Wonder Woman: Bloodlines

Women drive the film’s hero, family, science, leadership, and villain roles. Diana leaves an all-female island, becomes the strongest fighter, and leads the rescue of Vanessa. Hippolyta, Julia, Etta, Cale, Poison, Cyber, and Silver Swan also shape the main events, while Steve stays a capable but supporting ally. Etta’s attraction to women adds a clear queer identity detail, although it is not the main conflict. The story strongly centers female strength and relationships, but it remains a fantasy action plot rather than a full activist lesson.

The film presents Etta Candy as a black lesbian, unlike older versions that showed her as a white friend and, in some eras, Steve Trevor’s love interest. DC’s character history confirms that Etta’s marriage to Steve was later undone and her feelings were redirected toward women. The film also moves Diana’s origin to the modern day, but that is a time-setting change rather than an identity change. Etta’s race and sexuality are clear changes in an established character, but she remains a supporting player.

A Google Play user review called the film “Woke culture” and had 67 helpful votes. A Letterboxd review called Etta’s race and lesbian identity “woke and cringe” and objected to race changes. StudioJake Media said the writers changed Etta to look politically correct, and a Geekiary comment called the mix forced inclusion. These complaints are scattered and mostly come from user reviews or small sites, while the X pass found no anti-woke reaction.

The stored creator context gives Marston 30, Rucka 39, and Scott 48. Marston built Wonder Woman around early feminist ideas, while Rucka stressed strong female heroism and queer themes. Scott has a stronger record of supporting female representation and diversity. The directors, casting director, and most producers have lower stored scores and limited activist records, so the context supports the film’s choices without dominating them.