Hanna

Hanna features notable representation choices, especially in later seasons. The cast features an almost entirely female lineup of elite super-soldiers, with male characters relegated to evil authority figures or quick deaths. There is also clear adaptational diversity, such as making previously white characters mixed-race. Critically, the show includes prominent LGBTQ+ representation, notably through the main trainee Jules, who explicitly comes out as a lesbian. These elements, combined with the presence of multiple queer side characters, heavily elevate the show's woke representation score.

The dialogue in the latter seasons shifts significantly toward modern political messaging. A prominent example is the trainee Jules, who uses modern intersectional feminist jargon and openly complains about "cis-gendered heteronormative patriarchy". In Season 3, the dialogue also heavily frames the fight against the CIA faction as a struggle to protect young progressive activists, environmentalists, and social justice advocates. This inclusion of overt activist-style terminology and anti-establishment talking points is very noticeable to the average viewer.

The narrative centers on themes of femininity, sisterhood, and escaping patriarchal conditioning. The UTRAX facility acts as a metaphor for the weaponization of societal expectations on young girls, who are groomed to conform and obey. Additionally, identity exploration is central to characters like Jules, whose personal journey of coming out as a lesbian is highlighted. The show explicitly frames its coming-of-age arc as a rejection of traditional gender expectations, using the sci-fi super-soldier concept to deliver a modern message about female empowerment, gender deconstruction, and identity ownership.

The series presents a strong activist-style critique of Western government institutions. The main villains are a rogue faction within the CIA called "Pioneer," depicted as a corrupt, patriarchal shadow group of radical nationalists. Their ultimate goal is using a predictive algorithm to assassinate teenagers who are political, social, and environmental activists—specifically described as the "Greta Thunbergs of the world". This frames Western security apparatuses as inherently corrupt, anti-progressive systems that actively suppress youth-led social change, reframing standard espionage tropes into modern political messaging.

Compared to the original 2011 film, the series makes several noticeable changes to established characters and canon. The Miller family, who were originally entirely white, are changed to be mixed-race with a South Asian father. Additionally, Marissa Wiegler’s character undergoes a massive overhaul from a cold, unredeemable antagonist into a heroic, motherly ally who helps Hanna dismantle the corrupt patriarchal system. These changes align the adaptation with modern representation goals and progressive thematic structures.

The series faced noticeable backlash from viewers, especially during its second and third seasons. Frustrated audience members on forums like Reddit criticized the show for abandoning its original survival-action tone in favor of "leftist propaganda" and "toxic feminism". Complaints focused on the show's portrayal of all white male characters as evil, the injection of modern intersectional jargon, and the heavy focus on LGBTQ+ subplots. However, because this backlash mostly existed in online niche spaces rather than leading to a massive mainstream media controversy, the backlash remains moderate.

The creative team behind Hanna features several key figures with a strong history of focusing on progressive themes, identity, and representation. While creator David Farr has a lower activist track record, directors like Eva Husson and Sacha Polak are outspoken advocates for gender equality and queer-centric filmmaking. Writers Charlotte Hamblin and Laura Lomas also specialize in queer stories and intersectional feminist themes. This combined background heavily influenced the show's pivot toward identity politics in later seasons.