Very relevant reading from the late David Graeber.

The plot is almost always some approximation of the following: a bad guy, maybe a crime boss, more often a powerful supervillain, embarks on a project of world conquest, destruction, theft, extortion, or revenge. The hero is alerted to the danger and figures out what’s happening. After trials and dilemmas, at the last possible minute the hero foils the villain’s plans. The world is returned to normal until the next episode when exactly the same thing happens once again.

It doesn’t take a genius to figure out what’s going on here. These “heroes” are purely reactionary, in the literal sense. They have no projects of their own, at least not in their role as heroes: as Clark Kent, Superman may be constantly trying, and failing, to get into Lois Lane’s pants, but as Superman, he is purely reactive. In fact, superheroes seem almost utterly lacking in imagination: like Bruce Wayne, who with all the money in the world can’t seem to think of anything to do with it other than to indulge in the occasional act of charity; it never seems to occur to Superman that he could easily carve free magic cities out of mountains.

Almost never do superheroes make, create, or build anything. The villains, in contrast, are endlessly creative. They are full of plans and projects and ideas. Clearly, we are supposed to first, without consciously realizing it, identify with the villains. After all, they’re having all the fun. Then of course we feel guilty for it, re-identify with the hero, and have even more fun watching the superego clubbing the errant Id back into submission.

I notice that with a lot of right wing/centrist lib fiction, where the author will have the villain making perfectly valid and accurate assessments of America, then have their master plan be to bomb an orphanage or something. But then the critiques never get answered, and we're expected to just forget about it because the character bringing them up is just elementally evil. Real "Leaving Earth for no raisin" hours.