Why Can’t Hollywood Stare Evil in the Face?

James Cameron faced a daunting challenge while preparing 1991’s “Terminator 2: Judgment Day.”

“The Terminator” cast relatively unknown bodybuilder Arnold Schwarzenegger as a soulless killing machine. That 1984 film catapulted Ah-nold to superstardom.

Suddenly, Schwarzenegger was the muscle-bound hero in films like “Predator,” “The Running Man” and “Commando.”

The idea of him playing the villain, again, didn’t align with his new image. So Cameron delivered an ingenious escape plan. “T2” cast the actor’s T-800 robot as a hero, no longer the machine tasked with killing Sarah Connor (Linda Hamilton).

That change produced one of the best sequels of the modern era. Now, Hollywood can’t stop making us feel good about supervillains.

“Wicked: For Good” capped the story of how the Wicked Witch of the West, one of cinema’s signature villains, was just a misunderstood gal (Cynthia Erivo) fighting bigotry and a devious manipulator named Oz (Jeff Goldblum).

Yes, it was based on the long-running Broadway smash, but it still felt odd watching Dorothy and friends run into this version of Elphaba at the film’s conclusion.

Previously, we watched a cartoon monster turn into something far less sinister with 2021’s “Cruella.” Emma Stone protrayed the harpie obsessed with those adorable Dalmations, but this time her character was mostly misunderstood.

Aw, she’s not so bad. Look how fashionable she is! Variety called the character, “the unlikeliest of role models.”

Some “re-imaginings” have stalled on the runway. Last year’s “M3GAN 2.0,” spun from the surprise 2022 horror/comedy hit, proved one of 2025’s most notorious duds.

The sequel made the murderous robot a hero of sorts, and audiences showed little interest in her about face. That failure hasn’t stopped studios from rebranding other film baddies.

“Steps,” coming to Netflix later this year, offers this brisk description:

“Think you know Cinderella’s ‘evil’ stepsisters? Think again! When misunderstood Lilith (Ali Wong) is blamed for hijacking the Royal Ball with a stolen magic wand, she accidentally turns her sister Margot (Stephanie Hsu) into a frog and leaves the kingdom in the hands of a prince-obsessed mean girl. Now Lilith must team up with Cinderella (and a surprisingly dreamy troll) to save the kingdom, repair the fractured fairytale, and prove that even so-called villains deserve a shot at happily-ever-after.”

Next up? a film based on Gaston, the thorn in the side of “Beauty and the Beast’s” brainy Belle. Once more, Hollywood will make us think twice about a villain who previously made life miserable for someone kind and true.

No firm details have been released about the live-action project, but it’s safe to say the film won’t expand on Gaston’s essential ugliness.

Who would watch a movie like that?

These switcheroo projects scratch many itches, from brand recognition to a system that isn’t always comfortable with the good guys. Consider the glut of antiheroes in recent years.

• Walter White
• Tony Soprano
• Suicide Squad
• Venom
• Dexter Morgan
• Don Draper

Part of the problem here is simple. Hollywood doesn’t always know how to process heroic figures. Consider how long it took to bring Superman back to cinemas. The Zack Snyder version (“Man of Steel”) wore a more somber blue supersuit and was conflicted about his place in the world.

James Gunn’s “Superman,” for its myriad flaws, finally brought back the aw, shucks boy scout familiar to generaitons of fans.

It’s about time.

The superhero genre still delivers mostly heroic souls, even if some are conflicted about their handiwork (“Captain America: Brave New World”) or struggle to do the right thing (“Thunderbolts”).

Is it any wonder that White Hat adventures like “Sound of Freedom” and “Top Gun: Maverick” draw endless eyeballs in theaters?

No handwringing. No fealty to the dark side. Just heroism, straight up.

How … subversive.