Following the September 11 terrorist attacks, the United States faced a multilayered crisis in the realms of security, identity, and popular culture—a crisis that was particularly reflected in mainstream cinema and the superhero genre. During this period, comic book adaptations rapidly flourished and became one of the most prominent tools for representing the post-crisis condition. This article, drawing on Alan Sinfield’s theoretical framework and the concepts of “faultlines” and “dissident narratives,” aims to demonstrate how superhero films, while reproducing dominant national and security discourses, contain ideological ruptures that enable resistant readings within seemingly coherent narratives. An analysis of ritual functions such as nostalgia, escapism, and wish fulfillment, along with the myth of the self-authorized hero, reveals tensions that arise from internal contradictions within the established order. The method of the present research is descriptive-analytical, and this study does not include a specific hypothesis. It appears that post-September 11 superhero films, despite their entertaining and seemingly consensual surface, are in fact complex ideological arenas where reproduction and resistance operate simultaneously and in parallel.