From ‘Blue Beetle’ to ‘Fantastic Four’: Latinos are rewriting super-heroism

In 2023, when “Blue Beetle” hit theaters, it marked more than just the arrival of another comic book movie. 

For the first time, a big-budget superhero film centered on a Latino family, weaving in cultural values, humor and intergenerational dynamics that rarely make it to the blockbuster screen. 

For Dr. Ana Christina Ramon, a UCLA researcher who has spent years tracking Hollywood diversity trends, that moment carried weight beyond box office numbers.

“It doesn't have to go that deep, but at least it touched upon the ideas of family and really kind of sticking together, and that vital connection that we have with our generations,” Ramon said in an interview to reflect on the movie’s legacy. “I thought that was unique because you never really see that in a huge movie that's supposed to be a blockbuster.”

That visibility—seeing a complex intergenerational Mexican American family at the heart of a superhero film—resonated with audiences who have long been absent from the center of Hollywood spectacle. 

But Ramon is also careful to note the limits of “Blue Beetle.” No single film can reflect the full spectrum of Latino identities. Still, the very act of seeing Latino life treated as worthy of a tentpole film was itself groundbreaking.

Superhero fatigue meets representation

Ramon’s research, conducted through UCLA’s Hollywood Diversity Report, documented a high-water mark in 2023 for BIPOC directors leading $100 million-plus films. That peak, however, collided with an industry slowdown.

“Like in our research, we saw that it was the most BIPOC directors who were working on these huge blockbuster films that year,” Ramon explained. “But then it coincided with the kind of superhero fatigue. And it follows that the last one is out first. Finally, the studios are like, okay, let’s give these people a shot. And then suddenly it was superhero fatigue.”

That fatigue, coupled with industry strikes last year and shifting studio leadership at Marvel and DC, created a risk of perception: that diverse directors and casts were somehow to blame for box office softness. Ramon is quick to push back against that narrative. The struggles of superhero films in 2023 and 2024 were part of broader market cycles and labor disruptions, not the fault of representation itself.

“Usually, white male directors can do an independent film and immediately get like a hundred million dollar movie as their next project,” Ramon said. “For directors of color, especially women, it’s almost impossible. So when those films didn’t do as well, the perception is that maybe these directors can’t deliver. That makes it harder to get another shot.”

Changing faces, evolving roles

Even amid stalled momentum, Latino visibility on screen is quietly expanding. Cross-ethnic casting—placing Latino actors in roles historically assumed to be white—is reshaping assumptions about who gets to play legacy heroes. Pedro Pascal’s current role as Reed Richards in “Fantastic Four” and Isabela Merced’s casting as Hawkgirl in “Superman” are two notable examples.

Ramon draws parallels to television’s earlier shifts. “Shonda Rhimes really introduced that where she had this diverse ensemble, but it wasn’t like, oh, her show is diverse. She still had a white female lead, but everyone else—that’s how she introduced diversity. But you didn’t get to know anything about their culture until a couple of seasons later. That’s how film is doing it too, casting people into roles people just assumed were white. And then later they introduce our stories.”

For Ramon, the hesitation from studios reflects outdated fears of backlash. “It’s ridiculous,” she said. “White people are diminishing in terms of their population percentage. People of color will be the majority in 20 years. And I always remind people the under-18 population is already majority BIPOC. If you’re going to continue to have a theatrical film industry, then you need to get these younger people interested and excited to watch your films at the theaters.”

A pipeline under strain

Beyond casting, Ramon underscores the structural barriers facing Latino creators. Programs like network writing fellowships, Film Independent labs and festival initiatives have historically been crucial entry points for writers and directors. But these opportunities are shrinking.

“There are far too few slots for the talent pool,” Ramon noted. “It’s like a lottery. Broadcast is shrinking, which reduces pathways. And even for those who get a first shot, there’s a huge gap in support after that first film or show. That second project, that mentorship—it’s just not there.”

Short-film funding, often in the $15,000–20,000 range, can be pivotal for breaking into festivals. Yet many Latino filmmakers struggle to access even that modest level of support. Meanwhile, mid-career directors often find themselves stranded without financing or industry advocates.

Storytelling stakes

Representation in superhero films is not just about entertainment—it also shapes broader narratives about Latinos in American society. Ramon points out that too often, Latinos are framed through crime or immigration in mainstream media. Superhero portrayals, while fictional, offer a chance to counterbalance those harmful images.

“Immigrant themes have always been central to the genre,” she said. “Superman himself is an immigrant story. Discussing them shouldn’t be controversial.”

Where the industry goes from here

Ramon emphasizes not treating Latino-centered projects as expendable or experimental. As superhero franchises reboot and recalibrate, diversity must not be relegated to “second-phase” status.

She calls for studios and financers to prioritize Latino-centered stories in primary slates, expand mid-career support and back shorts and proof-of-concepts with adequate budgets. For industry organizations, the mandate is to grow fellowship cohorts, guarantee placements and pair grants with mentorship and access to decision-makers.

Studios, she argues, have an opportunity to revitalize the genre by doubling down on specific, authentic Latino narratives. Doing so would not only expand storytelling but also align with the demands of younger audiences who already reflect America’s majority-minority future.

“Latinos and other people of color are not the future,” Ramon said. “They are the present. And Hollywood has to catch up.”