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This chapter explores the development of the dangerous, sexualized fembot archetype in science-fiction film and television, drawing a line from the robot Maria in Fritz Lang's Metropolis (1927) to contemporary versions of the archetype.

Primarily, this chapter outlines how this historically villainous trope has been augmented and redefined in twenty-first Century posthuman science-fiction texts Ex Machina (Alex Garland, 2014) and Westworld (Joy et al., 2016 –). Both feature fembot characters who are central to the narrative, and can be defined as both villainous at times, but who also occupy the position of arguable sympathetic protagonists. In part, this redefinition can be argued as more a reflection of a Western hegemonic shift towards feminist values. Nevertheless, there have been criticisms of the male gaze present in both and of the emphasis on female suffering.

As oblique texts for an 18–35 audience, both Ex Machina and Westworld ask more questions than they answer. Through textual analysis and with reference to relevant scholarship, this chapter considers the impact of audience and institution on representation, the interplay between genre conventions and the presentation of the archetype as well as a considering how both offer different treatment of intersectional androids.

The iconic vigilante Paul Kersey (Charles Bronson) returned to cinema screens via Death Wish 2 (Michael Winner) in 1982 and vigilantism would remain a key theme in American urban action films throughout the 1980s. Susan Jeffords subsequently argued that Hollywood's ‘hard bodied’ male action heroes of the period were reflective of the social and political thematics that distinguished Ronald Reagan's tenure as America's President (1994, p. 22). But while Jeffords' arguments are convincing, they overlook contemporaneous films featuring female and ‘soft’ bodied urban action heroes.

The Angel trilogy (Angel, 1984; Avenging Angel, 1985; and Angel III: The Final Chapter, 1988) features three such understudied examples. Indeed, the films' diverse and atypical range of action heroes demand that they are interrogated in terms of their protagonists' gender, sexual orientation, lifestyle choices and age. Featuring narratives about the prostitutes and street folk who frequent Los Angeles' Hollywood Boulevard, the films' key characters are a teenage prostitute and her guardians: a transvestite prostitute, a lesbian hotelier and an elderly cowboy. All three films feature narratives that revolve around acts of vengeance and vigilantism.

This chapter will critically discuss the striking ways in which the films' ‘soft’ bodied and atypical protagonists are presented as convincing action heroes who subvert contemporaneous ‘hard’ bodied norms. It will also consider to what extent their subversive rewriting of typical urban action film narratives and character relations might be understood to critique and deconstruct the themes and concerns that usually characterized such films during the Reagan era.

Responding to the increased visibility of populist demagogues in the critical and cultural discourses of contemporary Western society, recent activity within the academy has sought to clarify, develop and (re)define populism as a phenomenon. Via analyses of Aliens (Cameron, 1986), The Running Man (Glaser, 1987) and Robocop (Verhoeven, 1987), this chapter draws upon these conceptualisations to revisit a sample of action heroes from the eighties action cinema. Exploring the intersection of these gendered identities with the aesthetics of ideational populism, the chapter demonstrates how such texts have helped shape the nature of the action cinema genre from the outset. In doing so, the chapter considers (1) how these narratives construct a duality of homogenous antagonistic groups, organised around a virtuous people and corrupt self-serving elite, thereby mirroring the fundamental conditions of populism, (2) how the super-objectives guiding the principles and actions of characters operate as gendered and thin-centred ideologies which fail to offer meaningful solutions to the wider socio-political issues encountered, and (3) how Richards, Ripley and Robocop are positioned as self-appointed demagogues, who pursue personal, rather than common, solutions and often operate without conventional societal constraints.