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Why Paw Patrol is Nietzschean!

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The thesis of this paper is unapologetically heretical: Paw Patrol is a paradigmatic expression of Friedrich Nietzsche’s “will to power.” Beneath its saccharine palette and pre-verbal catchphrases lies a subterranean current of will, dominance, hierarchy, and a rejection of passive morality. The series, though marketed to toddlers, is the embryo of an Übermenschian cosmos. It is dressed in the skin of puppies. It does not mirror the world as it is, but the world as it ought to be, if one reads Nietzsche not as a historical pessimist but as an architect of post-moral potentiality.

I. The Überpuppy

In Thus Spoke Zarathustra, Nietzsche writes, “Man is something that shall be overcome. What have you done to overcome him?” Ryder, the adolescent leader of the Paw Patrol, is an Übermensch in larval form. He emerges not as a product of institutionalized knowledge, but as a child who creates value ex nihilo. He assembles a paramilitary organization independent of adult governance or societal permission. He rejects both parental and civic oversight. Like Zarathustra descending from his mountain, Ryder acts without moral hesitation and commands a team that responds to the world through mastery rather than submission.

The will to power is the will to create, to impose order upon chaos, to dominate. Ryder creates hierarchy & assigns roles (Skye to the air, Chase to law enforcement, Rubble to construction), and engineers technologies of rescue and surveillance. He embodies Nietzschean affirmation: not the negation of weakness, but the positive generation of structure where none previously existed. Ryder’s world is not reactive. It is proactive. He does not just rescue; he wills rescue into being, he bends environment and circumstance to the force of his initiative.

II. Beyond Good and Ruff

Nietzsche’s suspicion of herd morality, what he terms “slave morality,” finds no fertile ground in Adventure Bay. The Paw Patrol does not operate according to democratic consensus or egalitarian principles. They function hierarchically, with a clear chain of command and no tolerance for indecision. Nietzsche writes, “He who cannot obey himself is commanded.” Each pup embodies self-mastery. Their obedience to Ryder is not subservience, but alignment with will. They are not coerced; they are called. Their roles are accepted with joy, and in this joy we find Nietzsche’s eternal recurrence.

Mayor Goodway, by contrast, is the embodiment of ressentiment. She is anxious, indecisive, and always in need of rescue, isn’t this a perfect metaphor for the slave morality Nietzsche abhors? She represents society in its decadence: incapable of action, reliant on external salvation. In contrast, the pups act without moral anguish. They embody virtù, not virtue, the Machiavellian capacity for decisive, pragmatic force Nietzsche admired in strong personalities.

The show’s “bad” characters, Mayor Humdinger, the Ruff-Ruff Pack, Harold Humdinger, are not evil in any theological sense. Rather, they are failed willers of power, corrupted not by ambition but by their lack of discipline. They seek dominance but without internal coherence. Nietzsche would view them as failed Übermenschen, figures who grasp the necessity of power but lack the courage to refine it.