Is It Sufficient to Propose Inclusive Representations to Attract Inclusive Audiences? the Case of Eternals (Marvel, 2021)

The necessary growth of cultural industries relies on the conquest of new markets, which involves reaching audiences that have been remaining marginalized from productions (Mingant, 2010). These industries aim to engage individuals from sexual, gender, and racial minorities, which requires a greater emphasis on diversity in representation, creating a risk to produce only stereotypical portrayals (Macé, 2007). They may showcase diversity while simultaneously alienating its participants.

In the film Eternals (2021), Marvel introduces its first gay superhero in cinema, intending to capitalize on this new audience. Nevertheless, the film proves to be a commercial failure, receiving mixed reviews. Drawing from a sample of ten interviews from my thesis research and an analysis of the film's promotional strategies, we will demonstrate that the "fragmented" approach to identity results in counter-stereotypical representations that overlook the complex and intersectional nature of identities (Crenshaw, 2005), much to the detriment of the minorities it aims to represent.

As a superhero team film, Eternals features a diverse cast that is largely ignored in its promotion. Promotional materials, including posters and trailers, predominantly focus on its internationally recognized American stars and the heteronormative love story. Consequently, the representation of the film’s minority characters is relegated to specialized media outlets, which struggle to portray these characters with depth.

As a result, these portrayals alienate LGBTQIA+ audiences, as well as the reactionary fans who criticize the film. Such representations ultimately cater to a silent majority that is massively indifferent to the issues of diversity.

However, in contrast to the recurring male gaze (Mulvey, 1975) in these productions, the writing and direction by Oscar-winning filmmaker Chloé Zhao successfully offer a narrative and representations centered on care, which have gone unnoticed by audiences who, for the most part, did not take the time to engage with the film.