Yes.

“X-Men ’97,” created by Beau DeMayo, is a good show. Currently rated at 99% on Rotten Tomatoes, “X-Men ’97” is easily one of the best projects Marvel has produced in years. And it’s good enough to make me reconsider my anti-Marvel stance. 

For those not in the know, I’m not a Marvel fan. I think most Marvel movies are loud and obnoxious and sacrifice character development for dumb jokes. It’s not for me. 

However, once upon a time, I was a staunch X-Men fan. Having watched the movies as a kid, I eventually graduated to the TV shows “X-Men Evolution” and “X-Men: The Animated Series.” And yes, some of the comics as well, but I did not have the stamina for 20+ years of comics, especially when there was little to no guarantee of my beloved characters having any happy ending. 

My interest in the franchise waned because I felt the movies lost sight of what made the X-Men so compelling. Instead of exploring the themes of oppression, prejudice, and ethical actions in a hostile world, many X-Men movies and shows focused on the enigmatic-but-not-really Wolverine or the awesomeness of superpowers. 

Don’t get me wrong – I like Wolverine just fine in small doses. And I agree that superpowers are cool. But I need a reason to care about these things. 

I had mixed feelings about the debut of “X-Men ’97.” It’s like when a shady ex-boyfriend re-enters your life. Even though you guys ended badly, you still can’t resist that pull. He will probably disappoint you again, but that path to ruin and humiliation feels good.

Having watched the entirety of “X-Men ’97,” I can confidently say that if this show wants to ruin my life and my credit score, it can do so. 

This show is special. The creator, Beau DeMayo, is a gay black man who was adopted by a white family along with his Korean siblings and grew up in the South. While growing up, DeMayo felt a personal connection to Professor Xavier and the idea of the X-Men. 

X-Men is the story of a found family. It’s about a group of people who are othered because of their genetic differences, so they find strength and love in each other. They fight evil mutants and killer robots, but above all, they are a group of oppressed people who have each other’s backs. 

DeMayo’s perspective, as well as his genuine love and appreciation of the franchise, led to the creation of a show that manages to pay homage to the history of “X-Men,” while also continuing the stories introduced in “X-Men: The Animated Series.”

“X-Men ’97” takes place in the same universe as “The Animated Series,” a year after the finale, which aired in September 1997. In “X-Men ’97,” Professor Charles Xavier survived an assassination attempt by an anti-mutant militant, but has left Earth to be with the Shi’ar Princess Lilandra. As he is presumed dead, there is increased sympathy for mutant-kind on Earth, as well as increased tension from those who despise mutants.

The X-Men are led by Cyclops, who is married to a pregnant Jean Grey. Other X-Men include Storm, Wolverine, Beast, Morph, Rogue, Gambit, junior member Jubilee, and Lucas Bishop, the time-traveling mutant. The first episode is rife with nostalgia, featuring fun character moments and incredible action sequences. It also establishes that Magneto, Xavier’s best friend and mortal enemy, has been left everything in Xavier’s will. Magneto now controls the X-Men. 

All of the storylines introduced in the first two episodes continue throughout the rest of the season. One of the most compelling storylines belongs to Magneto, who, after having survived the atrocities of World War II and the Holocaust, has a deeply cynical view of humankind. He believes that mutants are superior to humans, and rather than ask for equality, they should seek domination. However, upon being gifted the Xavier Institute, Magneto must challenge himself to try and walk Xavier’s path of peace and tolerance. 

I loved the writing of Magneto’s character. I fully entered the show feeling put off by his muscle-daddy “GILF” aesthetic and distrustful of his intentions, and then left the show quoting Bender. 

I’m not saying that I entirely agree with Magneto’s actions, but given his perspective and the events of the series, he makes a good argument.

However, the show focuses on more than just Magneto and Xavier. It gives plenty of space for the characters to breathe, showcasing their impressive abilities and complex emotions as they constantly try to save a world that despises them. 

The series avoids the mistake of giving too much attention to any particular characters. To avoid being vague, I’ll just say it: Wolverine and Jean Grey are two of the biggest time-sucks in Marvel history. 

I cannot watch another lousy adaption of Jean Grey becoming the Phoenix, and I am so over Wolverine’s stupid journey of self-discovery. It’s like when I watch a movie with Batman, and the film wastes time killing Bruce Wayne’s parents. Or having to watch the destruction of Krypton again. Producers, we get it. Batman is emo because his parents died. Superman’s homeworld is gone. Jean Grey is a nice telepath until the Phoenix makes her too powerful. Wolverine is a lone wolf with a mysterious past. Can we please focus on other stories?

“X-Men ’97” spends much time with the other X-Men, particularly Cyclops, Storm, and Jubilee, developing their characters and introducing new elements to challenge them. Cyclops is a great character, although fans of the X-Men movies would assume he only exists to get cucked by Wolverine. However, there’s a reason Cyclops is the leader of the X-Men, and he carries much of the emotional weight of this season. Without too many spoilers, we see Cyclops as he tries to prepare for the arrival of his child while also trying to lead his team members in the absence of Xavier. He seems like an uncool dork, but he’s deeply caring and concerned for his loved ones, while simultaneously capable of great power and destruction. He’s stiff for a reason.

If there’s anything I would hope Marvel writers learn from “X-Men ’97,” it would be about the value of cultivating characters and their relationships. Storm and Jean, characters who are disproportionately represented in X-Men media, have a beautiful friendship in “X-Men ’97.” They call each other “sister” and share their innermost thoughts and fears. Morph, a non-binary character first introduced in “The Animated Series” (it’s complicated), is not only the funniest person in the show but also has a great rapport with Wolverine and is one of the few people who can bring out Wolverine’s lighter side. The market may be oversaturated with Wolverine and Jean Grey, but their relationships with the other X-Men have made these versions the most interesting iterations of the characters I’ve seen in years. 

I see two possible roadblocks to getting more people interested in “X-Men ’97.” First is superhero fatigue, which I completely get, having felt that since “Captain America: Civil War” (Seriously, I was so over dumb Superhero movies I didn’t even watch “Infinity War” or “Endgame”).

If you are feeling superhero fatigue, you may be comforted with the knowledge that X-Men isn’t just about superheroes defeating a bad guy, but about a group of oppressed people trying to find community and space for themselves in a small world. It’s also not a cinematic event, although you could watch the show on the big screen. It was a weekly release that felt like watching Saturday morning cartoons as a kid. You can put on your jammies and eat sugary cereal while beautifully animated soap opera theatrics play before you. 

(To whoever is in charge of marketing for X-Men: please greenlight a colorful cereal I can buy and eat while watching this show. I will give you money.)

The second roadblock may be people’s lack of familiarity with the X-Men franchise and the Animated series. I think this show is best enjoyed by people who grew up watching “X-Men: The Animated Series,” like myself. It is fun going online and engaging with older fans of the franchise who resonate with the new story. 

However, prior knowledge is not necessary to enjoy the show. The show’s introduction, a carryover from the animated series, establishes the show’s tone and highlights the main characters. “X-Men ’97” also introduces a new character, the mutant Roberto de Costa (otherwise known as Sunspot), who serves as a surrogate for new audiences who may be unfamiliar with the story of the X-Men. 

I am beyond excited for the second season of “X-Men ’97.” Beau DeMayo was fired just before the show premiered and had written most of the second season. I’ve heard conflicting reasons for his removal from the project, so I’m wondering how that will impact his possible rehiring and continued involvement with the franchise. I can say that he did a phenomenal job writing the show, and I do hope he continues to influence the direction of “X-Men ’97” positively.

This show has reawakened my adolescent X-Men fixation in a way that I should dread, seeing as I’m now an adult with work to do and bills to pay, but as my frontal cortex is now fully developed, I can manage like my other obsessions. 

With my adult resources, I plan to connect with other X-Men fans and revisit other X-Men media to fill the time between seasons. I might even revisit the Marvel properties I’ve claimed to despise for so long because if this show can make me like Jean Grey of all people, maybe those warm, fuzzy feelings will translate to “Endgame.” 

While you are under no obligation to read “X-Men” comics with me, I do hope if you’ve read to this point that you consider giving “X-Men ’97” a watch on Disney Plus. Or, if you’ve already watched it, drop a comment below telling me who your favorite character was or what you hope to see in Season 2. And let’s be friends.

Check the show out on Disney+.