Editing Dark Angel (American TV series) (section)

==Themes==
''Dark Angel'' is considered to be in the [[cyberpunk]] genre.{{sfn|Butkus|2012|page=179}}<ref name=four/> Writing in ''Reconstruction: Studies in Contemporary Culture'', Lorna Jowett considered ''Dark Angel'' to be a "hybrid of science fiction, [[Gothic fiction|Gothic]], and [[Action television|action]]" which incorporated forms and themes from all three genres. Jowett compared ''Dark Angel'' to the Gothic novel ''[[Frankenstein]]'', saying that Max's genetic engineering makes her a "postmodern [[Frankenstein's monster]], blurring boundaries between human and monster".{{sfn|Jowett|2005}} Kathleen McConnell in ''Gothic Studies'' also compared Max's unconventional conception to Frankenstein's monster, and cited several other Gothic themes in the series. She states that Max fits the model of a Gothic heroine who "ostensibly appear[s] to be conforming to their accepted role within the [[patriarchy]] but who actually subvert the father's power at every possible occasion."{{sfn|McConnell|2002|page=178}} In her book ''Post-feminist Impasses in Popular Heroine Television'', Alison Horbury theorizes that ''Dark Angel'', along with the shows ''[[Alias (TV series)|Alias]]'', ''[[La Femme Nikita (TV series)|La Femme Nikita]]'', and ''[[Dollhouse (TV series)|Dollhouse]]'' have themes of abduction, physical and symbolic [[rape]], motherlessness, and the discovery of a sister.{{sfn|Horbury|2015|page=212}}

Several academics have considered ''Dark Angel'' to be part of a wave of shows in the late 90s and early 2000s including ''[[Buffy the Vampire Slayer]]'', ''[[Xena: Warrior Princess]]'', and ''La Femme Nikita'' that feature strong female characters.{{sfn|Butkus|2012|page=179}} Writing in ''Science Fiction Film & Television'', Clarice Butkus noted Max has been considered to be a "distinctly millennial post-[[Third-wave feminism|third-wave feminist]] warrior.{{sfn|Butkus|2012|page=182}} She also felt that Max's relationship and dialogue with Original Cindy, an [[African American]] lesbian, conveyed [[Women's empowerment|female empowerment]]. For example, Cindy encourages Max not to feel guilt over her sexual behaviour and instead to embrace a traditionally masculine approach to sex.{{sfn|Butkus|2012|page=194}} McConnell and Jowett also cited Max as an example of female empowerment; Jowett considered Max to be the "usual postmodern, [[postfeminism|postfeminist]] representation of the female action hero with [at least] a reversal or [at most] a mixture of traditional gender traits."{{sfn|McConnell|2002|page=180}}{{sfn|Jowett|2005}}

Butkus stated that ''Dark Angel'' repeatedly paid homage to the film ''[[Blade Runner]]''. Lydecker, the "flawed antagonist" of ''Dark Angel'' is said to be a transposition of [[Rick Deckard|Deckard]], the "flawed hero" of ''Blade Runner''. Alec McDowell/X5-494's love interest is named Rachel, believed to be a reference to the [[replicant]] [[List of Blade Runner characters#Rachael|Rachael]], though in ''Dark Angel'' it is McDowell and not Rachel who is bio-engineered. His flashbacks of this traumatic relationship use piano music similar to that used in ''Blade Runner'' to denote memories and a desire for former times. Alec's genetic memory enhancements enable him, with only a few hours practice, to play a detailed piano piece by [[Frédéric Chopin]], the composer originally scripted for the scene in ''Blade Runner'' where Rachael inexplicably finds herself able to play the piano; both characters are considered to be pre-programmed by state forces to master superhuman skills.{{sfn|Butkus|2012|page=189}}