Page - 150 - in JRFM - Journal Religion Film Media, Volume 03/01

150 | Ken Derry et al. www.jrfm.eu 2017, 3/1, 123–155 “DO WhAt yOU CAN, KiD.” so where does all this get us? What is the point of this shared rumination on Luke Cage (2016), which is, in the end, just a Netflix series based on some comic books? Why should scholars of religion care? Why should anyone care? Circling back to Jonathan Z. smith, he has theorized religion as a way of envi- sioning how the world should be, in contrast to how it is, and acting out ways to reconcile that gap.73 Creating a show, watching its episodes, participating in its fan culture, even ragging on it through criticism can be analyzed as part of this practice. After all, disappointment only makes sense in comparison to a better what-could-be. in a sense this idea speaks to the tension within the concept of the superhero itself: it is an imperfect response to the problems of the world in which we live, the envisioning of a solution that is not only impossible but also itself problematic. in the words of Method Man as he concludes his ode to Luke, “Bulletproof Love”: “People say we don’t need another hero, but now we got one” (e12). Our initial roundtable discussion and this ensuing article analyze, and ulti- mately contribute to, the meta-process of a culture reflecting on itself through its own products. We are excited about working in collaboration to allow for a richer sense of context than any of our individual approaches to Luke Cage (2016) could provide on its own. rather than a single scholarly take, this article 73 smith 1987. Fig. 15: Conflicting theologies: Shameek swaggers, Luke sweeps. Film still, “Moment of Truth”, Luke Cage (2016), S01/E01, 02:57.