Seite - 142 - in JRFM - Journal Religion Film Media, Band 03/01

142 | Ken Derry et al. www.jrfm.eu 2017, 3/1, 123–155 Cage (2016) provides an important exception. it is resplendent with beautiful women of color, of various ages, whose characters represent different avenues of agency, empowerment, and choice, even if the writing does not always do them justice.49 it is also refreshing that sexuality is represented as a normal part of adult life; the series skips the cheap will-they/won’t-they plot points; Misty and Claire don’t have to compete over a man, but instead come to admire each other through cooperation in the trenches. further, while the series attends to sexual violence, as discussed above, it is significant that the sexual encounters actually depicted on-screen are consensual, in great contrast to many compet- ing series, though consistent with Jessica Jones (Netflix, US 2015), which intro- duced Luke’s character. “i’M NOt A MONster.” in the tenth episode of Luke Cage (2016), Luke reenters the acidic waters of baptism whence his salvation comes (e10). Luke undergoes his initial baptism as a scientific experiment at Seagate Prison (E04; fig. 13). He dies as Carl Lucas and becomes a new creature. When Claire confronts Dr. Burstein for transform- ing Luke Cage, he responds, “i … i’m not a monster (e10).” Burstein’s response offers a crucial point of departure for evaluating the theological significance of Luke Cage (2016). indeed Dr. frankenstein Burstein and his creation confront us with an interesting paradox. Who is the monster? 49 Bastién 2016. Fig. 13: Baptism/rebirth. Film still, “Step in the Arena,” Luke Cage (2016), S01/E04, 39:34.