| Summary: | Eve Bennett begins her new book, Gender in Post-9/11 American Apocalyptic TV: Representations of Masculinity and Femininity at the End of the World, by describing the apocalyptic aftermath of a suicide bombing in Heroes Reborn (2015). Telecast almost fifteen years after the traumatic incidents it evokes, Bennett notes that Heroes Reborn is entirely symptomatic of a televisual culture that “has not yet entirely got over its preoccupation with the horrific events of September 11th, 2001” (1). To this end, Gender in Post-9/11 American Apocalyptic TV joins a weighty corpus of scholarly work similarly preoccupied with screen representations of 9/11 and its geopolitical repercussions. These include monographs such as Douglas Kellner’s Cinema Wars, Stephen Prince’s Firestorm, Kevin J. Wetmore’s Post-9/11 Horror in American Cinema, Stacy Takacs’s Terrorism TV, Fran Pheasant-Kelly’s Fantasy Film Post-9/11, Guy Westwell’s Parallel Lines: Post-9/11 American Cinema and Terence McSweeney’s The War on Terror and American Film, as well as numerous edited collections on the same subject (Dixon; Schopp and Hill; Birkenstein et al.; Bragard et al.; Briefel and Miller; Lacey and Paget).
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