to face both Batman and the Joker.

Examining these relationships allows us space to consider the role of allyship. An ally is a person in active and consistent practice of using their power and privilege to achieve equity, inclusion, and justice while holding accountability for advancing the needs of vulnerable groups. Worth noting is the difference between an ally and an accomplice. An ally will do things for you, while an accomplice will do things with you. An accomplice doesn't just have their friend's backs, they are at their side, or in their own spaces confronting injustice and unsettling the status quo. In this episode, for instance, we witness Poison Ivy transition from a supportive listener to stepping in as if Harley's struggle were her own. Ivy abandons her advice-giving and leaves the comforts of her home with intention and sacrifice. She shows up to Harley's side, using her own super-powers to defend her friend in need.

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A newly independent villain in Gotham City, Harley Quinn takes on some of the most dangerous and noteworthy heists as a solo expert. She plans to grab the Legion of Doom's attention and earn her way into their elite club. Harley starts to realize, however, that hard work alone will not get her far. In her attempts to recruit henchmen, Harley discovers that even amidst the lawlessness and savagery of Gotham's criminal society, there are unspoken rules, favors, and loyalties that keep her from advancing in her "career."

Poison Ivy explains that Gotham's crime underworld is riddled with abuses and discrimination. "There's a glass ceiling for female super-villains," Ivy warns, suggesting that Harley tone down her ambition and lower her expectations. Sure enough, Harley encounters real barriers in her attempts for ascension. The Joker unapologetically commandeers her heists, talent agencies turn her away, and the public figure Maxie Zeus tries to solicit inappropriate favors from her behind the closed door to his office. Determined to make a name for herself, Harley convinces Dr. Psycho and Clayface to team up with her and rob Maxie of his gold. The crew's combined wit and unique talents help them humiliate Maxie, but this is just the beginning of Harley's power struggle.

The gender-based double standards Harley faces are made more vivid and exasperating through dark comedy. Harley points out that the very characteristics that make male villains like the Joker successful are the same ones that make her colleagues dislike and mistrust her. While the Joker can display his madness and cruelty, his bizarre and unhinged antics, Harley must keep her boldness under control or she will be labeled "a crazy B." As they navigate power and positionality in our workplaces, women must not only come across as experts in their field, but be consistently and perfectly balanced in emotional expression. Not too devoid of emotion (they'd be labeled cold and bossy), but not too emotionally expressive (they'd be seen as unstable and unfit to lead). Moreover, the stigma surrounding mental health conditions is worse for women: women are often judged more harshly for struggling with mental health issues compared to men, and historically are more likely to be punished and over-pathologized when being open about mental health difficulties.

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Joker: Folie à Deux continues the bleak story about Arthur Fleck (Joker) and his spiraling from misunderstood recluse to deluded sociopath. The film makes use of textbook forensic psychology, melancholic musical performances, and deep dissections of Fleck's psyche to pull audiences into a genuine curiosity about whether there is anything redeemable about the most realistic Joker depicted on screen.

With frequent mentions of psychiatric assessments and therapies, the film takes place in Arkham State Hospital, a somewhat more realistic setting than the fictional Arkham Asylum from DC Comics, with the plot driven by the question "Is Arthur Fleck too mentally ill to be held responsible for murder?" His sincere and caring lawyer plans to argue that Arthur has dissociative identity disorder and that his "Joker" personality is responsible for the crimes. Dr. Drea explains the legal requirements needed for a Not Guilty By Reason of Insanity defense (NGRI) and whether the film succeeds in presenting psychological accuracy around this topic.

In a lackluster role-reversal, Harley Quinn infiltrates Arkham to seduce, manipulate, and string Arthur along while she indulges in hyperphantasmic and attention-seeking drama. She re-introduces Arthur to the catharsis of play. Chaos and destruction are reconciled through performance art; violence becomes a stage show, derangement is a tap-dance. Arthur experiences genuine joy and laughter for a momentary blip, no longer having to force or long for these positive emotions. Ballad after ballad, Arthur's human frailty becomes more exposed, and if there's anything we can relate to, it's Arthur's painful search to be loved and to matter in this world. But with such tight proximity and claustrophobic close-ups of his disturbances, like most people around Arthur, we grow tired of his attention-seeking and just want to get away from him.

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As she explores life as a single lady, Harley Quinn encounters some setbacks and struggles while her ex, the Joker, tries to control the narrative of how their relationship ended. Even after they've broken up, he continues to exercise his power over her by publicly discrediting her. In a corrupt place like Gotham City, "proving yourself" as a villain (not just someone's henchperson) requires extra levels of lawlessness and subversion. But Harley feels she's the right woman for the job, and sets out to show the Joker she's doing alright without him, thriving even. But no matter where her plans take her, she simply can't escape the shadow of the Joker.

This episode seeks to explain the Joker's pattern of sinister, remorseless, and attention-seeking behavior. Similar to people with Narcissistic Personality Disorder, the Joker pursues social validation to overcome his deep feelings of inadequacy. Unlike true confidence, narcissism isn't a feature of feeling secure in oneself. It is a mechanism that demands approval and praise from others in order to feel important and superior; it is a relentless almost endless quest, because the person doesn't actually address the actual feelings of worthlessness and shame they're trying to deny. The Joker uses control, abuse, and fear to ensure others praise and idolize him. But other pervasive features like his attention-seeking, interest in violence, and dramatic style of relating to others suggest the Joker's pathology is better explained by multiple diagnoses across personality disorders. He isn't simply an emotionless, cold killer. Does this added complexity mean there is room for improvement? There is much more to explore in this season!

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Many people are already familiar with Harley Quinn's story: Psychiatrist turned villain. Codependent partner of the Joker. Abuse survivor. As The Arkham Sessions begins our exploration of DC's Harley Quinn animated series, we notice that it's not another reboot or retelling of her character's traumatic origins. The series centers Harley as a complete person, not as an extension or "sidekick" of her perpetrator, as she works toward healing and recovery from past abuse. We also notice that the series does not attempt to erase, ignore, or minimize past problematic depictions of her character.

In episode 1, the toxic dynamic between Harley and the Joker is unapologetically displayed, exposed, and unpacked. It is clear that the series will not normalize the Joker's tactics, nor will linger too long on Harley's abuse. The show leans heavily on profanity, fast-paced energy, gross violence, and even the familiar Looney-Toones-esque slapstick physicality to sustain our attention and even release some tension. But when it slows down, the writing succeeds in helping us deal with the discomfort and restlessness of abusive terror. It busts some myths about abuse survivors and depicts more realistic narratives, as evidenced by psychological science. Survivors can be strong. Survivors can be intelligent, educated, and savvy. Survivors (often) cannot simply just get up and leave their offenders.

Throughout our coverage of the Harley Quinn series, we will revisit topics such as consent, gaslighting, harmful behavior, and narcissists, with a direct emphasis on not only explaining this behavior but providing strategies and approaches to combat scary tactics by harmful people. The episode ends with a brief grounding exercise called The Safety Bubble, a self-guided calming routine for anyone struggling with anxiety, feeling dysregulated from triggers, and seeking safety in their sensory experiences.

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In the Season 1 finale episode of X-Men: The Animated Series, tensions grow as anti-mutant "fever" consumes the nation. News stations capture the animosity and recklessness of anti-mutant riots and uprisings. The X-Men are blamed for inciting violence and attempting to assassinate government officials. The Sentinels, a group of artificially intelligent robots, become autonomous and plan to replace the brains of world leaders and begin their global takeover. The final decision? All humans, mutants or not, must be obliterated to achieve world order. The war between mutants and non-mutants becomes senseless and absurdly minuscule, their differences made pointless by the Sentinel's foreboding inhumane social philosophy.

The surprise takeover by the Sentinel army remains a sobering lesson because the technology and simulations used to create the Sentinels were man-made. The Sentinels are simply reflecting the most basic and unfettered desires within humans to control, dominate, and oppress. What might yet be missing in the computerized substitution is emotional intelligence, something humans have yet been able to replicate. At the end of the episode, humans manage to overcome their robot tormentors, and even the most extreme ideologies about mutants are adjusted. As it turns out, true cognitive, psychological, and attitudinal changes within humans are possible; it takes deeper engagement with one another to achieve these genuine changes. Dr. Drea describes how shifting our perspective through empathy, not intellectualizing, can be an effective way to better understand others' experiences and truly impact our worldviews and values.

In a triumphant ending, Beast is released from prison after being pardoned by the U.S. government. While his time incarcerated could come across as inconsequential, it might also be symbolic of how we diversify social justice work. Whether through mobilization, education, science, policy activism, and front-line defense, like "spokes in a wheel," everyone committed to a cause finds a meaningful role in which they can preserve dignity and respect for themselves. Beast likely did not see his isolation and peaceful pacifism as unimportant to the cause while his fellow X-Men took to war. As the series ends and infighting draws to a close, questions remain about whether everyone truly believes mutants have achieved their long awaited liberation.

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The X-Men must prevent a major global catastrophe that is predicted to happen in the distant future and is triggered by the assassination of a government official. According to the mutant time-traveler, Bishop, the murder of a political leader leads to decades of worldwide destruction, starting with restrictive mutant control laws, the expansion of a sentinel army, and mutant detention camps.

Professor X and many of his X-Men head to the U.S. Capitol and discover that it was indeed a mutant who started the war. They learn that the shapeshifter, Mystique, took the form of their friend Gambit and attempted to assassinate a key senator under disguise. Luckily, the X-Men prevent Mystique from harming the senator, and Bishop is sent back to the future. He is horrified to discover that, despite his efforts, the future hasn't changed at all.

Shapeshifters like Mystique can represent folks who do not fall within commonly recognized categories or labels defined by the constructs of race, gender, and neurodevelopmental identities. Shapeshifters remind us that, sometimes, identity expression is mutable, adaptive, and performative. Shapeshifters are experts in code-switching, and can adjust themselves (appearance, language, voice, demeanor) to amplify features more acceptable or expected by others. The episode shows how people do not understand the experience of shapeshifters and they are described more like creatures or monsters, not humans. However, shapeshifters carry strengths like open-mindedness, cognitive flexibility, discernment, and resilience.

Mystique reveals a lot more about her shapeshifting abilities when she confesses to Rogue that she is her mother--she took the form of a caregiver and adopted Rogue when she was young. Mystique's confessions raise more questions about her motivations and alliances. If she is working with Apocalypse and wants to eradicate mutants, what's the gain for her?

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In the year 2055, the world is a dystopian wasteland. Mutants are hunted down by Sentinels and "trackers," armed recovery agents who capture and transport rebel mutants to termination centers. One of these trackers, a mutant named Bishop, encounters an aged Wolverine who convinces him that they must travel back to the 90's to prevent the assassination that caused all this destruction. Bishop travels alone to the past, committed to preventing a key event that pivoted history toward the extermination of the X-Men.

In the 90's, the X-Men face critical decisions surrounding their pursuit of liberty. Beast remains in prison, patiently awaiting his due justice. His friends grow frustrated, and challenge him on his nonviolent approach to being unfairly incarcerated. Tensions grow as Bishop attempts to convince the X-Men that he is from the future--and Professor X, after probing Bishop's mind and seeing the horrific fate that await mutants in the decades to come, understands that their solutions are limited.

Nonetheless, mutants are not a monolithic group. Some identify with their mutant characteristics while others see their mutation as secondary to their personhood, even consider being "cured" of their mutation. Dr. Drea points to similar perspectives that emerge among disabled people and the disabled community. Neurodivergent people, for example, often prefer "identity first" language and perceive their neurodivergence as a normal brain variance in the human experience, rather than a disease or deficit that requires a "cure." Those of us with physical disabilities and/or neurodevelopmental conditions may hold both ideas at the same time, i.e., "My disability is part of who I am as a person, and I do not want to lose a part of me, but I grow fatigued from the hardship of a social environment that treats me as less than."

Mutants who can "mask" their (dis)abilities like Scott/Cyclops, for instance, may experience more freedom and privilege compared to Dr. Hank McCoy/Beast, who cannot hide his mutation but is arguably the most psychologically integrated in the sense of acceptance, awareness, and self-compassion. Unfortunately, the X-Men must find a way to unify as a cohesive group and agree about their path toward salvation--so, with Bishop armed to kill the unnamed assassin, is one act of violence excusable if it prevents genocide?

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If it sounds too good to be true, it probably is! The X-Men visit the "Mutant Research Center" on Muir Island to investigate the scientist rumored to have a "cure" for the mutant gene. There, they encounter a group of mutants, all seeking a remedy for their unwanted mutant features. A yearning to change one's identity, we realize, is a common experience among mutants. Professor X explains the various reactions mutants feel as they struggle to make sense of who they are in the world. He notes that some mutants grow frustrated or angry, but others may feel sad and detached. What they discover, however, is that the merciless villain, Apocalypse, is behind the scheme to lure mutants to the research center so that he can make them his slaves.

Trauma that is related to a person's identity is often considered "complex trauma" because it is repetitive and personal (as opposed to natural disasters or random accidents). The X-Men encounter disruptions in their safety, their citizenship, and in their relationships on a frequent basis, and the threat of annihilation is their ongoing reality. Dr. Drea discusses the concept of different trauma responses based on the neurobiology of survivorship. What does fight, flight, and freeze look like among the X-Men? And is it possible that some behaviors, like Rogue's determined activism and Professor X's protectiveness, can be considered adaptive styles of "fight," for instance. The Morlocks, on the other hand, have found safe refuge under the city, and are examples of "flight" behavior.

Lastly, the conversation introduces the adaptive trauma response of "tend and befriend." The tend and befriend theory in psychology says that when faced with a perceived threat, humans will care for their vulnerable loved ones and rely on each other for connection, solidarity, and support. This protective response may be the most common and the most effective among the X-Men, and may also help us to realize the importance of empathy and compassion amidst global conflict and injustice.

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As the X-Men rebuild their academy, Rogue goes on a quest to find a cure for her mutation. Rogue's mutant powers give her the ability to absorb the energy from others when she touches them, but also prevents her from experiencing physical intimacy with anyone. She wonders if her feelings of isolation and depression could be "fixed" if she were simply "normal." Rogue seeks the advice from the expert Dr. Adler on Muir Island, a place rumored to house a machine that could cure mutations.

Along her journey, Rogue encounters other mutants who also share an interest in "curing" their mutations by using Dr. Adler's machine. But not all mutants react to this innovative science the same way. Professor X, for instance, asserts that mutants are simply "born" with their unique identities and require no intervention, at least not the invasive kind that eradicates mutations. He sees mutations as simply a variation of the human existence. Other mutants feel too overwhelmed by their dysphoria and loneliness, that a "cure" seems very alluring to them. As we've seen, some mutants feel so thwarted by their "defects" that they're willing to hide their features, masquerade as non-mutants, and even self-harm. Indeed, we all have believed, at some time in our lives, that our problems would be fixed if we could simply be like everyone else.

The various reactions the X-Men have about their bodies (ranging from self-hatred to self-acceptance) are realistic, and mirror a framework of identity development in our world. Psychologists have used the Minority Identity Development Model to elucidate the emotional stages of the socially contextualized self. Basically, we develop schema about ourselves based on the influences of our social environment. Mapped onto mutant identities, this framework can help us understand (and de-pathologize) the psychological reactions the X-Men show up with. When Rogue feels isolated and depressed, she faults her mutant identity, associating her powers with disadvantage and disease. This is an example of internalized oppression. Her beliefs and attitudes are not too dissimilar from what the majority of society thinks about mutants. But with the help of her community, Rogue begins to recognize and feel proud of the internal strengths and gifts that are unique to her. The episode claims no resolution to the global problems dividing mutants and non-mutants, but lends an insight into our ability to feel empowered, accepted, and valued in our different bodies.

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The X-Men discover their home completely destroyed and set out to search for the person (or mutant) responsible for the attack. They encounter two suspects--Colossus, a Russian immigrant who is helping construction workers, and Juggernaut, a titanic super-powered villain committing crimes in the city in order to lure Professor X out of hiding. It is revealed that Juggernaut is Professor X's half-brother and is harboring resentment toward his more accomplished sibling.

This episode covers themes related to family dynamics, sibling bonds, and fraternal rivalries. Siblings like Juggernaut and Professor X may be demonstrating social development issues related to the trauma they experienced in their youth, which can cause them to experience intense conflict between one another. Sometimes, siblings can become estranged or distance themselves from one another as a coping mechanism to deal with childhood trauma. We may also be seeing sibling victimization, which are episodes that are verbal (e.g., name calling), property (destroying or taking property), psychological (feeling afraid), or physical (hitting, kicking, etc.). Juggernaut may be physically "superior" to his brother due to strength, size and ability, but Charles has social and intellectual capabilities due to his psychic powers. It's clear that, over the years, Juggernaut has developed a grievance against his more successful brother, and by destroying Charles' things, humiliating him, and attacking his friends, he hopes to achieve a sense of power over him. This example of sibling victimization is consistent with research that shows that children from tense households are often pressured to excel and produce notable individual achievements and demonstrate interpersonal skills, which sometimes fuels antagonistic and hostile relationships.

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A small group of X-Men are captured and taken to labor camps on the island of Genosha. As mutant slaves, they are forced to construct the physical infrastructures that will house a new army of Sentinels. Resisting these orders results in corporal punishment, solitary confinement, and deprivation of food and water. Jubilee, Gambit, and Storm all react differently to their imprisonment. After she attempts to free herself, Storm is thrown in a small metal box as punishment, which triggers her posttraumatic stress symptoms and claustrophobia. Gambit, meanwhile, learns to play sides in order to achieve his freedom. Jubilee uses critical thinking and problem solving to get out of trouble, but she realizes not all mutants are on her side.

The episode depicts multiple responses to oppressive-related stress, ranging from learned helplessness to psychological fortitude to organized rebellion. The story carries a throughline reminiscent of real-life liberation movements led by civil rights leaders: "knowledge is power." Dr. Drea discusses the notable strengths displayed by the X-Men when facing their trauma, as well as their imperfect and fallible reactions to losing autonomy of their bodies and (super)powers. She references Liberation Psychology, which is the therapeutic approach of recognizing and understanding the environmental, sociopolitical, and historical context of a person's distress.

Finally, Dr. Drea issues a formal apology about Sabretooth's wardrobe.

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Feeling rejected, Wolverine leaves the X-Mansion on a search to find some inner peace. He travels to the familiar Canadian Arctic tundra but is tracked and mercilessly wounded by his nemesis, Sabretooth. A small group of Innuit fisherman rescue and shelter Wolverine, but it isn't long before Sabretooth threatens their camp as a vengeful gesture toward his lifelong enemy. Meanwhile, the rest of the X-Men are sent by Professor X to investigate the island of Genosha, a seemingly pleasant vacation destination rumored to be welcoming to mutants. The hospitality at their beach-side hotel is surprisingly warm to the group of X-Men (who are disguised as human tourists), but before they can enjoy the comforts of the local amenities, they're attacked by the local police force.

Both quests raise tensions related to in-group and ou-tgroup relationships. Though they seek contentment, places of belonging, and sanctuary, the X-Men must constantly deal with their history and standing as a subclass in the larger society of non-mutant humans. But mutants are not a monolith race with aligned values, as evidenced by the seething hate between Sabretooth and Wolverine. The episode sets a preliminary discussion about anxieties and stressors surrounding seeking acceptance and co-existence.

Dr. Drea also revisits the practice of "trigger warnings" and whether those disclaimers are necessary or effective.

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The X-Men discover an underground band of mutants who call themselves Morlocks. They're a gang of mutant misfits who perceive themselves as "too unsightly" to live and socialize among non-mutant humans, so they live in the tunnels below the city. They explain to the X-Men that humans are still too fearful and prejudiced against mutants, especially toward the ones who look like them, and that a reclusive lifestyle underground keeps them safe. To further protect themselves, they've captured and tortured Cyclops and Jean Grey, with the intention to force Cyclops to join them alongside their leader, Callisto.

In their mission to rescue their team members, the X-Men must also address their own safety, specifically, psychological safety. The tight, enclosed spaces of the sewers make Storm relive the traumas from her past. She openly struggles to maintain her focus, hoping her mental condition does not lead the team toward failure.

Fortunately, the X-Men manage to defeat the Morlocks and leave them to peacefully reestablish their community in their respective underground dwelling. But the episode leaves a lasting impression about concepts of identity, belonging, and "passing" in the world of X-Men. Unlike the Morlocks, most of the X-Men are able to pass as non-mutant humans should they choose to do so, thereby enjoying the rights, privileges, and freedoms non-mutants have earned simply by being born human. Though they are considered superheroes, the characters in X-Men are by no means flawless or impervious to adversity, cruelty, and danger. The fact that Beast still sits in prison and the Morlocks live in sewers reminds us of the hard truth brought to life that these heroes cannot even save themselves.

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To celebrate the holiday season, The Arkham Sessions takes a detour back to Gotham City! Merry Little Batman (2023), a new animated film by Warner Bros. and DC Studios (but released on Amazon!), is an Elseworld holiday special that takes place on the night before Christmas. Bruce Wayne has retired to focus his attention on raising his son, Damian, in what has been a crime-free Gotham. However, little Damian's obsession with becoming a superhero lands him into a lot of trouble--and triggers the resurgence of the city's most contemptible villains.

The film gives tribute to a fan favorite from The Animated Series, an episode called "Christmas with the Joker," while also adding some refreshing themes of parenthood, family bonding, and growing up. Now that Bruce is a responsible parent with new priorities and a shift in his core values, he's a much different kind of superhero. It's a light-hearted, fun story that still manages to honor themes considered core to Batman's psychology such as determination, sacrifice, and facing grief. Dr. Drea notices that Bruce makes some healthier choices now that he's retired, as if letting go of those unreasonable, unrealistic responsibilities has eased his prolonged grief and depression. Furthermore, the way Bruce connects with and cares for his son can be considered adaptive and reparative for his own trauma recovery.

Given that the film may lead into a whole animated series called Bat-Family, it might be worth checking out this holiday season! The Arkham Sessions is so grateful for our Bat-Family, and we wish all our listeners a healthy and restful New Year!

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As we continue to get to know the X-Men by examining The Animated Series, the nuances of their mutant identities begin to take shape. The story isn't simply about having a superpower and doing good things with it. With mutant identity, there is burden, resentment, narcissism, vengeance, and domination. Their interactions with one another, with their social world, and with their enemies are defined by their inherent mutant powers--and their human vulnerabilities.

In "Deadly Reunions," we learn that Professor Xavier Charles (Professor X) uses an incredible telepathic superpower involving mind-melding and probing the memories of his students. Though he calls it "therapy," Professor X's methods are uncomfortably invasive, coercive, and arguably unethical. The X-Men's enemy Sabretooth, detained in the X-Mansion, is kept restrained and sedated per Professor X's orders. Professor X insists that Sabretooth's externalizing symptoms like violent outbursts can be explained by events in his personal history. Without Sabretooth's consent, Professor X probes his mind, asserting that his mental intervention will "alleviate Sabretooth's rages." At a later point, Professor X attacks his nemesis Magneto with similar mental probing, and locates a terrifying childhood memory in the recesses of Magneto's mind. By bringing this vivid traumatic memory to Magneto's attention, Professor X disarms him, leaving him overwhelmed with distress and panic.

It is true that processing past traumas and hardships can be therapeutic, but Professor X seems to approach memory retrieval as if the memories of other mutants are his own to explore, probe, and manipulate. Dr. Drea notices that Professor X seems to weaponize trauma, both by claiming he is the expert and by using triggers to gain power over fellow mutants. He doesn't seek consent or consultation; Professor X is steadfast and confident that his scientific methods are superior to others, even taking away agency from the victims of abuse, war, and other forms of personal trauma. Dr. Drea and Brian also revisit the controversial topic of "recovered memory therapy" and the damage that counselors can do by attempting to unlock traumatic experiences through unbacked, unscientific methods such as hypnosis, psychodrama, and dream analysis. We are reminded that good intentions that go unchecked can result in perpetuating harm toward trauma survivors.

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X-Men: The Animated Series portrays the challenges and conflicts faced by mutants previously introduced in Marvel comics. Like the comics, the television series examines social issues using a serialized structure and focusing on a team of protagonists rather than one hero. In the third episode, new foes are introduced to the X-Men, including the formidable villain Magneto, a militant idealist who crusades against bigotry and oppression of mutants. His mission is to help mutants replace humans as the dominant species on earth--by any means necessary.

Although Magneto's methods are destructive and extreme, his intention is to teach society a lesson through his superior intellect and acuities. Professor X, an old friend and partner of Magneto, also carries an immense responsibility to care for and protect mutants. But his methods are far different than Magneto's, as he chooses sanctuary and self-empowerment of his people, and dreams of a time when both humans and mutants can coexist in harmony. When humans are ready. In the meantime, his academy represents intensive education and training, helping his community develop skills to control mutant powers, and learning how to integrate with the majority group of non-mutants in society.

Meanwhile, Beast, still unfairly imprisoned and accused of a myriad of crimes by government officials, demonstrates his activism as a nonviolent civilian. In his cell, he meditates quietly, reads allegorical sci-fi novels, and keeps hopeful about his situation through mental fortitude. He has no interest in civil disobedience despite his strong beliefs in the free-mutant movement. He holds no feelings of rage, vengeance, or underhandedness toward his captors.

With even more contrast to the mighty Magneto, Beast hopes to rely on fair litigation, the exposure of top-level corruption, and good faith in humans to achieve his liberation. Sadly, on the day of his hearing, the biases of the judge and the court of public opinion result in denial of his release, and he's sent back to his cell. The episode manages to pack in multiple perspectives of social justice work, but with levels of nuance and realism, if not frankness about the complicated outcomes whether one chooses pacifism or renegadism.

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Grab your Hot Pocket and Cactus Cooler, it's another 90's X-Men episode! In Part 2 of the pilot episode, Night of the Sentinels, the X-Men bravely infiltrate the Mutant Registration Office and destroy hundreds of records cataloging the identities of mutants across the nation. The team, however, face an unexpected casualty which not only destroys morale but causes in-group fighting. Morph is killed in action, and Beast is taken prisoner by the automatons known as the Sentinels and their renegade anti-mutant creators.

The X-Men are thrown into crisis, collectively grieving the loss of a beloved member, uncertain how to rescue the survivor, and racked with guilt about their decisions on the battleground. Wolverine, reactionary and impulsive, clashes with Cyclops, their rule-oriented and level headed leader. Wolverine blames Cyclops for decisions he made to leave fellow soldiers behind, but Cyclops is convinced he chose the safest path.

As the X-Men grieve their companion, each portray very different grief responses, ranging from rage (Wolverine) to guilt (Cyclops) to disconsolation (Beast). Dr. Drea relates their emotional reactions to their personal experiences, to influences from social cues and permissions, and to the values that matter the most to them as individuals. All these patterns are acceptable and normal forms of mourning a loved one, though, because of the intensity of what happened, the crew struggle to find common ground and a path forward. It isn't until they rescue Jubilee that they form synergy again and lean on each other's strengths.

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Debuting just one month after Batman: The Animated Series, X-Men: The Animated Series was a Marvel superhero animated show that adapted the tone, look, and line-up of early 90's X-Men comics. The first episode of the series depicts a foster youth, Jubilation Lee, who is attacked by the Sentinels, massive extermination robots built by human conspirators interested in eradicating mutant civilians.

Mutants are humans who are born with a genetic trait called the X-gene, which yields superhuman abilities that generally develop during puberty. Mutants may also exhibit non-human phenotypes such as blue-colored skin, tails, horns, wings, fur, etc. that are perceived as beastly, monstrous, or anomalous to non-mutants. Fear of mutants and their potential to destroy society leads to mass hysteria, worsened by the lens of news media. X-Men storytelling raises concepts and discourse across an array of culturally resonant themes grounded in social psychology, identity development, and civil rights. X-Men comics have allegorically represented the struggles and triumphs of people who face religious persecution, xenophobia, racial discrimination, marginalization, and forcible relocation and incarceration.

Jubilee, like most teens, seeks independence, creative freedom, and the experience of belongingness. Her struggles are amplified when she is captured by the Sentinels and subsequently rescued by the X-Men, a mutant superhero team led by the avuncular telepath Charles Xavier. Jubilee faces unfamiliar uncertainties and obstacles as she realizes she is part of a community being persecuted for being born different. She struggles to understand her own loneliness and otherness, her newly emerging powers, and her unwanted affiliation with a socially ostracized group. The first episode is a window into teen crisis, as well as the social determinants contributing to teen crisis--trauma exposure, rejection, social disadvantages and inequities that some youth are unfairly born into. One of the most effective protections from these risks is social support--namely, mentorship by a more experienced person who can relate to the youth's lived experiences. Professor X's School for the Gifted is one such sanctuary, complete with institutional curriculum, advisors, and adult supervision. But is Jubilee ready to accept help from society's number one enemy?

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Conceived as a transition from the original cast of Star Trek to the new cast, Generations (1994) resurrects familiar, core Trek film themes such as legacy, family, and mortality. The retired veteran Captain Kirk returns to Starfleet aboard the Enterprise B only to be thrusted into a cosmic crisis. While trying to fix a technical issue subdeck, he's snared by a massive energy ribbon known as the Nexus and is declared a war casualty. Nearly 80 years later, Captain Picard of the Next Gen crew pursues villain Dr. Tolian Soran, an obsessed madman determined to catch a ride back on the Nexus. His decades-long plan to alter the path of the Nexus involves the destruction of planetary systems and the potential annihilation of innocent cultures. Picard plans to negotiate with Soran, but is too late to stop him and ultimately they both enter the Nexus. We learn that this ribbon is more than a vehicle. It's an extra-dimensional realm that produces a dream-like, wish fulfillment that exists outside of normal space-time. Anyone who goes into the Nexus will experience a personal utopia they will never want to leave. Meanwhile, Data, a self-aware android, is given an emotion chip that allows him the full range of human feelings. He's overwhelmed and unprepared for the array of intense, painful, and surprising experiences, and at one point asks to be taken offline.

The idea of the Nexus introduces a real philosophical debate called the Experience Machine, theorized in 1970 as a thought experiment to demonstrate a human preference for reality as opposed to a false utopia. The experiment asks subjects if they would choose to be "hooked up" to a machine that would produce pleasurable experiences, but the majority of people reject this hypothetical offer because of its artificiality. Generations also seems to suggest that people value living their lives "in contact" with reality, and that they deeply care about who they are and what they do. We tend to prefer an authentic experience, which we know will involve pleasure and pain, the good and the bad. Generations shows us that characters like Data, La Forge, Picard, and Kirk all willingly choose a reality that is imperfect, painful, and visceral because they know it is more meaningful to live with free will, however uncertain, than succumb to a falsehood of artificial contentment.

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Star Trek VI: The Undiscovered Country (1991) marks the final adventure for the 1966 incarnation of the franchise. And it successfully does what Star Trek tends to do best: tell a culturally relevant story wrapped in a space-themed allegory. In the case of The Undiscovered Country, we're focusing on the Cold War between the United Federation of Planets and the Klingon Empire, as the latter is set to find itself extinct with 50 years time, due to an unfortunate mining accident that has left their chief energy resource decimated.

Captain James T. Kirk, still grieving his son's murder at the hands of the Klingons, has been put into the awkward position of escorting the Klingon High Chancellor to a peace summit. His own prejudice is in the spotlight here, particularly after the Chancellor's assassination at the hands of someone on board the Enterprise.

Spock, on the other hand, has managed to embrace the human side of his lineage, finding that the path to reason is paved with a combination of emotion and logic. This film continues the job of its predecessors, completing an arc that once found Spock cold and dismissive, but now finds him willing to bend rules and regulations to protect his shipmates.

Starfleet itself is even called out for being "a homosapiens club." The Klingons want a meaningful seat at the table, and a chance to prove their value to the universe. Can they convince Kirk that the future is brighter with change that neither side seems comfortable embracing, and that they're worthy of the challenge?

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Receiving mixed to negative reviews during its release weekend, Star Trek V: The Final Frontier (1989) is an ambitious film depicting a galactic pilgrimage in search of God. Our familiar players--led by Kirk, Spock, and McCoy--interrupt their shore leave to rescue diplomats held hostage, only to learn that they're being caught up in the scheme of a self-proclaimed prophet, Sybok. After deserting his Vulcan community, Sybok has spent decades embracing his ancestral origins and learning the value (i.e. power) of emotional connectivity. Using faith healing rituals, Sybok earns the trust and loyalty of his apostles, and recruits them to join his religious pilgrimage beyond the mythical "Great Barrier" in space.

Is Sybok a true ambassador of God? A miracle healer? Or is he a cult leader? Or a delusional dreamer? While he isn't necessarily a grifter, Sybok carries some traits that are similar to fraudulent religious and cult leaders. He is effectively charismatic and socially intelligent, able to perceive the unmet needs and vulnerabilities of others. He is also intense, confident, and self-centered, if not grandiose. Sybok's intentions, however, seem to be altruistic rather than abusive--and he seems to have a strong conviction about meeting God at the center of the galaxy.

If anything, Sybok's method elicits strong reactions from his followers and skeptics alike. His interactions with Kirk, Spock, and McCoy reveal a lot about our beloved crew. Namely, they carry the emotional burdens of past traumas and hardships differently--how they relate to their innermost pain helps us learn more about who they are in more meaningful ways than expected. The film's ending does not fulfill its promise of a big performance, but the payoff comes in the form of seeing the crew realize the healing power of their friendships in the here and now.

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Called "the One with the Whales" by Drea, Star Trek IV: The Voyage Home (1986) is a wholesome, spunky time-travel movie that continues the adventures of Admiral Kirk and his determined crew of the former Starship Enterprise.

When contacted by an unidentified space probe with a seemingly incoherent language system, Starfleet cannot successfully negotiate for its safety; their future is dire as the probe increases the intensity of its messages. Meanwhile, Spock responds to his less-than-Vulcan impulse to help his friends decipher the code. With his assistance, they discover that the probe is simply trying to locate the now-extinct humpback whales, and the only way to create peace in space is to retrieve the whales from the past, transport them onto a ship, and release them into the present day 23rd century.

Seemingly finding his way out of his emotional grief, Kirk attempts to connect with others, seeking understanding as a "fish out of water" dreamer in the zany world of the 1980s. Spock continues his journey to integrate his many selves, realizing he may not have to be "faithfully" Vulcan to be accepted. Whether in the past or present, Spock is wonderfully quizzical, unique, a perpetual "fish out of water" trying to make sense of any and every world--and yet he finds that he can be incredibly wise, valuable, if not critical to his team. The film doesn't take itself too seriously, but it humbles us by asking us to de-center the human culture and the things we over-value, to recognize the triviality of some of our human norms and the way we alienate those who are different, and to stretch our minds to be open and accepting of the unknown.

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Star Trek III: The Search for Spock (1984) picks up immediately after the tragic death of the Enterprise's Vulcan science officer, Mr. Spock. Still in mourning, Admiral Kirk is visited by Spock's father, Sarek, who reveals that his son's living spirit (katra) and his body are both needed to lay him to rest on his home world. The problem? Spock's body was jettisoned to the life-giving artificial planet, Genesis. And his spirit, we learn, lives in the recesses of Dr. McCoy's brain. The quest to locate Spock's body and reunite it with his spirit kicks off, but not without the interference of Klingons who seek the Genesis designs so that they, too, can arm themselves with a weapon of mass destruction.

The film, though not as well executed as Star Trek II, successfully carries its big emotional moments, from the shocking murder of Kirk's son to the heart-crushing destruction of the Enterprise. Loss after loss, the story weighs heavily on anyone rooting for Kirk.

Here, Dr. Drea describes the risks he faces psychologically, due to the shock and suddenness of his personal losses. She explains the differences between typical grief and traumatic grief. Unexpected and compounding losses like these may feel to Kirk like he's falling into a chasm of despair, shifting his ability to overcome his grief in a healthy way. We look for signs of Prolonged Grief Disorder, which includes symptoms such as intense bitterness and guilt, significant detachment from the living, and an ongoing sense of a foreshortened future. Kirk commits to saving his best friend's soul, at the expense of his career, family, and home, knowing he would feel a profound emptiness in his own soul had he not tried.

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In the 1982 film Star Trek II: The Wrath of Khan, we join Admiral James T. Kirk and his Starfleet friends as they are once again pulled into a risky adventure. Kirk learns that his nemesis, Khan Noonien Singh, has attacked the science station Regula 1 and has proceeded to commandeer the starfleet ship, The U.S.S. Reliant. Having been marooned on a desolate planet 15 years after trying to overtake the Enterprise, Khan and his "supermen" crew sustained horrific environmental threats and traumas. Once 80 people strong, his genetically engineered society has dwindled to less than a dozen. Khan and Kirk engage in a battle of wits, and the resulting losses are devastating for both.

Since his infamous attempted coup on the Enterprise 15 years ago, Khan is noticeably more emotional. He is ragged from years of hard survivorship on an inhospitable planet, but he's also deeply preoccupied with revenge. The abandonment and resulting traumas (including the death of his wife) has left Khan pathologically obsessed with retaliating against Starfleet. His specific rage and hatred is pointed at Kirk, who he sees as the individual responsible for his psychache. Dr. Drea outlines the psychological features most common in individuals who eventually execute mass casualty attacks (like targeting the Admiral and his ship's crew, in this case). Khan exhibits "pathway" warning behavior by preparing himself for violence, a "fixation" on a person who becomes the symbol of his grievance, and an "identification" with warrior-like lifestyle and appearance. Khan does not simply want to kill Kirk; he wants Kirk to suffer, telling him: "I've hurt you. And I wish to go on hurting you." But as both the film and science can attest, achieving revenge is rarely as satisfying or as personally rewarding as we hope it will be.

Khan's chaotic vindictive narcissism is in contrast to Spock's cool decisiveness. The calm Vulcan sacrifices his life to save all the souls on the Enterprise, committing to his principle that the needs of the many outweigh the needs of the few--or the one.

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When the survival of the whole planet is at stake, how much do purpose, logic, wisdom, and emotion matter? Do we rely on gut instincts or unfiltered logic to make critical decisions? The original cast of Star Trek reunite to represent the voyages of the Starship Enterprise in their first film, Star Trek: The Motion Picture (1979). Captain James T. Kirk, Science Officer Spock, and Dr. Leonard "Bones" McCoy are deployed by the Federation to confront a mysterious alien cloud known as "V'ger" that is rapidly advancing toward earth on a destructive path. With such bold personalities and motivations, these appointed leaders must prevent their own self interests from interfering with one of their most risk-filled missions.

Dr. Drea observes the internal struggle building within Spock, who is recently rejected by his Vulcan community due to his inability to suppress emotions to an extreme degree as his culture dictates; his elders chastise him for allowing feelings like yearning, friendship, and exhilaration to distract or break his mental discipline. Drawn to V'ger, a seemingly perfect and purely logical entity, Spock sees this mission as a way to learn more about himself.

Captain Kirk, meanwhile, navigates new feelings of self-doubt, of giving over power and control, and finds that his own desires are no greater or more important than the others also searching for answers on this mission. Ultimately, the malicious threat they face turns out to be a manifestation of human design, a horrifically repetitive machine-based superintelligence with its origins terrestrial--a warning that an existence bound by material knowledge is utterly empty and meaningless.

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The last film in the Star Wars sequel trilogy, The Rise of Skywalker (2019), follows young adventurers Rey, Finn, and Poe, as they lead the Resistance in a final stand against the newly appointed Supreme Leader Kylo Ren and the First Order. But what is this about a "Final Order"?! As it turns out, the evil Emperor Palpatine did not actually die in The Return of the Jedi at the hands of a reformed Darth Vader. No! He lives! Or--at last, his clone lives? And said clone or clones (?) either naturally or unnaturally contributed genetic material that resulted in the birth of Rey. Rey is Palpatine's granddaughter! In a strange, disjointed plot, the rebels must race against the clock to find the Emperor's secret location in the Unknown Regions and defeat him (and his phantom fleet, and his Sith ghost army, and the zombie-like Knights of Ren) once and for all.

While the story seems to ret-con or reduce plot points in the previous film, it serves insights about the core theme of intergenerational trauma. The idea behind intergenerational trauma is that exposure to adverse events, war, abuse, oppression, internment, and slavery affects people so profoundly that their future generations may be impacted as well. Studies on intergenerational trauma show that children's lives are shaped not only by their own experiences, but their parents' experiences years before they were born--the transmission results in offspring experiencing depression, low self-esteem, anxiety, anger, and self-destruction. Luke, because of his exposure to war and interpersonal trauma from the Sith, mentors his nephew with strict emotional limitations, holding punitive and stigmatized schema about Ben Solo's internal conflicts with darkness. Rey suffers with insecurities and hyper-independence because of the atrocities and erasure her parents suffered.

It is hard to change, to overcome transgenerational trauma within a single generation. Common barriers to personal growth include fearing failure, lacking self-efficacy or confidence, having limited self-awareness, and feeling pressures to be someone that people expect you to be. But both Rey and Ben Solo manage to realize that in order to interrupt the harmful legacies of generations before them, both Jedi and Sith, they must start from within. The repair, transformation, and insights they make as individuals give the sequels a more lasting impression than any Force flex!

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In one of the most divisive Star Wars films to date, a group of daring young space adventurers--Rey, Finn, Poe, and Rose--shoulder the fate of the dwindling but determined Rebel forces. The Last Jedi (2017) serves an unapologetic tale of the embittering consequences and casualties of perpetual war, reminding audiences that there are no true winners, just power grabs. Those who are truly liberated are the elite, the profiteers, and the arms dealers who benefit from people stuck in their ideologies.

From the jump, we learn Luke Skywalker has abandoned his family and friends out of shame and disillusionment, and has exiled himself on what he calls the most "unfindable" island. He has also abandoned his relationship with the Force.

Meanwhile, Rey is struggling to make sense of the growing conflict within her, and seeks yet another parental figure as the answer to her problems. She feels a tremendous pressure to identify her lineage, and struggles to define herself and her place in the Universe. Kylo Ren, with his immature fixation on power, sees the vulnerability within Rey and attempts to leverage her self-doubts and yearning for belongingness to benefit his own needs. He urges Rey to forget about the Jedi, the Rebels, the Sith, and every faction fighting for power. For those of us who share Rey's search for significance, Ren's invitation is alluring--Stop defining yourself by the standards of the people whose traditions create harm, erasure, and disproportionate power.

In totality, the film's messages become enticing, if not exhilarating: Find true peace by shifting the power dynamics. Abandon traditions, ties, legacies, and all the harms that come with them. Burn it down. Burn it all down.

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Star Wars: The Force Awakens (2015) is set 30 years after the original trilogy, establishing a new generation of space adventurers, their droid companions, and their villainous counterparts. The story resurrects a familiar uphill battle against the merciless and oppressive power of the second uprising of the Empire, the First Order. However, as Star Wars is more about relationships than politics, The Force Awakens focuses on the psychological struggles of its young warriors: Rey, Finn, Poe, and Kylo Ren.

Dr. Drea and Brian discuss relatable features of the main characters, acknowledging that the first film in the much-anticipated sequel trilogy would inevitably deliver a "greatest hits" playlist of Star Wars beats, and yet some tunes are seen as more deeply handled this time. Rey is shown as a resilient and hopeful protagonist who may be remarkably good at piloting, language proficiency, and technology, but has yet to overcome her loneliness. She feels lost in the galaxy and holds onto the dream that her biological parents will return for her and take her to her "real home." Meanwhile, Kylo Ren's "menacing" darkness is nothing more than psychological pain. They are both searching for purpose amidst the loneliness and chaos of the galaxy.

Dr. Drea and Brian also question the methods of the older generation, especially Luke Skywalker, who was too fixated on his own ego to recognize that his mentee (young Ben Solo) needed affirmation, not conversion therapy. Because the Jedi were so binary with their "good" and "bad" constructs, they eventually pushed Ben Solo away and into the hands of a predator, Snoke.

It's likely that the concepts of light and dark created much confusion in Ren's concept of his own destiny. He had little guidance on how to handle difficult emotions, and it was Snoke who taught him to channel them into maliciousness. Becoming Kylo Ren allowed the irritability, aggression, and thoughts of self-harm to freely exist and take control of his psyche.

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Return of the Jedi (1983), the final film of the classic Star Wars space opera trilogy, is packed with psychology, layering in lessons on family systems theory, Oedipal themes, social obedience, and human violence. Dressed in black and outfitted with confidence, a composed Luke travels back to his home planet of Tatooine to confront Jabba the Hutt and rescue his friend Han. They survive the swashbuckling clash between Rebel scum and criminal scum, and Luke and his friends, led by the Rebel leadership, hatch an audacious plan to attack the newly constructed Imperial Death Star and overthrow the evil Emperor once and for all. Luke is, of course, also on his way to confront his father, the sinister Darth Vader.

According to Brian, Luke's antics reveal his overconfidence, self-centeredness and blind faith that everything will turn out in his favor. Is it luck or the Force that keeps him out of true peril? Is Luke confusing hubris for hope? Dr. Drea posits that the film is not necessarily about Luke, but actually about the titular character, Anakin Skywalker AKA Darth Vader, that the film carries core themes about how we come to know ourselves through deception, performance, and transformation. We learn about our many selves as exemplified by the masks we wear. From the first to last scene, the film is telling many truths about the characters we have been following, their deepest motivations and intentions.

Like them, we each struggle not only to resist the temptations of power and dominance, but also to understand what we truly believe in and how to convert those beliefs into real action. We mask to oppress, dominate, and achieve thrill, but we also mask to hide our shame. We mask to envelop our despair. We mask to ventriloquize the kind of person we are told we should be. In explaining the capacity we all carry for an "evil" mask, Dr. Drea returns to the application of the "shock" experiments from the 1960's that showed how someone (no matter what their values) can be controlled and directed to partake in violence. Is the opposite not then true? Even someone as cruel as Darth Vader can carve a path toward redemption, but it is difficult and painful to acknowledge the devastation already taken. The film teaches us how critical it is to resist malevolence as early as we detect it, but also to not lose faith in someone who has drifted so far away from their purist self.

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Three years can make a difference! Set after the events that take place in Star Wars, The Empire Strikes Back (1980) continues the space saga between the evil Empire and the determined, scrappy resistance fighters in the Rebel Alliance. Leia commands a Rebel Base, Luke seeks to become a Jedi Master, and Han is less a smuggler and more a savior. Our adorable space opera has grown up!

Although this chapter is just as adventurous as the first, the film introduces steeper obstacles and darker threats that create more mature plot lines and give it dramatic weight. The fight against the insidious intergalactic dictatorship becomes much more personal; characters are more complex, and not always what they seem. The beloved film sets in the themes we will come to know Star Wars for--the seduction of power, the desolation of war, and the heartache of relationships.

The little mystical frog-like creature, Yoda, is celebrated as the one who puts meaning and heart to the previously vapid Jedi mythology. Here, Dr. Drea describes the parallels between Yoda's teachings and psychotherapy. She talks about Person-Centered Therapy (also called Rogerian Therapy), a non-directive, empathic style of counseling in which the therapist encourages the client to explore self-understanding, communicates a relationship of unconditional positive regard, and empowers them to reach their full potential. Yoda may be a trickster at times, but he genuinely believes in Luke's capacity for growth and learning. He does not push him, or over-explain his teachings. Even when he disagrees with Luke's choices, Yoda allows him the space to learn his own lessons through behavioral experience, critical consciousness, and altering his self-concepts.

This chapter of their story ends amidst conflict and heartbreak, setting the anticipation for the next one while also establishing that the ups and downs of their stories go on as ours do.

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Continuing their deep-dive analysis of the original Star Wars (1977) film, Dr. Drea and Brian weigh in on the utility of the "Hero's Journey" literary paradigm as it relates to whimsical space fantasy.

In several ways, Star Wars exemplifies the monomyth known as "the Hero's Journey" especially in terms of archetypes, phases, character transitions, and symbolic elements fundamental to the framework. These insights can cross over meaningfully into our own self-searching and psychological development. Yet, it is asked: How might Star Wars actually subvert or challenge the Hero's Journey schema? And what other psychological models might offer better solutions to deepen our understanding of this formative series? Tune in to the personal and reflective review of Star Wars part 2!

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It's Halloween-time, so the Arkham Sessions is covering Warner Brothers' animated adaptation of the graphic novel, Batman: The Long Halloween (2022). Like the book, the film showcases a collection of Gotham's rogues at their most wicked, while Batman, District Attorney Harvey Dent, and Commissioner Gordon hunt down a serial killer who strikes only on major holidays. Fittingly, the killer is known as Holiday, and exhibits features similar to most serial killers: callousness, remorselessness, a need for recognition, and the use of "calling cards."

Calling cards, or the killer's signature, are often used to gain notoriety and "brag" publicly about one's crimes. They involve notes to law enforcement, physical artifacts left at the scene of the crime, and even how they treat the bodies of their victims. These "tricks" can also act as psychological injuries toward the good guys--a whole year passes with little progress in finding Holiday; and with each killing, Batman and the GCPD feel a deep sense of loss, frustration, and anger toward the elusive figure who has been terrorizing Gotham City.

In this episode, Dr. Drea explains a number of mental health-related topics that come up in the story - Why does Two-Face hear voices? Why is Batman motivated to pursue killers? and What are the psychological drivers common among serial killers? to name a few. It turns out that the real Holiday is far less interesting than the protagonists pursuing him--or her.

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The original Star Wars (1977) is a space fantasy adventure and the first of its kind to blend the genres of the classic serial, science fiction, medieval romance, and samurai drama. Each character in Star Wars represents a familiar archetype - the legendary hero, the princess, the wizard, the evil shadow, and so forth. From its cinematography to its music to its special effects, Star Wars established new frontiers that would pivot the entire industry but also spark psychological obsession among fans that would last decades.

Here in this episode, Dr. Drea and Brian discuss their own connection to the film and some early memories of seeing it for the first time (which are very different perspectives). In part one of this two-part analysis, they discuss the framework of Joseph Campbell's "Hero's Journey" and map the characters, plot line, and relationships to this universal monomyth. In this episode, the focus is on Luke Skywalker, the inexperienced, sheltered farmboy seeking something bigger than his humble, dull life on the remote planet of Tatooine. His call to adventure is catapulted by a mysterious hologram, a curiously wise hermit with a laser sword, and a shockingly brutal attack by the Empire. But the shallowness of Luke Skywalker's search for greatness, how privileged he is, and whether he deserves legacy become debatable.

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Named the "grittiest" Star Wars story, the new series Andor serves us a mature drama without the wholesomeness of lightsabers, Jedi wizards, and baby Yoda. Cassian Andor is a marginalized laborer in a small mining town who uses his resourcefulness and tenacity to survive during the slow, vicious rise of the Imperial dictatorship. In searching for his sister (they've been separated since childhood), Andor begins to take more risks and falls further into the criminal world. Already experienced with thievery and duplicity, he ends up in a lot of trouble after he murders two local officers.

Diving into Andor's story requires a candid and nuanced look into violent behavior; Dr. Drea reviews the main "modes" of violence and names the drivers leading to targeted violence seen in the show. We learn how someone like Andor can go from being passionate and impulsive to becoming the Rebel spy who keeps a cool head when under fire.

Some claim that Andor is too angry and heartless to belong in the Star Wars landscape, but relying less on recognizable fan-service and pausing the celebration long enough to unpack a complicated hero may prove to be the unfiltered approach that can pay off in the end. Following a disillusioned but determined protagonist can resonate for viewers who will sit with themes of invisibility, social mobility stress, and uninterrupted vigilance. Andor (and other characters) showcase the value of self mutability - one's ability to navigate an oppressive socio-political system by moving through and between social class to achieve success. Andor moves us to look beyond his "criminal" identity to then value his strengths of social intelligence: switching, shifting, flow, and discernment.

In a distant galaxy that is Star Wars, these mature themes bring us closer to understanding why many of us make seemingly "disagreeable" choices that actually further our well-being, economic advancement, and even physical survival.

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Where’s the hard line between activism and terror? How far must we go to dismantle oppression? In Star Wars: Rogue One (2016) a rag-tag team of freedom fighters, revolutionaries, and defectors band together to steal vital plans of the Death Star, a "planet killing" weapon being built by the ruling government, the Galactic Empire. Retrieving the data file will give the outnumbered Rebel Alliance a fighting chance against the oppressive, autocratic regime that threatens the entire galaxy. Jyn Erso, the disaffected daughter of an Imperial-contracted scientist, meets Captain Andor, a determined and unstoppable Rebel intelligence officer. They rescue Bodhi, a cargo pilot who defects the Empire and carries an important message from Jyn's father. The crew is joined by a droid, a spiritualist, and a warrior.

The film offers shades of gray between the "good" and "bad" sides. The question isn't so much whether to rebel, but how to rebel. While the villains--and their mesmerizing capes--bring an unrelenting brutality to the story, the high-stakes tensions exist within the Alliance, represented by the views of different factions who consider themselves anti-Imperialist, underscoring the complications, losses, and non-linear progress of real-life political reform.

Not unlike the activism in our own galaxy, a protestor's loyalty and self-sacrifice are in question. What are you willing to do for the cause? Are you Rebel enough? Dr. Drea discusses how both American history and psychological research point to non-violence as the most effective approach to sustainable social change, but nothing about an equal rights fight is ever truly, fundamentally, peaceful.

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Obi-Wan Kenobi (2022) is a Disney+ series that tells the story of what happened to Obi-Wan Kenobi 10 years after the uprising of the Sith, and the birth of Darth Vader. Defeated and disillusioned, Jedi Master Kenobi abandons what is left of the Jedi and makes his home on the desert planet of Tatooine. Though he has little faith left, he is determined to blend in among the humble working class civilians, and look after the young Luke Skywalker--from a distance. Kenobi, however, is forced out of hiding in order to stop Darth Vader and his zealous inquisitors from their merciless persecution and obliteration of any surviving Jedi (which now include young Luke and Leia). When Kenobi faces his old apprentice--now, an unrecognizable masked, dark figure--he searches for a connection with Anakin. Though he is forced to fight him, he pleads with Anakin to end all of their suffering and release himself from Darth Vader. Kenobi's last attempt at bringing Anakin back to the light side of the Force is a way of mitigating his own self-blame, and a way for him to "rewrite" and "rewire" the trauma of attacking his own friend and leaving him to die a decade ago.

Chances are we won't find ourselves embroiled in a tense lightsaber battle, but if we are caught in an argument with a High Conflict Person (HCP), there are some recommended strategies to stay cool, calm, and collected. First, do not question their distorted thinking, as this may be received as challenging and may only escalate the fight. Second, do not react by blaming them back. Instead, use the "BIFF" method: be brief, informative, friendly and firm. Difficult conversations, or confrontations, do not have to be hostile and harmful if we have the right tools to navigate them.

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Han Solo from the original Star Wars trilogy embodies the anti-hero archetype--witty, dashing, charming, and dangerous, this space smuggler intrigues us because he's a balance of mystery and relatability. In the ambitious 2018 film Solo: A Star Wars Story, there's some familiarity about this younger version of Han. In terms of personality, his risk-taking, scheming, narcissism, and a little bit of impulsivity, are consistent throughout the movie. Young Han is a little bit more hopeful and less cynical than his older self, and it may be the string of let-downs and setbacks we see in Solo that create ruptures in his worldview.

The core theme of the movie is trust vs. betrayal. Han, the confident and adventurous heister, stands out as the optimist around the clear-headed and damaged individuals like his mentor Beckett and lover Qi'ra. He's warned not to get too attached or loyal, and despite his belief that people fundamentally have good intentions, he inevitably learns the lessons of heartbreak. Inasmuch as the story has one beat, it raises the question of how trust is developed and preserved among healthy relationships. Is real trust something we can actually attain?

Trust is an emotional state of mind shared between people. There are four elements of trust: consistency, compassion, communication, and competency--and when these factors are co-existing and mutual between partners, it can be enough to interrupt the schema of doubt, cynicism, and avoidance.

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The final film of the Star Wars prequel trilogy, Episode III: Revenge of the Sith (2005), shows us the tragic and rapid deterioration of Jedi Anakin Skywalker and his fall to the Dark Side. While the seasoned, self-righteous Jedi are busy handling political conflicts, the Supreme Chancellor Palpatine, who's secretly Sith Lord Darth Sidious, begins working on recruiting Anakin to the evil side of the Force.

The Chancellor uses psychological tactics similar to cult leaders to win Anakin's trust, including love-bombing, favoritism, ego-stroking, and isolation. Anakin is vulnerable to manipulation for several reasons--he's feeling frustrated, unseen, and insignificant. He even says "I know I shouldn't, but I want more." Moreover, the Jedi consistently shut him out, reject him, and question his abilities (creating another risk factor--a failure of surveillance). But most of all, Anakin is a target for cult indoctrination because of his fragile identity formation. He hasn't yet developed a strong sense of self, values, and attachments. These personal and social factors create the perfect "recipe" for creating a destructive young man willing to do whatever it takes to receive unlimited love.

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Star Wars: Attack of the Clones (2002) takes place 10 years after Anakin Skywalker was rescued from slavery by the Jedi community and taken in as an apprentice. As political ambassadors, Anakin and his Jedi mentor Obi-wan Kenobi are assigned to protect senator Padme Amidala amidst numerous threats by assassins and terrorists. As tensions rise during the brink of a galactic civil war, Anakin and Padme fall in love, but Anakin's true temperament begins to emerge. He is increasingly angry, frustrated, and embittered, and his impatience and selfishness grow to a worrisome level. His personality style is consistent with someone who is a High Conflict Person (HCP). Though this isn't a medical or mental health diagnosis, an HCP is likely difficult to deal with because they can be consistently hurtful to people in their lives, especially colleagues, friends, and romantic partners.

High Conflict People (HCPs) tend to have enduring, persistent traits of not getting along well with others. HCPs stand out due to their constant combative, tense, and destructive behaviors within personal relationships. Four features stand out for HCPs: (1) They blame others intensely, (2) they have all-or-nothing thinking, (3) they can't manage their emotions well, and (4) they engage in extreme behaviors like manipulating, attacking, controlling, and dominating others. HCPs have interpersonal dysfunction, low insight into their impact on others, and a low likelihood of changing their behavior. About 1-2 people in 10 have high conflict personalities, so it is likely that you know someone in your family, work setting, friend circle, or other relationships who is an HCP.

Dr. Drea explains the complex factors that can lead to destructive, high-conflict behavior seen in Anakin --for him in particular, this includes a history of abandonment, isolation, trauma, and being controlled. As he grows older, and continues to feel excluded and invisible among the Jedi, Anakin grows resentful, bitter, and entitled. He craves attention and seeks a sense of importance. Wasn't he the "chosen one?"

As the story progresses and he feels he cannot have the one thing he wants (Padme), Anakin takes out his frustrations through violence. Dr. Drea revisits the link (or lack of a causal connection) between mental health and harm. As we know from established research in our own universe, only 4% of community violence is attributable to mental illness, and the factors that lead to mass murder and terrorism relate to fixed, extremist belief systems, deeply-held supremacy or entitlement, and unmanaged feelings of rage. As we'll soon see in the upcoming third film in the trilogy, Anakin crosses a line he can never come back from.

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Enough criticism has been voiced about "the prequels," but what does Star Wars: Episode I - The Phantom Menace (1999) offer in lessons of personal, relational, and spiritual well-being?

Bloated with political plot, CGI noise, and far too many characters to follow, the film lacks the emotional depth we've grown to connect with from all three original Star Wars films. We strain to feel attached to any good or bad character. Is the villain of this film emotions? Is the actual "phantom menace" the looming dangers of...consciousness? We're given a lot of stoic "hero" characters and plenty of warnings about the consequences of deeply felt feelings through their actions. For instance, Master Yoda warns that little Anakin Skywalker is "too fearful" to be a Jedi, Queen Amidala employs an expressionless public persona, and the one character who lets loose is Jar-Jar, the universally detested clown.

It's worth amplifying the emotional wisdom of Qui-Gon Jinn, who exemplifies a Jedi Master willing to question the Jedi Council and gently push back on their overly-structured and rigid organization. His explanation of the Force (once you get past the midi-chlorians) offers us valuable teachings. He explains that when we "quiet the mind" we are able to "hear" other parts of our selves, our intuition, bodily sensations, insights. This "mindfulness" based approach has truths and benefits. Qui-Gon is able to be in the moment, to savor and be curious about the present, espousing the philosophy to "feel, don't think." But where these lessons in emotional growth should matter the most seems to be in his relationship with his Jedi mentee, Obi Wan Kenobi, a relationship that is lacking sentimentality throughout the story.

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The overall tone of Avengers: Endgame (2019) is heavy and full of heartache. The "snap," the massive extermination of billions of people, amounts to the kind of collective trauma not yet seen in the MCU, but certainly one we can relate to now.

The surviving Avengers manage to push through their anger, fear, and guilt to rally together and plan a time travel heist as a way to gather the Infinity Stones and bring the lost masses back to life. They know they must conquer Thanos, but in their journeys, they must also confront past traumas, fractures in their relationships, and tremendous unreconciled losses. These heroes realize that the source of their pain, the traumatic event, (i.e., Thanos) can be faced, even destroyed, but its emotional consequences cannot be undone. As they collectively grieve, the survivors have a mixture of reactions--Steve Rogers embraces his role as a counselor, Natasha Romanoff transforms her guilt into intense advocacy work, Clint Barton gets stuck in an abusive cycle of re-traumatization, and Thor descends into post-traumatic depression and substance abuse.

Endgame also makes clear the distinction we must exercise in our post-COVID world; how to recognize the difference between real losses and recoverable ones. The rules around trauma healing have a remarkable similarity to the parameters set in time travel. The plot of Endgame serves as a metaphorical instruction guide for a recovery process known as Narrative Reconstruction. Often used in trauma treatment, this psychotherapy involves guided exposure to the traumatic event through vidid retelling and exploration of key moments along the survivor's timeline, followed by the gradual and systemic reconstruction and reorganization of memories in order to create a coherent and acceptable "story" about it. In other words, we repair the present by consolidating past memories.

Endgame, which came to us just under a year before the COVID crisis, shows us that trauma recovery is possible, by encouraging us to recognize that the perilous, perceivable risks involved in pursuit of healing--confronting our pasts, re-experiencing pain, admitting setbacks, fully accepting real loss--might be worth it in the end.

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Already well-established as a feminist powerhouse in the comics, Captain Marvel was a much-anticipated character to break into the live-action MCU in her own female-led 90's themed film. 2019’s big screen debut of Captain Marvel, however, was met with much disappointment. The storytelling was lackluster, if not a little too self-aware. Fueled head to toe with cosmic energy, Carol Danvers an overpowering figure that deserves complexity--but the character's singular note, lack of humanity, and weak arc left audiences confused about any real impact she has in the bigger story. Dr. Drea and Brian rewatch Captain Marvel with the explicit intention to pick up on its problems and check their own biases, perspectives, and expectations. How does a story of resilience--one that shows the power of endurance, grit, and self-confidence--fall so flat?

Throughout the film, one theme does stand out more than others. Danvers is frequently told to control her emotions, to override her impulses, and fight with her rational mind. She's told by her male mentor, in an all-too-familiar speech, that she won't succeed as long as she lets her emotions surface. Despite constant sociocultural messages that people--women in particular--should approach relationships, jobs, decisions, and conflict from a place of logic, it's impossible to act without our emotional senses. Rather, we should learn to navigate our interactions using emotional intelligence, which is the opposite of avoiding emotions. EQ consists of our ability to name and define emotions, and to understand how our emotions can influence ourselves and others. Combining emotions and logic is often the best approach. For Danvers, we never really see her grow in this area.

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"Social Pain" refers to the feelings of hurt and distress stemming from negative social experiences such as severe deprivation, exclusion, rejection, isolation, and loss. In Marvel's Ant-Man and the Wasp (2018), key characters endure some form of social pain. Scott Lang (Ant-Man) has been in home arrest for nearly two years, Ava Starr (known as Ghost) is confined to a healing chamber for many hours of the day, and Janet Van Dyne (the original Wasp) has been trapped in the quantum realm--a subatomic dimension where concepts of time and space become irrelevant--for thirty years.

Although we do not, in our reality, have experience of the quantum realm, there are profound lessons learned from real-life situations involving long-term social isolation. Prisoners who are put in solitary confinement have higher rates of suicide, drug abuse, and mental health conditions; the effects of long-term isolation on mental health can be lethal. Dr. Drea also reflects on some common examples related to the mental health effects of the COVID pandemic such as stress, depression, and anxiety ignited by lockdown and quarantine. Social pain affects the brain in the same way as physical pain, and can actually cause more suffering because of our ability to relive emotional trauma for months if not years to come.

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The inevitable is here.

After nearly a decade of anticipating his terrible arrival, the Avengers will finally face Thanos. An eco-terrorist and genocidal madman, Thanos is a towering, formidable being from the planet Titan who has scoured the universe, killing half the population of every world he visits. He is fully committed to genocide and realizes the harshness of his ideology; however, he believes that in the end, his violence will restore balance to the universe. Ultimately, by correcting overpopulation and overconsumption, Thanos will ensure that people across galaxies will enjoy clear air, have access to food, and be comforted by an abundance of resources. By eliminating competition and greed, he offers everyone a better, fairer, and higher quality of life.

The Avengers do not agree with Thanos's method of curbing the impact of climate change. They agree to meet him where he's at to ensure he does not collect all the Infinity Stones needed for the ultimate "Snap," the event that will simultaneously exterminate half of all creatures. It's possible that Thanos genuinely feels responsible (if not destined) to pursue a vision he fundamentally believes will result in a more peaceful reality than the current one.

Determined, unwavering, and narrowly focused, Thanos is actually willing to sacrifice the one person he truly loves, his daughter, to reach his end goal. Dr. Drea suggests that Thanos has a personality psychologists refer to as the Dark Triad, a rare condition found in some military and political leaders that includes features of narcissism, psychopathy, and Machiavellianism. However, with more observation, Drea explains that there isn't a single condition or label that best captures the inner workings of Thanos. And given the inevitable, it might be more valuable to learn how the Avengers will deal with the devastating aftermath of the global crisis that will echo for years to come.

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The Marvel film Black Panther (2018) marks a turning point in the comic book cinematic landscape of predominantly white superheroes. Director Ryan Coogler chose his hometown Oakland, CA as the familiar cultural backdrop to offset the technologically advanced nation of Wakanda. Wakanda, where Black Panther lives, is the hidden, resource-rich utopia in East Africa. Coogler contrasted the two main characters in Black Panther--Erik Killmonger, who represents the experiences of African Americans and subjected to colonization, and T'Challa, who represents Wakandan Africans who escaped the horrors of enslavement and nurtured their own isolated political, educational, and social system via the abundance of the natural ore called Vibranium.

The film highlights real global tensions such as the national hoarding of resources and gatekeeping of outsiders; at its core, though, the film is about individual tensions: belongingness, identity, and family. Killmonger, raised in Oakland, was well familiar with a community of Black people who cared and tended for each other through distribution of local goods and services, shared resources like housing and food, and the much needed organization of fellow uprisers. The fact that other Black people were suffering across the world was unacceptable to him morally. Killmonger recognizes he is a part of the Wakandan royal family and rightly deserving of the Wakandan culture, i.e. the monarchy, the Vibranium, the army, the weapons... but T'Challa feels completely unrelated to Erik and disagrees with his vision.

Erik Killmonger is a complicated villain. During his adolescence, he saw spaceships in the sky, and soon discovered his father was murdered. But his Wakandan family did not take him in. He was abandoned and left to figure out his place in the world without a Wakandan guardian. Being both Wakandan and African American shaped his self-beliefs, but he becomes more than just the sum of his parts.

Drea discusses the long-term impacts of abandonment and familial isolation, and the potential of feeling lost or adrift. In many ways, we may expect Killmonger to be broken, fragmented, confused about identity, and fragile within his personality. But his cultural hybridity is a strength; he grows to be adept, self-reliant, unconfined, and assured about who he is. It isn't the "villain" who ultimately changes his perspective, but the hero T'Challa, who is impacted by the revolutionary spirit and determination of his cousin.

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Asgardian brothers Thor and Loki are set adrift in the film Thor: Ragnarok (2017). Lost and away from home, they learn to see the value of one another as they plot their escape of the planet Sakaar. Loki, who has learned all his life to master the skills of trickery and illusion, uses his wit, duplicitousness, and charm to gain favor on the planet, while Thor uses his great fighting abilities and strength to escape imprisonment.

In exploring their dynamic, Dr. Drea highlights the emotional patterns seen throughout Loki's way of relating to others. He continues to betray, sabotage, and retreat, even at times when he and his brother can actually become closer and more connected. It's as if the feelings of trust are far too vulnerable to accept; even when Thor offers him an opportunity to be valued and seen as a good guy, Loki leans further into his destructive tendencies. He can't help himself.

Their sister, Hela the Goddess of Death, introduces a far more terrifying threat when she overtakes Asgard and begins decimating the kingdom. Though they defeat her, the brothers must protect hundreds of Asgardian refugees who form a camp aboard a ship called the Statesman. It is their new home. Inspired by their courage, Loki finds the opportunity to experience belongingness not through a shiny crown and the constraints of the archaic monarchy, but through the shared resilience of his people. By contributing to the formation of a new Asgard, he shows signs of reconciling his damaged self.

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Spider-Man: Homecoming (2017) centers on a coming-of-age Peter Parker, a fairly normal high school student who is beginning to navigate his new role as a superhero (that part's not so normal). Parker not only glamorizes the "Avenger lifestyle" but yearns to take the life-altering leap into the Spider-Man suit, full time. Distracted by fantasies of what his world could be alongside Thor, Iron Man, Captain America, et al., Peter overlooks the daily freedoms and fun of his youth.

Homecoming is a heartfelt celebration of youthhood, an invitation to find gratitude for our younger days, and to remember what it was like before things got ...complicated. The film articulates the tension between childhood and adulthood, the push and pull, the strain we feel when we want to grow up fast. Peter's youthful and carefree spirit is, in many ways, representing what many of the Avengers did not have. Even as a youngster, Peter Parker is already so many things. Bright, witty, sharp, humble, and caring, he has it all. He also has one ability called interoception. He is easily able to tune into his internal sensations. This in-the-moment ability-- noticing bodily experiences, reactions and emotions in real-time--allows him to synthesize information and execute swift and effective actions. In fact, his "spidey-sense" is the superhero version of interoception.

It's Parker's spidey sense that leads to his struggles with emotional maturity; he knows deep down that he's not quite ready to step into adulthood. Dr. Drea points out that some early life experiences do accelerate a teenager's psychosocial growth and maturity, including ones that offer autonomy, self-sufficiency, increased responsibilities, and worldly exposure. Entering the workforce (e.g., recruitment into the Avengers) almost always kickstarts the transition into adulthood.

Tony Stark (Iron Man) plays a pivotal role in Homecoming. He is exploring his own sense of maturity, toying with a novel gadget: the ingenuity of parenthood. He gives Peter the resources, technology, advice--and warnings--a loving parent would offer, feeling himself proud of his ability to set boundaries and build the healthy guardrails he did not have as the son of brilliant inventor Howard Stark. But how much of this "recruitment" resembles a repairing of Tony's own brokenness, and what are the costs to Peter?

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Bounding several fictional planets across the far-reaching expanse of space, Marvel's Guardians of the Galaxy, Vol. 2 (2017) is a journey that hits very close to home. The film handles serious topics such as family violence, sibling abuse, child trafficking, and abandonment through the vulnerability and imperfection of its characters. There's a directness and regretless tone, a willingness to give us portryals of people who deal with pain, hurt, fragility, and anger openly. How they relate to one another is where we come in. We recognize ourselves in Gamora's coldness; Nebula's rage; Rocket's loneliness; and Drax's lack of boundaries. The film centers around a certain kind of belonging - the unconditional love, acceptance, and tolerance that we can only secure from close and familial relationships.

Although we never see him in the film, Thanos is a vicious character who stands out as an abusive parent, felt throughout the arguments and battles between Gamora and Nebula. Drea explains the concept of Parental Differential Treatment; a common trait within parents to choose favorites among offspring. But when differential treatment happens with abuse in a family, the outcomes have cascading effects. One sibling in particular is targeted, picked on, marginalized, ignored. The other, caught in a bind to obey and "look the other way." Thanos was specifically more punishing with Nebula, who consequently redirected her anger toward a more "suitable" target, her sister.

Rocket Racoon is constantly underestimated, but holds intellectual and emotional wisdom. A result of genetic experimentation, he's learned to be gritty, self-sufficient, self-empowered, and refuses to be victimized. He looks like a pet, but belongs to no one.

Star-Lord (Peter Quill) finally meets his real father, but soon learns the man who has every quality Quill thought he valued--Ego, a powerful Celestial--simply doesn't feel like "family."

Ultimately, Guardians, Vol. 2 reflects the complexities of human bonds, that love without the contingencies of power and control is indeed possible, even found between the most unexpected people.

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This analysis of Marvel's Doctor Strange (2016) centers on the idea that great tragedy can lead to tremendous growth. After sustaining multiple injuries from a near-fatal car accident, world-renowned neurosurgeon Dr. Stephen Strange loses all functioning in his hands. But it is his mind - a narrow, grandiose, and very fixed mind - that needs healing. Desperate to operate again, Dr. Strange travels to Tibet, in search of a miracle cure. He finds The Ancient One and a group of mystical fighters. At the Sanctum Sanctorum, Dr. Strange learns that his injury is, in perspective, minor and that the world faces much larger threats than he's ever imagined.

Before learning to be proficient in the mystic arts, Dr. Strange is callous, demeaning, and holds an unrealistic sense of superiority over others. He sees others only in comparison to himself, and infers a disdain for them by way of intelligence, class, and profession. After his horrific accident, Dr. Strange doubles down on his hierarchical beliefs. Because he accepts a western model of fixed categories, labels, and material constructs of the self and others, he interprets his injury as a devastating loss. His sense of self is singular and fixed; without his hands, he can no longer perform surgery, and is therefore of no value. He sees himself as vulnerable, weak, broken; he hates himself, as he would anyone who isn't a prolific and admired surgeon.

Drea and Brian explore the way the film integrates eastern and western philosophies, belief systems, and healing models. Dr. Strange learns to expand his abilities not by regaining the use of his hands; but welcoming less tangible forms of functioning. He learns to heal spiritually, not physically. In fact, The Ancient One teaches Dr. Strange how to open his senses to the awareness of energy in other dimensions, and to harness that energy to skillfully conjure spells to create weapons, shields, and illusions in order to help protect the sanctums from threats.

Dr. Strange ascends as a master of the mystic arts, but he also demonstrates the importance of the growth mindset - our mental openness, flexibility, and curiosity. By letting go of the fixed rules and textbook models of the science he knows, Strange welcomes the subjective and introspective practices that can also give way to healing and self-betterment. He gains a more expansive and transcendental concept of the self and others. This approach is critical to modern psychological science. Integrating psychology and philosophy with traditional science creates a more expansive and harmonious version of our treatment models. As a way to embrace the power of our human senses, Dr. Drea demonstrate a brief exercise in Mindfulness.

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The Marvel film Black Widow (2021) takes place immediately after the events of Civil War (2016), during which Natasha Romanoff (Black Widow) assists fugitives Captain America and Bucky (The Winter Soldier) in evading the newly implemented "Sokovia Accords” (see Ep.175). Now a fugitive herself, Natasha goes into hiding only to be pulled back into the world of espionage in Budapest. She's reunited with her younger sister, Yelena, who is brilliant as a Russian operative; she's also resilient, charming, and remarkably grounded. Despite harboring a history of adversity and abuse as a child of the tortuous Red Room Academy, Yelena demonstrates healthy emotional features.

Black Widow is a social experiment if nothing else. What would happen if young children were separated from their caregivers and raised exclusively by government operatives in extreme conditions? And what if, further, a short period of their captivity involves being forced participate in a "mock" family, to be raised by secret agents disguised as loving parents? Does the guise of family further traumatize the children or act as a psychological buffer?

Community is vitally important to healing. As it turns out, although Black Widow's family may be artificial, the feelings of comfort and security are real. Yelena, in fact, experiences a sense of family even earlier in her childhood, during which developmental regulation is critical. As a result, her mental health outcomes are better. Natasha, however, struggles much more because her relational support came during a later period in adolescence. Psychological science backs this up -- if, in their first few months of life, a child experiences healthy relational connections, even if they are followed by many years of adversity, their outcomes are better compared to youth who had bad experiences from the start. What's lacking is the early "relational buffering." Timing is everything.

At the film's core is the question of what's real or not real. For instance, the girls do not need a "real" blood relative to experience nurturing. Their family, though forced together under subterfuge, became meaningful, interconnected, bonded. "Family" is made up of the people around us who give us comfort, connection and belongingness and who see us for who we are. Connectedness, not heredity, has the power to counterbalance adversity.

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The 2016 Marvel film Captain America: Civil War centers on a crucial event in the comics, the Superhero Registration Act. As a plot element in superhero fiction, the registration acts have raised important social questions and encouraged dialogue about discrimination, profiling, and excessive government regulation in order to preserve national security.

In both cinematic and comic portrayals, the registration acts (or Accords) would mandate the enlisting of meta-humans and superheroes so that the government may regulate their actions, deploy them as necessary, and limit their powers. Refusing to sign the Accords would lead to immediate discharge from service - and in some cases, disobedience leads to internment. Consequently, the Accords lead to a significant rupture among the Avengers, with one side led by Tony Stark (Iron Man), who fundamentally believes government oversight is necessary and just, given the massive, destructive potential superheroes wield; and the other side, led by Steve Rogers (Captain America), believes enforced regulation strips superheroes of their civil liberties.

Civil War offers the quintessential group superhero fight we all want to see; each hero flexing their gifts, powers, and weapons as they face off in a versus battle, each fueled by a strong conviction that they are doing what is right. However, the smaller, interpersonal moments show up as the strong points of the film. We see a deeper concern build within Tony when he reflects on his own past actions. And Steve's refusal to compromise is relatable, but he begins to drift down a path of vigilantism. Finally, the film gets away from the theme of civil rights by focusing on the friendship between Steve and Bucky (The Winter Soldier), asking us to consider whether a "brainwashed" assassin should be held accountable for his heinous actions.

Drea and Brian discuss the fictional and real-life elements of brainwashing. Although the mechanisms of brainwashing in the film are fictional and, quite literally, more shocking, there are some parallels noticed when examining real documented cases of coercion, indoctrination, and invasive forms of influence. Psychologists do generally believe that some types of "brainwashing" are possible, when the certain extreme conditions in the environment are met - namely, extreme isolation, deprivation, threats, and dependency. Psychologists, however, also agree that it is just not that easy to change a person's core personality and whole belief system, suggesting there is a willingness or level of participation by the supposed "brainwashed" person pulling the trigger. And who, then, should be held accountable for the resulting casualties and losses? As evidenced by historic trials, cult manifestos, and actual social experiments, circumstances of "brainwashing" can almost always be accounted for by more reasonable thought mechanisms in real life.

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The MCU film Ant-Man (2015) is about a recently incarcerated thief (Scott Lang) who is released from prison, discovers a super-suit, and stumbles into superheroism. Lang experiences the disadvantages of "prison penalty" following his release--namely, difficulties obtaining and holding a job, the stigma of being labeled a criminal, limited access to fulfilling relationships, etc.

However, Lang bounces back quickly due to the privileges he gains through mentorship from wealthy scientist, Hank Pym, the original Ant-Man. The Ant-Man suit, powered by the Pym particle, allows Lang to shrink and embiggen, and he quickly becomes the "right" guy for a perfect heist: Steal the tiny YellowJacket suit at Pym Technologies before the sinister businessman Cross sells the Yellowjacket technology to the enemy organization, Hydra. Meanwhile, Hank Pym gradually reveals that the loss of his wife and partner several decades ago weighs heavy on him and even motivates most of his decisions relating to recruiting Lang, sustaining the particle technology, and protecting his daughter.

Unfortunately, the film falls flat because Pym's grief is eclipsed by Lang's journey; in particular, Lang's quick successes and easy breaks. Because Lang's hardships as an ex-con rarely take hold, Ant-Man is a light-hearted shrug about serious themes, and the outcomes often feel frustratingly disproportionate, especially when Lang is surrounded by less privileged counterparts navigating the same laws. The Pym suit, like the proverbial invisible weightless knapsack of privilege, actualizes a pack that holds special provisions, maps, passports, codebooks, visas, tools, blank checks and other unearned assets that Lang can obliviously rely on to slip through the law like an ant through a keyhole.

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Ultron is an artificial intelligence peacekeeping program built by Tony Stark (Iron Man), who pursues his mission to protect Earth from the numerous -and growing- threats far and wide. The Avengers, after bearing witness to multiple dangers, both domestic and extraterrestrial, begin to experience critical shifts in their worldview. Tony, for instance, admits that a power greater than Iron Man is needed to armor the world from the terrors and attacks at the cosmic level. Steve Rogers (Captain America) warns his friends that giving up their individual liberties in the name of peacekeeping may ultimately compromise humankind's goodwill and create irreparable rips in the fabric of humanity.

In Avengers: Age of Ultron (2015), Earth's mightiest heroes face off with a bot gone wild; Ultron evolves past his original programming and becomes a formidable, violent A.I. seeking to destroy humans so that his super-sentient army of bots can take over as Earth's more suitable occupants. With the stakes high, the Avengers begin to notice the glaring differences in their individual perspectives and the ruptures among them set a course for a breakdown of the team. Drea and Brian evaluate Ultron's plan -- is Ultron a global terrorist, or just saving earthlings from their own destructive paths toward warfare, genocide, and terrestrial destruction? The debate, best illustrated by the growing divide between Cap and Tony, is one of control and self-determination.

Are our failures and flaws simply proof that despite efforts toward self-betterment, our programming locks us on a definite path? Are humans essentially pre-programmed to destroy one another and thus deserving of extinction? For some, what matters most is our chance to redeem ourselves, to override our most dangerous impulses and put our free will to the test.

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Guardians of the Galaxy (2014) is a fun space romp set to a banging soundtrack. The team is an off-beat group of space vigilantes; a band of outsiders, outcasts, and outlaws. As we get to know them, it becomes clear that they come from broken origins. Star-Lord was kidnapped as a young child by a group of space scavengers; Drax lost his whole family to the horrific murders of Ronan the Accuser; Gamora is the daughter of the formidable and cold-hearted villain, Thanos; Rocket is the result of a torturous lab experiment; and Groot is a giant tree limited to three words in his vocabulary. There is nothing overtly "super" about these heroes--if anything, they are underachievers, under-performers, and too self-absorbed to have friends. But their deficits are characterized as features they learn to live with.

We discuss why the Guardians struggle to build and keep positive relationships. When describing those deficits, Drea explains the need for better interpersonal effectiveness, the skills that help us get along. Interpersonal effectiveness skills include the ability to express needs and wants, attend to others, communicate clearly, and preserve our self-respect. Of course, each character happens to have emotional elements that are helpful to the group--they are surprisingly compassionate, open to learning, and love to laugh at their situation. Guardians succeeds as a film because the resolution does not require each character to be cured or absolved of their emotional, cognitive, or communication deficits; but instead, helps us to see their ability to form family, connectedness, and bonding when it matters most.

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Captain America is depressed. And we should have seen this coming.

Waking up in a post-9/11 world after 70 years of cryosleep would, if anything, cause a major existential crisis. Drea and Brian rewatch Captain America: The Winter Soldier (2014) and notice the concerning signs of chronic sadness, loneliness, and preoccupation with death as prominent features of Cap's psychology. The super soldier known for his strength, stamina, and unrelenting defense of civil liberty is weakened by the moral fluctuations of his friends, his employer, and the leaders he once revered.

The constant undercurrent of The Winter Soldier is betrayal. From Black Widow performing secret side missions, to Nick Fury covertly building weapons of mass destruction, to S.H.I.E.L.D. serving as the institutional facade of the enemy agency HYDRA, to Bucky Barnes becoming a terrorist known as the Winter Soldier--the breaches of trust feel like deep and painful injuries to Cap. Within a couple of short years of being thawed out of his ice coffin, he experiences hit after hit to his core belief system.

One's worldview is known as "their orientation of the heart." These betrayals are, therefore, heartbreaking. They are violations of loyalty, intimacy, and passion. Feeling alone in his experience--highlighted by his colleagues reminding him he's been asleep for 70 years--Steve Rogers struggles to identify with the value system carried even by the people on his side. But integrating the newer, and nuanced, worldview of his peers is not an option.

As Steve's loneliness, disillusionment, and mistrust grow, his willingness to take risks and encounter danger increases. He is an outsider; he is mis-matched to his social environment and therefore operates with a recklessness that hints he'd rather not live in this world if he cannot serve it meaningfully. Drea outlines the impact of "betrayal trauma," which can happen when an institution that a person relies on for survival ends up violating that person's trust. When it happens intensely and repeatedly, betrayal trauma can lead to depression, chronic anger, irritability, anxiety, insomnia, self-hatred, and self-harm. These can be common experiences for soldiers who experience life-threatening combat trauma coupled with a sense that their institution or government betrayed them or failed to protect them.

Steve's best protection against his antagonists is to preserve his reality and stay committed to his interpretation of true sovereignty; this means, however, being harmed if not destroyed in the process. Lucky for Steve, he has a friend who's with him 'til the end of the line.

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In Thor: The Dark World (2013), a sinister force known as the Aether is resurrected by astrophysicist Dr. Jane Foster, who unfortunately becomes the vessel of its great and dangerous power. The Dark Elf, Malekith, and his warriors are awakened after eons of comatose suspension, given life again now that their source of power is active. Thor begrudgingly recruits Loki to help him exorcise the unearthly substance from Jane's body, but during the process, Malekith is successful in harnessing its great power, and plans to restore the Dark Elves to dominance by unleashing the Aether at the center of the Convergence, the alignment of all nine realms.

Though it doesn't add much to the larger Avengers saga, Dark World gives Loki a significant amount of screen time and builds his character from being a one-note mischievous villain to having moments of closeness and compassion with members of his family--specifically his mother, Frigga; and his brother, Thor. To help us better understand these patterns, Drea discusses Family Systems Theory, which posits that the family functions as one emotional unit (or system) and that the dynamics between family members serve to keep the family cohesive. This is the case even if the connections are unhealthy, harmful, or unbalanced. For instance, individuals in the family solicit each other's attention, approval, and support, and in turn react to each other's needs, expectations, and upsets. Loki, the adopted trouble-maker, will nearly always be treated by family as unreliable and self-serving; he, in turn, fulfills these expectations for the attention. At times, Loki is emotionally cut-off from his family, perhaps to manage the unresolved tension between them. Other times, because he is poorly differentiated and relies on the approval of his family, Loki seeks connection to them.

Thor and Loki, therefore, share an emotional connectedness and reactivity--making the functionality of them interdependent. This is evidenced by Thor seeking Loki's help in his efforts to save Jane Foster; Thor knows that Loki has the moral flexibility and cunningness to achieve this goal, but he also knows that Loki is dependent on Thor's approval of him and wants to be seen as valuable and even extraordinary.

At the end of the film, it is no surprise that Loki chooses to betray everyone in order to meet his own neglected needs. These repeated dynamics could be interesting in therapy, but as it turns out, they're exhausting on screen.If you'd like to read Drea's article on Loki, you can find it here: https://www.fandom.com/articles/loki-psychology-mcu-marvel

Drea's article on Halloween: https://www.fandom.com/articles/halloween-kills-psychology-laurie-strode-michael-myers

If you're interested in the Pop Culture Perspectives with Paxton episode on Malekith, you can listen here: https://podcasts.apple.com/us/podcast/pop-culture-perspectives-with-paxton/id1579253876?i=1000530895808

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The seventh film in the Marvel Cinematic Universe (MCU), Iron Man 3 (2013), shows a burnt-out Tony Stark struggling with the traumatic ramifications of the interdimensional, interplanetary war seen in The Battle of New York (The Avengers). In their review, Drea and Brian first examine the sociopolitical context of Iron Man 3, which places a backdrop of intensified ideas around middle eastern terrorism, weapons of mass destruction, and a singular disconcerting extremist leader (in this case, the Marvel villain known as The Mandarin).

Those dangers become paper thin compared to the prominent threat in the film, which is Tony's deteriorating mental health, characterized by frequent, intense, and debilitating panic attacks. The recognizable signs of a panic attack are present: racing heart, sweating, rapid thinking, emotional reactivity, and thoughts that he may be experiencing cardiac arrest or dying. When he's not working, Tony is susceptible to flashbacks, nightmares, insomnia, and fear-inducing ruminations about his trauma. Moreover, Tony has been forcing himself to work extra hours to keep his mind busy and his thoughts from going to the dark places that trigger his anxiety.

Drea and Brian discuss these signs and the possibility that Tony Stark has PTSD from the near-death experience and life-threatening events of the Battle of New York. After all, he guided a missile into space and fell back into earth as it exploded. Drea discusses types of jobs that have "occupational hazards" that may increase the risk of traumatic responses like PTSD. Signs of traumatic stress on the job include emotional agitation, depression, insomnia, proneness to conflict, withdrawing, difficulties thinking rationally, self-medicating with alcohol, and being mistrustful about coworkers.

Drea adds that some helpful tools to combat workplace traumatic stress include "engagement strategies." As it turns out, when we attend to the visceral experience of emotional pain (rather than avoid it by building dozens of Iron Men), we are more able to process and overcome them. Moreover, avoiding difficult feelings or, worse, faking positivity (incidentally called "surface acting" at Disney theme parks), are nearly guaranteed ways to increase emotional toll and increase stress related to burnout. Tony hits a roadblock and finds that none of his emotion regulation strategies are working. It isn't until he takes a forced "vacation" into hiding and has to spend time examining his emotional pain and fueling it toward something purposeful that Stark makes meaningful post-traumatic growth.

It's Tony's experience of burnout combined with traumatic stress made him vulnerable to workplace PTSD, but his ability to create a narrative about his emotional pain and connect it to his living purpose is also applicable to people in the helping and service professions.

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Drea and Brian wrap up their very first Marvel "season" of the podcast with their enthusiastic review of the Disney+ series, Loki. After covering all six films in Phase I of the MCU, they proceed by following the alternate timeline that plucks Loki out of the Endgame timeline and propels him toward his quest for self-discovery and, of course, glorious purpose!

When Loki is arrested by the Time Variance Authority (TVA), an organization that monitors timelines and "prunes" or extracts any outliers (called variants), he learns that his alternate self was headed for destruction and devastation--and straight into the strangling hand of Thanos. Through his guide and department supervisor, Mobius, Loki also learns he was destined to make peace with Thor and achieve his brother's forgiveness before his death. The TVA, however, has a mission for him if he accepts his alternate timeline and works as a specialty agent in their offices. Loki is tasked with hunting a variant of himself who's been uncatchable: Sylvie, a lady Loki who's been hiding in apocalyptic corners of the timeline branches and averting the TVA Hunters for decades. Loki develops a deep connection with his female variant, eventually seeing in her the attributes he has been able to love until now: charm, intelligence, bravery; but also stubbornness, detachment, and fragility. Loki is able to appreciate and accept the flaws within Sylvie which of course are also parts of himself.

In this episode, Drea identifies the characteristics within Loki that are consistent with someone with Borderline Personality Disorder, a mental health condition characterized by difficulties with regulating one's emotions. His mood swings, recklessness, and impulsivity make him hard to be around, and his frequent backstabbing has left loved ones like Thor untrusting and tired of him. Loki's dangerous antics and menacing lifestyle puts others at risk. Like Loki, persons with BPD experience disturbing emotional outbursts such as bouts of uncontrollable anger or rage--often followed by shame and guilt.

Because the Loki series centers on such a character, we begin to experience the disorder intimately: the ups and downs, the self-doubting and the self-sabotaging, and the inability to truly be present with others. Loki's constant morphing and shifting of the self is a magical strategy but a psychological one as well. Confronting Loki with a version of himself allows all to see the challenges related to mistrust, his fragile boundaries, and his inner critic. We also learn that Loki's personality is complex and includes enduring positive traits--Sylvie reminds him that he's clever, playful, persistent, observant, humorous, decadent, and resilient. Loki's love for Sylvie is arguably not incestual but rather indicative of self-compassion, drawing up for Loki the healthy counterarguments to his inner voice that tells him:

I'm unlovable.

I don't belong anywhere.

I'm alone.

Drea and Brian agree that the show helps audiences grow toward understanding and building empathy for all types of "divergent" individuals, helping us see nuanced qualities outside of a narrative of suffering.

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Knowing how to build a strong team is so important, especially during a crisis. Drea and Brian rewatch the 2012 Marvel film The Avengers and look for psychological tools that could be valuable to us, as our world grapples with its own formidable crisis.

Brought together by S.H.I.E.L.D. to protect Earth, the Avengers show us many essential skills for coping, problem-solving, and managing setbacks during challenging times. Tony Stark, Bruce Banner, Natasha Romanoff, Steve Rogers, Thor Odinson, and Clint Barton get to know each other as people before they relate to one another as their superhero selves--Iron Man, the Incredible Hulk, Black Widow, Captain America, Thor, and Hawkeye. Of note is their ability to understand internal conflict and to confront one another about their differences. However, it takes a tragedy for the Avengers to ultimately suit up for a shared cause.

Research on the psychology of teamwork suggests that diverse groups with various qualities can be successful and very effective. You don't need six Iron Men. And six Hulks would be...a disaster. Being driven by different values (e.g., responsibility, discipline, self-betterment, self-sacrifice, duty, emotional relief, etc.) is completely acceptable among members as long as the team shares a common macro goal.

Identifying as a team also matters. Uniting their strengths to protect the Earth from the war-hungry Chitauri alien army seems a fitting objective for the Avengers. And of course, there's Loki. The Avengers realize his mischief can reach a level of terror and great destruction.

Teamwork is the ability to work together toward a common vision--which means the Avengers must direct their individual accomplishments toward one organized objective. According to Positive Psychology research, to accomplish this, a team needs to have the following core ingredients: emotional awareness, good communication, stress tolerance, conflict resolution skills, and, very importantly, a positive mood. Drea and Brian assess whether the Avengers truly have these essential skills as they’re faced with an unprecedented existential threat: The Battle of New York.

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Captain America symbolizes equality, justice, and fairness for all, but he could easily be minimized to a simple ideology. Drea and Brian rewatch the 2011 film Captain America: The First Avenger and explore/question why so many Marvel fans choose Cap as their favorite superhero.

At first, it is easy to misattribute Steve Rogers as nationalistic or blindly patriotic--his eagerness to serve in the military; his costume, which bears the American flag motif; and his super-soldier serum-enhanced masculine physique come off as intense, dominating, even zealous. Is this the making of nationalistic pride? According to psychologists, nationalists carry strong, passionate attitudes and beliefs about their country and often view their nation as superior; this "in-group favoritism" and "out-group devaluation" can lead to dangerous forms.

But Cap is far from the kind of person who embodies these grandiose characteristics--he's much more humble, compassionate, and ethical. He is protective, not offensive. Self-sacrificing, not power-hungry. His passion and devotion are to the values that define America; not to the nation itself. This distinction is what makes the film, set in 1940's WWII era, endure a decade of MCU storytelling; and still land powerfully so many years later. You can literally put the movie on ice, and it will tell a meaningful story relevant to today's social world.

On the show, Drea talks about an important psychological aspect that Captain America embodies: Moral Responsibility. It means that Cap feels it is his duty to deal with challenges that come up, to be accountable, and to be able to act independently and make decisions without authorization. There are several kinds of responsibility traits; and Cap happens to align with four: Adventurer, Peace-Seeker, Questioner, and Asserter. Drea reviews these attributes and explaisn why his psychology--not the package he comes in-- draws our respect and admiration.

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In this episode, Drea and Brian welcome the Norse Mythology and Shakespearean overtones that flavor the Marvel movie, Thor (2011)!

The film offers a satisfying introduction to Odin's family of royals; and gives us clear motivations for brothers Thor and Loki. Thor has lived a life of privilege and unearned power, and is banished to Earth by his father to be humbled and discover attributes within himself that deem him worthy of ruling the planet Asgard. Loki, who has always felt eclipsed by his stronger brother, discovers he is adopted and is actually the son to his family's enemy. A descendent of the terrible Frost Giants. Feeling emotionally injured by his adopted family, Loki harnesses his cunning and mischievous ways as a mechanism to gain power and control. Drea notes that, while Thor's biggest adversity is losing his superpower (and his hammer, Mjölnir), Loki's struggle with profound rejection becomes his biggest challenge to overcome.

Many people have argued that "adoption is trauma," i.e. the very fact that children have to be removed from their birth parents is traumatic. Indeed, psychologists, too, have debated whether adoption itself is traumatic, but it is worth noting that the experience of adoption is influenced by multiple factors. A key finding to date: Irrespective of whether they're raised in an adoptive or their biological family, children who are put through the care system are usually happy and have a strong sense of identity when they end up with a stable placement. Home stability and belongingness ultimately serve as strong predictors of health and happiness and can shape the adoption experience in positive ways.

This is only the first episode that covers the psychology of Loki--many more to come!

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Drea and Brian review the third film in the Marvel Cinematic Universe, Iron Man 2 (2010), recognizing that the formulaic villain (Whiplash) is far less interesting than the supporting figures in Tony Stark's life. Pepper Potts, James "Rhodey" Rhodes, and the newly introduced Natasha Romanoff (Black Widow), emerge as important connections that bring life to the story.

At the crux of the film is a startling discovery: Stark learns that an element in the arc reactor that keeps him alive (and powers his Iron Man suit) is actually slowly poisoning him, and he cannot find a substitute. Accepting his impending death, Stark begins to take certain actions to prepare others for the loss and cement his legacy. The outward signs of recklessness and despondency are noted by his loved ones--Stark takes to the bottle, seeks out dangerous situations, and gets combative when others offer help. It is as if all his personality features--narcissism, invincibility, and selfishness--are dialed way up. How much of this is reactive vs. calculated?

Drea and Brian explore the 5 Stages of Grief, a model developed by psychiatrist Elizabeth Kübler-Ross in the late 1960's. We may expect Stark to undergo each stage of grief—Denial, Anger, Bargaining, Depression, and Acceptance—but his journey doesn't quite match this textbook paradigm. As it turns out, the 5 Stage of Grief model has been adjusted in the last several decades to represent more realistic and dynamic responses to personal loss. Additional components include physical reactions such as headaches, fatigue, pain, and difficulty sleeping. Moreover, "in-between" stages include moments of worry, guilt, detachment, questioning, and, very importantly, synthesis and integration stages. Finally, while much can be learned from grief models formalized by psychological scientists, it is always helpful to recognize the uniqueness of an individual's lived story and honor their own authorship of their grieving process.

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"You won't like me when I'm angry."

But...what if you're just ...excited? Drea and Brian rewatch The Incredible Hulk (2008) from Phase 1 of the Marvel Cinematic Universe, as part of their psychological review of the entire film franchise leading up to Loki.

Bruce Banner (Ed Norton) is searching for a cure for his green monster ailment by constantly monitoring his heart rate and trying to keep his body from getting too excited. Even though his trigger seems to be any intense emotion, he certainly is pretty angry when he transforms into the Hulk. Drea and Brian remain unimpressed with this version of Hulk; but Drea notes that some of the techniques used by Bruce Banner to regulate his emotions are backed by real research. She discusses the benefits of diaphrammatic breathing; a technique used by anxiety specialists to help clients calm the body and reduce panic symptoms. A brief demo is given on how the exercise can be completed.

Additionally, the comic book character the Incredible Hulk has often been used by laypersons and mental health specialists as a portrayal of mental disorders. As always, the misconceptions are noted and clarified. For instance, Bipolar Disorder and Multiple Personality Disorder (now called Dissociative Identity Disorder) are very commonly attributed to Hulk. Drea describes the features of these mental health conditions and "rules out" ones that are likely not relevant to the experiences we see in Edward Norton's version.

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Kicking off their first season ever on the Marvel Cinematic Universe, Drea and Brian dive into Iron Man (2008).

As they look back on the film using a psychological lens, what becomes clear is that the tone and storytelling carry the markers of long term relationship-building between audience and narrative. Iron Man introduces a main character who is already flawed and shows little to no commitment to changing his stripes. But the world (and soon, universe) is changing.

Set in the early 2000's amidst the heavy and striking elements of post-9-11 anxieties, the film pulls audiences in by harnessing familiar tensions. Tony Stark, who has established himself as a self-assured innovator in the public spotlight, experiences compounding trauma and near-death experiences, followed by the discovery that his family company, Stark Industries, has been involved with nefarious dealings and in providing weapons to the Ten Rings, a group of Middle Eastern terrorists.

Drea and Brian discuss Tony Stark's damaged ego and shift in vision, assess for post-traumatic stress disorder, addiction, and depression, and weigh in on why his candid, unapologetic nature serves as less a cover for his unease and more of an indicator of his unstoppable drive toward social action.

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Zack Snyder's Justice League received mixed reviews; and though the film has undeniably brought joy to many viewers, it has sustained a brutal wave of vitriol by some in the fandom.

The "Snyder Cut" has been called many things--bloated, self-indulgent, unnecessarily long, a toxic conspiracy. Talking about the 4-hour film without mentioning the fervor surrounding it is nearly impossible; so Drea and Brian begin the show by framing the film's storytelling through the context of its cultural positioning.

The film was released during the later lockdown stages of COVID; amidst a time in which many of us, exhausted from the stress of an ongoing crisis and relentless promises of normalcy, embraced a directness in approach and unconventionality in our entertainment media. Drea and Brian briefly tackle the controversial reactions to the film (and pointed out some differences between the original edit and the Snyder cut).

But, for much of this episode, they dive into the prominent character arcs. Batman, for instance, realizes the potential of meaningful relationships in a pre-apocalyptic world, pushing past his impulse to pursue heroic acts and their narcissistic gains. The young Flash is refreshingly ebullient and wide-eyed, while also undeniably self-doubting and apprehensive about his value on a superhero team. Cyborg, the most psychologically and physically harmed member of the team, stands out as the heart of Snyder's storytelling. Dealing with the aftermath of his mother's death and his own disfigurement and transformation into a more-robot-than-human creature, Cyborg feels purposeless and detached from society. But by holding himself responsible for saving Earth (and thereby embracing his individuality), his character raises the theme of freeing ourselves from the expectations of others and from racial stereotypes.

The Snyder Cut, though not cinematically perfect, is daring and bold; unwittingly blunt and aspirational. As a story that was "interrupted" and had a chance to be reclaimed and retold, its retribution is powerfully present. For anyone who grew up with the iconography of DC Comics characters, it is hard not to get swept away by the psychology of the film.

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Brian and Drea wrap up their coverage of the show, Steven Universe, by discussing the last 11 episodes of the first season. They noticed that, compared to earlier episodes, the storytelling is more arc-forming and that the stakes are higher--disasters, losses, and crises have very clear consequences. A theme found among this batch of episodes is post-traumatic grief. Steven's father, Mr. Universe, has not recovered from the loss of Steven's mother, Rose Quartz. As he, Steven, and Amethyst are cleaning out his storage unit, he is overcome with emotion and somewhat unwilling to part with items he associates with Rose.

Drea outlines the features of hoarding disorder, a mental health condition characterized by excessive acquisition of possessions (often seeming to have little to no value), feelings of distress when the items are discarded, and the resulting clutter and congestion of the person's living areas that inevitably interferes with their quality of life.

Brian and Drea discuss the clinically appropriate methods of treating hoarding disorder and explain why grief is often intertwined with this condition. They discover that each character is dealing with the loss of Rose Quartz in different ways, whether through perfectionistic exaggerated self-control (Pearl), displacing anguish by violating other people's comfort and boundaries (Amethyst), or attempting to please others (Steven). Overall, season 1 of Steven Universe appears to end with a crescendo of emotional meaning and payoff.

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Toward the end of the first season of Steven Universe, the underlying theme seems to be about "sense of self;" the way a person thinks and views their own traits, beliefs, and purpose in the world. These elements contribute to our self-image, or the unique identity we have as a person.

This collection of episodes features storylines about fusion, boundaries, and self worth. The merging of bodies (the Crystal Gems can fuse with one another, as a part of an innate ability) seems, at first, wondrous and even a little zany. These alien amalgamations, and what goes wrong when multiple drivers take the wheel, are initially superficial and slapstick. However, these moments can raise curiosity and can even teach viewers about body consciousness.

Steven (who is half-human/half-Gem), still young and has yet to form all his powers, discovers he can fuse with his human companion, Connie. Although their first fusion is accidental, they both agree to stay merged and share agency inside a single androgynous character, “Stevonnie.” These new experiences lead to important considerations about sharing the self with others, whether in terms of our will, our ideas, and even our consent.

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Drea and Brian descend further into the Steven Universe adventure with their coverage of 10 more episodes of the beloved series. During their review, Drea picks up on a pattern in Steven's social interactions--when others make jokes or use sarcasm, Steven often misses the intent and takes the comments seriously. His literal approach prompted us to wonder if he has features of autism.

Autism spectrum disorder is known in psychology as a neurodevelopmental condition marked by extreme unresponsiveness to other people, noticeable communication deficits, and highly rigid or repetitive behaviors and interests. Autistic people tend to appear aloof, inattentive, and uninterested in others. They often have difficulties with speech competencies, lack intonation when talking, and use few facial expressions or maintain eye contact. Many autistic people prefer sameness; whenever there is a disruption in routine or a change in familiar settings, they may feel upset or anxious. The term "high functioning autism" (which used to be called Asperger's), is problematic because it suggests some abilities are more important or valued than others; language and communication, intellect, social skills, and emotional competencies exist on a spectrum that can indicate a range of successes and struggles.

As Drea evaluates Steven's behaviors and capacities, she realizes that Steven is likely still developing the ability to track mature cues, and this may not be a sign of autism but, rather, simply a part of neurotypical development. In fact, he seems to empathize and connect quite successfully.

The Crystal Gems, however, demonstrate a number of characteristics and patterns that do seem consistent with the autism spectrum. As the alien beings who encounter various challenges on earth, Pearl, Amethyst, Garnet, and new Gems we're introduced to can serve as relatable figures to audience members who have a variety of experiences being made to feel "other."

Drea and Brian wonder whether the show's creators intended to represent social otherness and perhaps even highlight the ways in which neurodiversity can be embraced and appreciated. In fact, the autistic community reminds us that many autistic people are content, happy, and can live a life of quality--suggesting that when autism is framed as a malady or impairment, or as an experience that is deficit-based, we center a disease rather than an identity, further stigmatizing and pathologizing the lived experience of autistic people. By showing a more socially diverse way of being and growing, Steven Universe encourages neurodiverse fans to actualize their own freedom to express themselves in their truest way.

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After enjoying several more lighthearted and wholesome episodes of the animated show, Steven Universe, Drea and Brian focus their conversation on the Crystal Gem known as Pearl. Somewhat of the maternal or "big sister" figure to the group, Pearl is best characterized as very organized, mature, and responsible. However, she's also seen as overly rigid, perfectionistic, stern, and domineering. In their discussion, the hosts share why this personality profile can lead to rejection --no one likes a "know-it-all." And yet, when more deeply investigated, Pearl's personality is quite layered and nuanced.

First, Pearl seems to carry a diminished sense of self-worth, perhaps due to exhausted efforts to keep up with the other gems given their natural strength and confidence. On the outside, Pearl seems self-assured, but on the inside, she is struggling to feel valued and important. Second, Pearl does not seem to have recovered from the loss of her companion, Rose, neglecting and avoiding feelings of sadness and guilt. By controlling her environment and even the people around her, Pearl finds ways to experience her world as safe, predictable, and unchanged. As she shows her fellow Gems, though, Pearl's "annoyances" are also her strengths, and she overcomes threats by using problem-solving skills and cognitive strategies, not brute force. Over time, fans of Steven Universe realize the importance of valuing diverse strengths and attributes, not only the ones foregrounded by the story.

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As Drea and Brian continue their Steven Universe mini-marathon viewings, they become more familiar with the Gem characters: Garnet, Amethyst, and Pearl. They notice that Amethyst is perceived by the others as somewhat aloof, careless, disorganized, and even irresponsible at times. Her wildness and fluidity is frowned upon, and her impulsive ways seem to be interpreted as "bad" for the group. Because Amethyst's family treats her as unreliable and uncaring, she seeks approval from an underground wrestling society, where she finds meaningful relationships, a sense of achievement, and visibility. In fact, as a wrestler, she's able to fully embrace aspects of herself, ones that are not necessarily valued by her family. In the ring, she can be fiery, impulsive, physical. She can let go.

Drea and Brian discuss the importance of belongingness as it relates to our identity development, pointing out that even when we experience the rejection of a part of ourselves (personality traits, preferences, lifestyle), we are robbed of our dignity, humanity and wholeness. Their discussion is about accepting one another and not selectively appreciating only the parts we are comfortable with.

This episode starts with a message about the increasing violence and hate speech against Asian American and Pacific Islander individuals in our community and in response to the senseless murders of eight people, including six Asian women, in Atlanta, GA, on March 16, 2021.

Asian Allyship and Mental Health Resources mentioned:

National Asian American Pacific Islander Mental Health Association

Asian Mental Health Collective

Stop AAPI Hate

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The podcast embarks on a brand-new season, as we begin the journey of exploring the beloved animated show, Steven Universe!

Steven is a joyful, curious, and lovable half-human, half-Gem boy who is raised by three female Crystal Gem mentors: Garnet, Amethyst, and Pearl. We're introduced to Steven during a critical period in his development: He's not yet mastered his gemstone power. The concept of "fusion" is key to managing the power of a gemstone. A Crystal Gem merges their body and their abilities to form a new, more powerful persona. The outcome is an embodiment of one's strongest assets. Though Steven struggles to understand and has yet to discover his individual purpose, he maintains a positive and hopeful outlook about his future. At about 12 years old, his personality traits are already well-formed, and become pivotal to his emerging role as a young protector of Beach City.

Using the Big 5 Personality Traits as a model, we discuss Steven's strengths and features; taking into account how much of his personality may have been shaped by his environment and past life events. Given his eagerness to help others, his consistently positive outlook--even in the face of danger--, his emotional expressiveness, and his active imagination, Steven's strongest personality traits include agreeableness, openness, and social dominance (extraversion). Nothing seems too threatening to Steven's carefree mind.

Is such optimism learned? And will Steven become jaded and worrisome as he grows older and faces more threats and losses? We discuss the malleability of personality and the possibility that we could all learn to be just like Steven Universe.

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In their coverage of the third and final film in the Nolan trilogy, The Dark Knight Rises, Brian and Drea connect the events surrounding Bane's violent coup to the insurrection at the U.S. Capitol that took place on January 6, 2021. With a focus on explaining the fundamental causes of real-world terrorism, Drea outlines the psychological mechanisms involved in political radicalization and extremism, and clarifies widely held myths about the role of mental illness as a factor.

As we observe displays of overt recklessness, aggression, and supremacism among radical conservatives in our news, we tend to blame individual factors such as mental illness. However, there's little field evidence that points to a relationship or predictive connection between mental disorders and terrorism. Experts in psychology who analyze the biographies and profiles of militants, in fact, find that groups of terrorists and insurgents rarely include persons with serious mental illness given the risks of sabotage and mission abandonment. Social indoctrination, deprivation, and personal uncertainty are found to be better predictors of violating laws of democracy and advocating the supremacy of one group (racial, religious, political, social, etc.).

Bane, in particular, generalized his childhood abuse and isolation, directing his blame and anger toward mainstream agents of power. In fact, individuals who radicalize often hold distorted perceptions that they have been wronged or disenfranchised. They believe, usually with little to no evidence, that they're underserved or targeted by mainstream society. Shared characteristics include social disconnectedness, the need for order and certainty, and feelings of intense envy. Much like Bane, political extremists are overly simplistic in their beliefs, overconfident in their actions, and intolerant of differences in their "quest for significance."

The Dark Knight Rises may be a test of our endurance with its chilling and prolonged siege (clocking in at 2 hours and 44 minutes). The emergence of Robin offers a glimmer of hope and reminds us that it is often too difficult to "unwire" or "reverse" extremist ideologies (cue Bruce Wayne's retirement). Prevention, social diversity, and the sharing of basic necessities are the preferred pathways toward peace.

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"And here we go!"

After several years of exploring the psychology of Batman, Brian and Drea finally discuss Christopher Nolan's acclaimed film, The Dark Knight (2008).

Of course, the standout character in this movie is the Joker, and in The Dark Knight, he is as creepy and captivating as ever. With genius, the late Heath Ledger captures the characterological features that are recognized as essential to this remarkable villain: he is hostile, impulsive, homicidal, and remorseless. The Joker is, at his core, an adrenaline-seeker, finding great thrill in high-risk, life-threatening antics.

Heath Ledger's Joker adds some interesting and unique elements. As an anarchistic terrorist, he wants to show that all members of society are fundamentally immoral and corrupt, that there's an inherent poison in everyone's psyche. Joker calls it "madness." And he sets to prove this by terrorizing the city, commandeering the underground crime system, disempowering the mobsters, and targeting two heroic figures in particular: Harvey Dent and the Batman.

As the film unfolds, we're meant to question our definitions of "heroes" and even reconsider the reasoning of Joker's theories. In times of crisis and trauma, there is an undeniable appeal of retaliation, revenge, and wanting to "watch the world burn."

Brian and Drea deconstruct the film's social messages (contextualizing them in the challenges we face today) and attempt to answer the question of whether the Joker actually had any sense at all buried in his freakish personality. Overall, we agree that The Dark Knight enriches the Batman narrative with cogent psychological themes that help us better understand our own emotions, behavior, and motivations.

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Brian and Drea take listeners back to 2005 to revisit the well-received live-action film, Batman Begins. The first movie in the Nolan-directed Bat trilogy, Batman Begins sets the stage for a gritty and grounded landscape of Gotham City and establishes the core thread of Bruce Wayne's story: Fear.

The film shows us that fear is the fundamental catalyst for Bruce's lifelong mission to rid the community of criminals. Controlling fear, transforming fear, and embodying fear are manifestations of Bruce's obsession. But, as the film warns, fear can also be tampered with, manipulated, and weaponized. Scarecrow's terrorism is based in fear--his toxic inventions allow him to access primal anxieties in his victims to the point of hysteria and self-destruction. Ra's al Ghul prophesizes that if Bruce purges his identity (including his personal doubts and fears), he can transcend his own mortality. And Bruce himself becomes so wrapped in an idea, in a symbol, that he creates terror within the ones who love him.

What does Batman Begins teach us about our relationship with fear? Fear can lead to an overwhelmed sense. When we feel threatened, we go into survival mode. We feel as though our brain is hijacked, and we have lost control. What can we do when we are stifled by fear, worry, or panic? First, we can name the feeling or emotion. Observing our emotional state and being descriptive about our fear can create a little bit of healthy distance and allow us to feel more grounded, to gain focus, and to mobilize ourselves. Next, we can find a sense of calm by using breathing exercises. One easy way to attend to our breath is to inhale for a count of 3 seconds and exhale for a count of 6 seconds. Movement is also helpful -- we can stretch, go for a walk, or run in place to discharge some of the stress in our bodies.

Finally, we can use affirmations or self-reflective statements to acknowledge our survival in the moment. You can tell yourself you are safe, that you are able to cope, and that you have a way forward. Listen to the show for more suggestions like these about how to manage and maintain emotional well-being.

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The season 1 finale of Doom Patrol surely did not disappoint us. The show culminated with a bizarre, unexpected, cringe-worthy face-off between minor characters. The set-up initially throws viewers off course with this chaotic scene. But we didn't let the distraction of oddities draw our attention away from the theme that emerged; the one that pervades each episode: identity formation.

What makes us the people we are? Is it the experiences we have? The people who raise us? Doom Patrol consistently asks us to disentangle chaos from trauma and grow to be more self-accountable. It is satisfying to see our fictional friends gain these important lessons. Psychologists, too, encourage clients to find meaning and purpose in the midst of adversity. We urge people to avoid the helpless question "when will I be released from this?" and instead ask, "what am I learning about myself?"

The final episode also pitted the team against their ultimate enemy: themselves. They needed to work together in order to find refuge from an impending disaster. During times of crisis, leaders can be more effective if they point us toward a common goal or shared purpose, identify a common "enemy" (or thing to conquer), and push through fear to keep us moving forward and staying hopeful. We put the show to the test to see if effective leaders were prominently using these methods during the toughest times for the Doom Patrol. These strategies could be considered helpful guidelines during the challenging obstacles, hardships, and shared traumas experienced during the Summer of 2020. And beyond.

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On the last episode, we spoke about the important difference between actions that could be considered forgivable and actions deemed so problematic that the person behind them should be punished via public shaming. On this episode, we revisit the concept of "Cancel Culture," adding some considerations not addressed in the last discussion-- the emotional toll on the targeted party, the damaging impact of hateful words and actions, and the healing of the person or persons harmed. (We would like to make note here that we included a candid conversation between Brian and Drea about the tension survivors and targets of harassment may feel when presented with the option to "cancel" their offender publicly.)

Now on to the second to last episode of Doom Patrol's first season, which takes us further along our journey of psychological introspection! In assessing where our heroes are emotionally, we are pleased to see how far Rita, Cliff, Larry, and Jane have come. In what appears to be their most challenging lesson to date, Mr. Nobody transports them back in time to the exact day of the adverse event or traumatic experience that led them to become members of the Doom Patrol. They're given the decision to start over, to avoid the trauma, to essentially wipe out the horrors and setbacks that sent them on the path of superhero freakdom. It isn't startling to learn that each character reckons with their past by refusing to change the course of their future. In a bold move, they accept their flaws and mistakes, acknowledging some level of accountability for their misguided actions and vowing to "do better." Rita, in fact, commandeers control of her narrative, informing Mr. Nobody that she refuses to allow her story to be told by another person. By "writing her own narrative," she secures agency and control, but she also accepts her failures. This newly realized self-efficacy can be a powerful tool.

In the realm of narrative psychology, a person's life story isn't just a mundane list of facts--it's the way we integrate our experiences and events internally. Our narrative is how we weave experiences together to make a meaningful story. We are storytellers to our core. A healthy approach to identity building involves the use of competence-building themes in our narratives, which psychologists define as adaptive ways of recounting one’s life experiences. For instance, when we reflect on successes (success narratives), we think about ways in which achieved our goals effectively and secure confidence, pride, and the drive to succeed again in the future. Failure narratives, on the other hand, allow us to appreciate our own efforts, to recognize we survived something difficult, and to tell ourselves we can be equipped to deal with future challenges.

Practical tips for writing your own narrative:

• Be real to oneself. Don't tell your story with rose-colored glasses. Have self-compassion about your story, your hardships, and struggles.

• Be your own coach – try the method of "psychological distancing," which is how we intentionally reflect on our character, choices, and judgment from an external perspective.

• Always know your audience. Your story may be interesting to another person, but keep in mind their story as well and how they may relate to yours.

You can find our Comic-Con @ Home panels here.

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The Doom Patrol finally meets Flex Mentallo, Man of Muscle Mystery. It remains a little unclear, but he can basically manipulate reality with his pecs and biceps. The Doom Patrol team realize he's a bit amnestic due to decades of incarceration, exploitation, and brainwashing by the government. We learn that he had to make a difficult decision about this abuse. Meanwhile, Rita reveals a secret that has weighed heavy on her. Back during her career, in order to stay in the film industry, she groomed, exploited, and introduced many young actresses to an abusive relationship with her producer.

As we discuss these characters and their feelings of deep regret, we talk about the importance of looking back at mistakes. Many of us may be avoidant or unwilling to explore some of our personal failures, but research shows that we gain personal insight and even become smarter if we occasionally turn our attention to our past errors. We also discuss "cancel culture," which is a digital contract to drop support of someone (socially and economically) in order to remove them from the community and deprive them of their livelihood. Often, the result is satisfyingly powerful, and it's served as a way for marginalized and aggrieved communities to publicly assert their value systems through pop culture.

Social cancellations may have benefits--it's a swift way to lower someone's social value and can have immediate results. But do the benefits of cancel culture actually outweigh the costs? By removing a toxic person from our spaces, are we avoiding the difficult work involved in the discovery of the source of the rot? What about the work they need to do in the unlearning of discriminatory or hateful beliefs behind the misconduct? As we hold on to the highest standards, are we perpetuating the performance of perfect behavior, not leaving enough room for self-introspection and growth that might follow a publicly named misstep? And where do we draw the line with a no-tolerance rule? With Doom Patrol giving us good--yet still chaotic--role models, we address these challenges and give some tips that might help listeners manage their own spaces toward safety and self-betterment.

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Today, on Juneteenth, we commemorate the ending of slavery in America. On this date in 1865, the last of the American slaves were given their freedom, via a declaration delivered to the people of the farthest reaches of the South, Galveston, Texas.

To celebrate this important event, we've to decided to analyze the first episode of HBO's WATCHMEN, which introduced many people to the existence of the Tulsa Race Massacre (or "Black Wall Street Massacre") that took place in Greenwood, Oklahoma, in 1921. The community—a prosperous and independent Black district—was was burned downed and destroyed by mobs of white residents.

Brian and Drea discussed some of the themes very relevant to issues we're exploring and confronting today in 2020: racial violence, police brutality, community uprising, and mask-wearing. The acclaimed WATCHMEN series uses a sci-fi lens to identify and depict a variant of our world, one that points us to our realities of anti-Blackness, tensions with law enforcement, and rampant hate groups. We reflect on the Tulsa Massacre of 1921, which has been cited as one of the worst events of racial violence in American history, and describe some parallels from our lived experiences 100 years later. As an inter-racial couple, we share some ways that our own identities intersect with (and could benefit from) systems of racism. Finally we give ideas and resources to our listeners, specific to how they can act for racial justice. We want to hear from you--as we celebrate emancipation, please share the ways that fiction helps you talk about issues such as oppression, racism, and liberation.

Resource:

From Actor to Accomplice: Ways that Allies Can Act for Racial Justice

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It is true that some of our clearest, most detailed memories also happen to be our most emotional ones. Within our brains is a system that connects feelings to experiences, and in many ways, this is often for our benefit.

If you've heard of the fight, flight, or freeze phenomenon, it refers to these interconnecting processes that register harmful threats and prep us to respond in protection of our psychological and physical existence. For instance, detaching or "numbing out" during parts of extremely scary events can help us by ensuring the most harmful details don't become cemented in our memories. On the other hand, remembering difficult times in very visceral clarity can allow us to prepare for future adversities when it comes to our emotional resilience.

But how reliable are our memories? It turns out that some peripheral details of emotional memories are not always exact. In Doom Patrol, Cyborg is a being with both organic and biomechanical body parts, and as such, his memory function gives us a good way to explore how his lived experiences are cemented, affixed, and retrieved as memories.

In this episode, we explore the concepts of "false memories" and whether they can be implanted through manipulation or suggestion. We also address times that our recall of historical events is actually unreliable and inaccurate, despite our strong conviction of what we know to be "real." Science and fiction intersect in interesting ways in this episode of The Arkham Sessions!

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When we seek "closure," we are looking for answers to unresolved, lingering questions. We often want to reconcile painful feelings, confront a person for hurting us, or express apologies that have been left unsaid. But we can get "stuck," maybe even overly fixated, with finding closure. Much like a complex puzzle missing a piece, we often believe we will feel better if we put the piece in its place. As it turns out, achieving meaningful closure doesn't actually have to include involving the person who hurt us or revisiting the past. In fact, psychological closure isn't always necessary to achieve a sense of peace and healing. In many cases, there are other things we can do, like accepting imperfection within ourselves or even... "letting it go."

In this episode, we draw upon the experiences of Doom Patrol heroes, Negative Man and Robot Man, as they revisit their mistakes and discover how to end the pain they're holding onto. For Robot Man (Cliff), this means meeting his estranged daughter and facing some hard decisions about whether to be in her life. For Negative Man (Larry), he has an opportunity to tell the man he has loved all his life what he truly meant to him. And Cyborg? Well, he's doing a little psychological dissecting of his own as he forcefully slices into his bicep out of fear of finding out whether he is more machine than man. Hear what we have to say about all this by listening to the show!

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The term pogonophile refers to a person who has an obsessive love of beards. We discuss this concept and go down a few hairy rabbit holes in this episode centering around a new character, The Beard Hunter. This eccentric villain seems to find pleasure in persecuting and exterminating men with beards. Yes, that's right: Men with beards. His world intersects with the Doom Patrol crew when he's asked to locate the whereabouts of their bearded leader, Niles Caulder. As it turns out, The Beard Hunters's obsession with facial hair seems to combine revulsion with euphoria, so naturally we get pretty curious about how erotic attachments like these develop.

Paraphilias are the opposite of phobias. These are the things we love or that make us aroused, and it seems as though there's an endless number of inanimate objects we can attach ourselves to. So what is the origin of an obsession this strong? How are fetishes developed? And should these strange connections become much more, beyond the objectification of things and toward more meaningful relationships with actual, reciprocating people?

To get your Arkham Sessions face mask, be sure to keep an eye on our TeePublic store here. We're working on some great choices!

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This episode of Doom Patrol centers entirely around (and in) Jane's psyche. With 64 different personalities, Jane could easily be a textbook example of the mental health condition known as Dissociative Identity Disorder (or Multiple Personality Disorder). But there's far more to this story.

Like the characters in Scholastic's Magic School Bus, we're taken deep into Jane's mind, to the dimension where all her personalities exist together, in a dark place called the Underground. As explained in the episode, each of her "alters" has a "purpose... a reason for being," and one identity among them is required to be on the surface to represent them. The personality on the surface, therefore, is responsible for experiencing and expressing emotion. We also discover that the catalyst of her identity fracture was a childhood trauma in the form of sexual abuse. It becomes clear why anger, resentment, rejection, and projection become Jane's core emotional functions. The primary personalities represent the emotions that are safer to live in, and are the ways in which she avoids facing deeper feelings of hurt and pain caused by her father. In our discussion, we explore the reason individuals who have survived childhood abuse may have difficulty connecting with others, why the creation of "alters" could be a coping mechanism, and how someone like Jane could overcome the hardships caused by a history of victimhood.

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The Doom Patrol team visits “Danny the Street,” a benevolent, sentient street--yes, street--that acts as a mecca for the disenfranchised. This magical street has the ability to help a person become who they truly are, and live among people who love them for their true self. For folks typically on the fringes of society, this can be a very healing experience. In reviewing this episode, we discuss the importance of self-actualization and acting on values and beliefs that really matter to a person, as opposed to keeping parts of the self locked in and hidden for fear of stigma, rejection, and oppression. This episode is not only about the importance of honoring our true, authentic self, but also the weighted value of having choice in the manner in which we express ourselves to the world. Finally, when we’re introduced to a new alter among Jane’s multiple personalities, known as Karen, we explore the condition known as Borderline Personality Disorder.

As mentioned in the show, we're supporting some folks whose businesses are struggling during the COVID-19 pandemic. Please consider visiting their sites and social media if you’d like to support them, too.

Fanbase Press

Livio Ramondelli

The Kill Lock, from IDW Publishing

Hero Within

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We’re halfway through covering the show Doom Patrol with this psychology-heavy episode. When Cliff (Robotman) yells, “I want to keep my soul unf*cked,” it is very relatable. His anxiety, stress, and anger has gotten so overwhelming that he begins to buckle under the pressure. He needs relief. Cliff demands that members of the group sit down for "therapy." We learn what is blocking each person’s ability to move forward and find healing. Rita struggles to move past her low self-image and depression. Cyborg hasn’t yet learned to love all of his parts, even the mechanical ones. Larry has—reluctantly—been living with a supernatural “spirit” inside of him, and has yet to reconcile the pain he faced living as a closeted gay man in the 1960’s. In our discussion, we describe the increased risk of psychosocial stress for LGBTQ persons, which is caused by living with overt prejudice, experiences of discrimination, hypervigilance and fear, internalized stigma, and daily concealment. We also explore the concept of group therapy and Dr. Drea lists the recommended “guidelines and rules” that group therapy should comprise. The team gets a lot off their chests. But does talk therapy work and why? Over 6 million Americans receive psychotherapy, which can be an effective method to cope with adversity, grief and loss, to work out how to deal with negative thoughts and feelings, and to manage mental health problems like anxiety, depression, suicidality, and trauma.

At the end of the episode, we unveil the options for what show we will analyze next! Tune in to learn how you can help us decide!

Finally, this episode is dedicated to our dear friend, a brilliant writer of animation throughout the 80’s and 90’s, David Wise, who passed away earlier this week.

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As we continue our coverage of Doom Patrol, we notice that the stories are beginning to get more personal. Cyborg and Robotman are forming a friendly bond over their mutual "father issues." Meanwhile, "Crazy Jane" leads the rest of the gang to a home for gifted meta-humans. Much like the X-Men, there's a team of guidance counselors and instructors mentoring young scholars interested in honing their powerful skills. But as the facade of the perfect institute dissolves, we notice this is another nightmare of sorts. "Mento," a former member of the Doom Patrol, is using his psychic powers to manifest an alternate reality. We learn that decades ago, he and Rita were in a romantic relationship, characterized by him being her therapist and delivering treatment through psychic intrusions. Like a respectable counselor, Mento initiates his therapeutic relationship with Rita from a place of compassion and kindness, seeking consent, patience, and trust. However, we realize his motivations take a turn for the worst, and Rita's boundaries are violated.

In examining this episode we talk about the ethics of entangling romance with psychotherapy. We also discuss the field of psychology and the emerging counseling interventions known under the umbrella of "energy psychology." From healing crystals to tapping, we examine various fringe psychotherapeutic practices in order to better understand the real from the fantasy.

Links:
Fandom Video: "Is Harley Quinn Crazy?"

Time Article: "Do Crystals Work?"

The Kill Lock Comic, Issue 3

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Could it get any weirder? Add a little dark humor, several talking animals, and time travel, and you'll get this bizarre episode of Doom Patrol.

Our dark heroes are struggling to save the world, now that the apocalypse they were warned about begins to emerge as a real threat. One by one, people are turning to ash and disappearing. Still determined to protect "the boy" who has caused such mayhem, the team takes on compassionate roles as caregivers and defenders. Rita takes a very personal interest in the young man, while Cyborg, as righteous as ever, refuses to let harm come to him, despite knowing that if he is destroyed, the apocalypse is prevented and all living creatures are safe once again.

In this case, do the needs of the many truly outweigh the needs of the few (or the one)? This consideration is a reflection of utilitarianism, the ethical theory that whether an action is morally wrong or right depends entirely on how beneficial or harmful it is to the greater society. In illustrating our ideas, we discuss the trolley problem, a classic thought experiment about ethical decision-making. Hypothetically, of course, if you could save five people from being killed by a trolley by pulling a lever to reroute the trolley, would you? If that lever directed the trolley onto a side track where it would kill one person, would you still make the same decision? Working out a few outlandish scenarios together, Drea and Brian finally agree on something!

Join the Arkham Sessions Patreon

Fandom Article: Harley Quinn from Suicide Squad

Trial by Trolley Game

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Inter-dimensional portals. A battle with an army made of unsent letters. A singing horse head. Cyborg's inflated ego. Our examination of the show Doom Patrol moves forward with one of the oddest episodes yet! Brimming with strong references and connections to the printed comic, Cult Patrol introduces us to a new threat: The Cult of the Unwritten Book. Back at Doom Manor, the frazzled team of anti-heroes gear up to defend the universe (and its 37 known dimensions, according to Cyborg) from an imminent apocalypse arriving in the form of a disillusioned teen. They quite literally need to prevent the world from ending!

As the risk heightens, each character exemplifies realistic ways of dealing with intense loss and trauma ranging from self-preservation, narcissistic authoritarianism, escaping/avoiding, and giving up. The group struggles to stay on the same page- but they're falling apart. Is Rita correct in saying that the world is a "beautiful horrible place" worth saving? It's not as good as Dexter, but we have a great time discussing it anyway!

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The Doom Patrol team travels to Paraguay in search of the Chief, and encounter the infamous lab created by Heinrich von Fuchs--which is now a spa-like center where super-human "upgrades" are made. Visiting such a place gives the characters some insight about their own histories and the aspects of themselves that they must face head on. For Larry (Negative Man), he realizes he cannot change his sexual orientation to match the sociocultural pressures of the early 1960's. Meanwhile, Rita reveals that maintaining her "screen perfect" body requires a lot of work -- similar to individuals with disordered eating, Rita fixates on repetitive behaviors and holds unrealistic ideals about her physical appearance.

A common theme throughout this episode is the concept of human control--what are things about ourselves that we can change, and how do we manage the experiences of helplessness, disappointment, or feeling stuck when we can't change the things we want to?

Links:

Psychology of Rey article

Psychology of Kylo Ren article

The Kill Lock comic

Find Arkham Session swag here

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We excitedly journey alongside the heroes of Doom Patrol as they navigate an unusual, twisted dimension. The self-proclaimed villain, Mr. Nobody, uses the alternate universe to test Rita, Larry and newbie member Cyborg by replaying their traumas in very realistic scenarios. The three characters are asked to get themselves out of their most feared situations from their past--for the failed actress, Rita, she's alone on an abandoned film set. Larry, the test pilot, finds himself tailspinning in a plane with his wife and secret lover in the backseat. Cyborg (a young Vic Stone) wakes up to the wreckage of the explosion that burned half his body and killed his mother. Although these are combinations of memories and visions created by Mr. Nobody, the experiences trigger the characters' deepest fears and failures. These also happen to be the events that tie each of the heroes to their origin stories--the catalyst that created their powers, or, as they might see it, made them into freaks.

As part of our discussion, we dive deep into the recesses of their psyches to better understand their motivations and mental health. In addition, we're introduced to several of Crazy Jane's 64 personalities--all with different superpowers. We discuss the features of Dissociative Identity Disorder (DID, formerly known as Multiple Personality Disorder) and consider how Jane's early trauma may have shaped these extra passengers. In our coverage of the Episode 2 of this thought-provoking show, we begin to seriously consider whether these characters are doomed after all!

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Our journey continues in the DC Universe, but with a completely new collection of characters to explore. We are delighted to begin our analysis of the 2019 live-action show, Doom Patrol! Episode by episode, we'll narrow down the psychological themes and lessons of this adventurous, eccentric series --and because this series is weirder, darker, and edgier than most things we cover, we're going to accept the challenge and dive right into the strangeness with a mission to explain it!

In the pilot episode, we're introduced to a team of dejected, traumatized and reluctant superheroes. Each has suffered some kind of personal adverse event, something that catalyzed their superhuman abilities but also left them scarred, disfigured and angry. They're all ambivalent about what it means to "get better." The team lives in Doom Manor, which is a large estate/peculiar research facility run by the Chief. Their new caregiver and host is a bit of an odd and mysterious man, but his determination to give the dysfunctional family a sense of purpose may be what keeps them together.

Over the course of exploring the story of Robotman, who is recovering from a car accident, we explain the psychological phenomenon knowns as dissociative memory, which refers to deficits in our ability to remember details of a traumatic event. We also discuss the concept of growth mindset. As Stanford psychologist Carol Dweck, Ph.D., asserts, "in growth mindset, we belief that our most basic abilities can be developed through dedication and hard work--brains and talent are just the starting point." She posits that we can expand our mental aptitude if we simply work at it. Intelligence is not as fixed as people think it is.

Growth mindset may be the foundational idea that Doom Patrol is based on -- what if it is true that we can overcome mental barriers simply through focused determination? What if we could expand our conscious and unconscious states beyond expectations, even stretch our existing abilities past the limits of what we could ever have imagined? But the growth mindset--in the supernatural comic book world--has its dangers. What would happen if someone with evil intent learned to harness the power to grow the mind? Is this what Mr. Nobody means when he ominously whispers, "The Mind is the Limit?" Click play for our thoughts, and continue on to Episode 137 for the continuation of our analysis of Doom Patrol!