ANT-MAN AND THE WASP: Come On, Get Happy

We used to have record albums (the old man yelled at the cloud). LPs, they were called, for long play. When bands made LPs they did something called sequencing, which was putting their songs in a specific order intended to bring the listener for a journey. You weren’t supposed to skip around the LP, and there was no way to shuffle the songs, so you would drop the needle at the beginning and listen through until the end. It feels archaic today, the idea of sitting down and listening to an album in full (and getting up to flip it over in the middle!), so archaic that it has become retrohip, and even Hot Topic sells vinyl LPs. But I think that with the heyday of the LP and the heyday of albums behind us, we have also lost the heyday of sequencing.

Good sequencing would build over the course of an album side, getting up to a crescendo of intensity and pace, and then perhaps pulling it back for a sonic palate cleanser. Think about Rubber Soul, by The Beatles (UK version) – side one ends with Michelle, with its French cabaret feel, and side two opens with a blast of zany country as Ringo sings What Goes On. That creates the space needed for the band to go in a totally different direction with Girl, which has a Greek folk sound. By putting the Ringo country song in between these two European love songs The Beatles create an experience for us that transcends the individual songs.

In 2018 Marvel Studios has accomplished a major feat of cinematic sequencing. Opening the year with Black Panther they got us revved up, excited, triumphant. Then came Avengers: Infinity War, which ends on one of the all-time down notes (for post-Beneath the Planet of the Apes blockbusters, anyway). But that isn’t the finale – the album isn’t over – and so they’ve wisely programmed Ant-Man and the Wasp right afterwards, giving us a small breather, a little bit of space before leaping back into the fray next year.

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It’s Time To Stop Complaining About The Marvel Movies

Ten years. That should be long enough, right? Ten years should be long enough for everybody working in the world of film criticism (and those hopefuls filling Film Twitter with their hottest of takes) to get used to what Marvel Studios is doing with their Cinematic Universe, right? I mean, there are critics out there whose careers began well after Marvel started laying the groundwork for its universe, so it isn’t like they’re having to adjust to this stuff.

Fan Twitter got upset with Richard Brody’s dismissive New Yorker review of Infinity War (weirdly the review reads like he really liked the movie but doesn’t know how to cop to that fact). As always on Twitter people overreacted, but I think Brody’s review offers a good look at just how hollow the “these movies are ads for other movies” attitude is.

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AVENGERS: INFINITY WAR Heavy Spoiler Review

This contains complete spoilers for Avengers: Infinity War, and begins spoiling right from the first sentence.

There will likely be more from me about this movie in the days ahead, but I think that the structure and the form of the film make it hard to write about properly before the sequel is released.

This is your last chance to turn around.

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