What would you choose, Marvel or DC?
The culture industry theory, developed by Theodor Adorno and Max Horkheimer, states that the mass production and distribution of cultural products (e.g., art, music, media, broadcasting) occur under capitalist standards. Adorno and Max argue that forms of popular culture are not simply harmless forms of escapism, but are tools of oppression. Crazy right?
This post will explore how the culture industry shapes our taste, limits creativity, and reinforces consumer habits, as well as whether there is still room for resistance.
Theodor W. Adorno (1903–1969) and Max Horkheimer (1895–1973) were German philosophers and social theorists, leading figures of the Frankfurt School. The Frankfurt school was a group of Marxist theorists founded in Germany by Carl Grünberg in 1923. Adorno, Max, and other theorists, such as Walter Benjamin, were part of creating the critical theory. In this theory, they used a Marxist framework to examine capitalism in terms of social relationships within society. Their main goal was to explain why modern capitalist societies, despite material progress, continued to produce harmony, inequality, and authoritarianism — rather than independence.
In their book Dialectic of Enlightenment (1944), Adorno and Max argued that the Enlightenment, which promised freedom through reason and knowledge, had been corrupted by capitalism. In the book, they talk about ‘Enlightenment as Mass Deception’. Put simply, they argue that the culture industry created a ‘passive consumer’ that promotes uncritical thinking, leading individuals to contribute to their own oppression. Wait, are they calling us dumb? Not exactly, but he’s suggesting we’ve stopped thinking critically about what we consume. And honestly, it’s hard to argue when most of us spend hours mindlessly scrolling on TikTok, letting the algorithm decide what we laugh at, what we care about, and even what we buy.
Adorno and Max argue that different forms of media follow a set formula. A repetitive, predictable pattern that limits imagination and prevents new, challenging ideas from emerging. In the culture industry, culture keeps people in line, distracting the public from issues like class conflict and inequality. One way it does this is by discouraging critical or creative thinking by repeatedly producing the same cultural products (movies, songs, TV shows, and ads).
Back to my question, Marvel or DC? Trick question — they’re basically the same thing. Different logos, same formula. Adorno and Max call this pseudo-individualisation. People think they have choices in a unique system, but everything follows the same pattern. We believe we are choosing what we like, but we’re just picking between two versions of the same product. Don’t believe me? Take Netflix and Disney+, for example. Both platforms show endless “choices,” yet most of what we see follows the same predictable patterns. Shows like ‘The Summer I Turned Pretty’ and ‘My Life With The Walter Boys’ have familiar story arcs, recycled tropes, and safe, market-tested formulas. Even their “original” content is shaped by data and algorithms that tell producers exactly what will keep us watching. The result? We binge what we’re told is new, but we’re consuming slightly different versions of the same thing.
However, not all theorists from the Frankfurt school saw mass culture as completely hopeless. Walter Benjamin, for instance, thought technology could turn audiences into participants rather than passive consumers. Today, that debate still exists. Platforms like YouTube or TikTok allow anyone to create and share anything (a kind of democratization Benjamin would celebrate). But at the same time, these platforms are driven by algorithms and advertising, turning even our creativity into commodities — exactly what Adorno and Max warned about.
To summarise, the culture industry still thrives, only now it’s powered by algorithms and personalised feeds. While culture has never been more accessible, true freedom of thought may require us to consume more consciously and create beyond what the market demands. So, are you shaping culture, or is culture shaping you?
References:
Raine, S. (2023) “What is the Culture Industry?”, Perlego Knowledge Base, 7 March [Online]. Available at: https://www.perlego.com/knowledge/study-guides/what-is-the-culture-industry (Accessed: 19 October 2025).
Perlego. (n.d.) Critical Theory, Perlego Knowledge Base [Online]. Available at: https://www.perlego.com/knowledge/study-guides/critical-theory (Accessed: 19 October 2025).
Hello, you did a great job explaining a slightly complicated theory- you did it in a clear and engaging way. I really liked how you connected Adorno and Horkheimer’s ideas to modern social media platforms like TikTok and Netflix. I also enjoy how you have used relatable examples to make the culture industry theory easier to understand. I also really liked how the blog was like a conversation, which made it even more engaging. Nothing much to improve, and your work was really well-written.
I really love the way you broke this theory down! This blog seemed conversational, as if you were talking to me face-to-face. Having your title be a question reeled me in to read more of the blog as I had an answer, but I was curious to see if you would change my mind. You used many relatable examples, like the similarities between My Life With The Walter Boys and The Summer I Turned Pretty, which helped to back your argument up strongly. Overall, this blog was very well written, and you conveyed your points in an engaging way!
The format of this article is excellent! It’s lively and engaging, using a topic that interests many people (Marvel and DC) to introduce a complex theory. While outlining the ideas of Adorno and Horkheimer, it also clearly presents the theoretical background and core concepts of the Frankfurt School. It’s a piece with great depth, yet it still manages to be humorous and entertaining.
Hi,
This is such an engaging and well-written post! I love how you’ve broken down Adorno and Horkheimer’s theory in such a relatable way — the Marvel/DC example and the Netflix point really drive it home. It’s interesting (and kind of scary) how relevant their ideas still are in the age of algorithms. The bit about pseudo-individualisation perfectly captures how our “choices” often feel like freedom but are actually pretty limited. I also appreciate the mention of Benjamin — it’s refreshing to see the nuance that not all mass culture is hopeless. Great balance of theory and modern examples!