Hannah Montana is the first real 21st century superhero

popping culture has gone superhero - crazy , but almost all superheroes date from the middle of the last century . Where ’s the new , fresh costumed explorer who talk to the ringtone genesis ? How about Hannah Montana , the Disney Channel ’s superstar ?

Hannah Montana travels around , using her daddy - star powers to save the world . Her master world power is popularity , which is like the perfect teenage girl power . Although it ’s mostly off - screen , you get the impression that her life as Hannah Montana consists of non - stop brotherly love fundraising , and making people ’s lives considerably in small but vast way . She does n’t actually fight any gargantuan teras that I ’m mindful of , but she does “ punk ” the Queen of England in one instalment .

But more importantly Hannah Montana revolves around that most canonic of superhero conception : the privy identity operator . At a clock time when kids are growing up accustomed to having their whole identities online — including other ideas that are alternate , pseudonymous or downright fanciful , Hannah Montana is a show about a girl who has a dual individuality .

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I had n’t ever see Hannah Montana until about a week ago , when there was literally nothing on except consummate trash , and Hannah seemed like the most gripping trash on offer . And indeed , it is trashy — but it ’s even more fascinating than I had realise .

Here ’s the show ’s apparatus : Miley Cyrus plays Miley Stewart , a young girl who is secretly adolescent dada sentiency Hannah Montana . Nobody experience that Miley is Hannah Montana , except for her kinsperson and her two closest friends . As Hannah , Miley travels the world and performs for famous multitude as well as sell - out bunch . As Miley , she ’s at the bottom of her shoal ’s social pecking edict , despised by the popular girls who all revere Hannah Montana . And just like Clark Kent and Superman , the means by which she transforms her identity borders on charming realism — she becomes Hannah by putting on a chintzy blonde wigging and a morsel of makeup , and nobody ever recognizes her as Miley . It ’s reasonably awful .

And Miley ’s existent - life dada , Billy Ray Cyrus , play her dad on the show , Robby Stewart . Unlike his tangible - lifespan avatar as a first-rate - famed Country - westerly Isaac Bashevis Singer , Billy Ray ’s character on the show looks like unemployed , and all he does is sit around the house with his slacker son Jackson all solar day . Except when Miley turns into Hannah Montana , her dad serves as her manager and also ofttimes shows up to accompany her on the guitar . Because nobody must know that Miley is Hannah , her dad also wears a camouflage — a giant porn mustache . Nobody can severalize that he ’s the same guy with and without that jumbo handle-bars .

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And at long last , when Miley ’s upright friend from schooltime accompanies her on her gig as Hannah Montana , she puts on a laughable sorry wigging and becomes a altogether different somebody . It ’s amazing .

So far , every episode of the show I ’ve watched has revolved around Hannah ’s dual identity , and the trouble she goes to so that nobody will ever bang that Miley is the renowned Hannah Montana . Often , there ’s some annoying / vexing situation faced by Miley in her “ civilian ” indistinguishability , which she could solve easy as Hannah , because everything is at her fingertips when she ’s in her superstar mode . But she has to solve her real - life problems as Miley , rather than resorting to using her clout as Hannah , because it ’s important for her to endure a “ normal ” life . Also , if she makes the error of showing up someplace as Hannah , then she instantly becomes the marrow of aid , putting her friend and family in the nuance . The show ’s theme tune , “ Best Of Both Worlds , ” refers to the fact that Miley / Hannah live a three-fold life in which she ’s both a regular girl and a superstar .

In the big - projection screen Hannah Montana movie , all of the classic features of the “ secret identity ” plot line are cranked up to the utmost — there ’s a snoopy reporter who ’s determined to find out Hannah Montana ’s secret . She starts developing a romantic relationship with Travis , her childhood sweet philia — at one point , she meet him as Hannah , and encourages him to enquire Miley out . ( Somehow , even Travis does n’t realise they ’re the same girl with different hairsbreadth . ) But when he does ask her out , she ’s stuck having dinner with the mayor as Hannah , and she keeps attempt to go back and onward between the mayor ’s dinner and her appointment with Travis — until she ’s catch out , and Travis dumps her . In the climactic scene , Hannah is on stage performing at a concert , and Travis walk in . She decides she ca n’t exist this double life any more , so she draw out her wig off and reveals to the bunch that she ’s really Miley . But the sell - out crew beg her to keep being Hannah Montana , and everybody promises to keep her underground — include the newsman , who ’s taken a picture of Hannah “ unmasked , ” using his cameraphone .

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It ’s interesting to see a show that ’s so explicitly about secret identity , since literal superhero narrative in the past ten or so have had such a hard prison term with the “ secret personal identity ” conception . The Spider - Man moving picture made a big level of uncloak Spidey every prospect they got , peculiarly the 2nd one . Tony Stark “ comes out ” as Iron Man at the end of the first movie , and the 2nd motion picture is all about him being superheroic in the public center ( so that , like all celebrity , he has no privacy and no division between public and private . ) In Smallville , Clark Kent ’s only superheroic identity operator is “ The Blur , ” whose identity and nature are , well … hazy . The only major recent superhero narration that I can think of that deals with the consequences of keep open a twofold identity is The Dark Knight , in which Bruce Wayne is under atmospheric pressure to reveal his reliable identicalness for almost the intact pic , and the cinema conclude with Batman taking on a new false personal identity , that of wanted criminal . In comedian , Spider - Man ’s biggest late plot line was his populace unmasking ( which was , admittedly , laterundone by Satan ) and the DC Comics heroes all call each other “ Bruce ” and “ Clark ” and so on , even when they ’re out in public have on their costume .

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Back in May , we link to an essay which Iron Man manager Jon Favreau had twinge , call Iron Man the first twenty-first century superhero , because he lives his animation completely in public and is intertwined with engineering science . But in many mode , Hannah Montana is the real 21st century superheroic archetype — like Tony Stark , she mostly hold enter the world off - screen — and her popularity suggests the “ secret identity ” concept is n’t as irrelevant as a lot of people might have cogitate . In fact , Hollywood may disclose there ’s a lot more mileage ( no pun intended ) in the theme of superheroes having secret identity element than anyone actualise .

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Because that ’s the thing — we ’re all used to living our lifetime in the Panopticon of the cyberspace , with everything come about in public thanks to Twitter and Facebook and whatever Foursquare is predict itself this calendar week . But we ’re also comfortable with the estimation of having different identity in different situations , and my horse sense is that ’s more straight for kids than for everyone else . The cyberspace does n’t just lie our lives bare and display everything we do , like some form of gigantic cyber - strip hunting — it also makes it sluttish to make different embodiment for dissimilar parts of our animation . Both literally , in the case of MMOs and virtual worlds like Second Life , and figuratively , in the sense of let unlike identities on substance boards and social networks . What R.D. Laing write in The Divided Self ( 1964 ) — that we ’re all fragmented individuals , putting on different fronts in dissimilar contexts — is even true in the internet era .

So Hannah Montana is actually more emblematic of the geological era we dwell in than Tony Stark , and the very flimsiness of her camouflage — and the fact that everybody accepts it in spite of how tenuous it is — speak to our consideration as well . Actually that word of honor “ in spite of ” seems misleading — as the movie reveals by having her unmask in public , people take the disguise because it is so obviously bogus . The cut rate and weakness of the camouflage encourage everybody to collude in making it successful . Smack a wigging on Miley and a Burt Reynolds ‘ stache on Billy Ray , and everybody will rely they ’re totally different the great unwashed . Because if you allow that the wigging and the ‘ stache are n’t totally convincing , then you ’re depriving Hannah Montana of her big businessman to save the world . And who would need to do that ?

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