How AVENGERS ENDGAME Changes The MCU Forever

This contains spoilers for Avengers Endgame.

There is a delicate, unspoken balance that must exist in a superhero universe. For a superhero story to work, the world in which the superheroes live must resemble our own – with the exception that it has superheroes. The impacts of superheroes can be explored… to a point, after which the whole house of cards tumbles down.

The balance is precarious. Go too far in one direction and you find the audience asking why Tony Stark doesn’t solve the energy crisis or global warming, or why Shuri and the Wakandans don’t cure cancer. Yes, characters can go into space, but we can’t have a colony on the Moon. Go too far and the science fictional world of superheroes – a world one day in the future – becomes a world that is gradually unrecognizable, that is fully futuristic science fiction.

Avengers Endgame creates just such a world, and beyond simply ignoring it I don’t know how future films in the Marvel Cinematic Universe will deal with it.

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AVENGERS ENDGAME: More Event Than Movie

This contains spoilers for Avengers Endgame.

When is a movie not movie? This isn’t some kind of riddle, but rather an attempt to figure out how to approach a film like Avengers Endgame, which feels not quite like a motion picture as we define them and more like an event. It’s an experience first and foremost, a movie second… and I wonder how much that matters. How much does it matter that the ending works more as fan service than as logic? How much does it matter that the movie completely betrays Steve Rogers’ character to get to a teary-eyed smile at the end?

Thinking about Endgame I find myself thinking about It’s A Mad, Mad, Mad World, the epic blockbuster comedy from Stanley Kramer. It’s stuffed to the gills with superstars, and it was originally bladder-shatteringly long (197 minutes! A comedy!). In terms of things like ‘plot’ and ‘structure’ it isn’t strong, but it makes up for all of that with the charm of Milton Berle and Buddy Hackett and Ethel Merman and Phil Silver. It features a stunning parade of cameos, including Jack Benny, ZaSu Pitts and Buster Keaton It’s not nuanced or subtle, and it’s hugeness and broadness is part of the point; it’s a big screen comedy released at a time when the movies were feeling TV nipping at their heels. 

It’s all really familiar. 

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An Era Ends: GAME OF THRONES and The MCU As The Last Giants

Entertainment history is going to look back at this time period as an era defined by longform serialized storytelling, with instalment-based stories conquering just about every narrative medium. Eventually this will end, not because serialized longform storytelling is bad but because all things fade away and change. Charles Dickens was telling stories in an environment like this one, just before the novel conquered all. And yet now the chapter has conquered the novel.

And yet when we look back at this period it’s going to be clear that there were two true standouts, two works that loom over all the others. Entertainment historians will argue about whether or not this period began with The Sopranos or with the interconnected nature of comic books, or with the endless storylines of soap operas, but I believe there will be a moment where it all peaked and that will be obvious. The two longform stories that dominate all others, and that define this very era, are Game of Thrones and the Marvel Cinematic Universe, and neither will be replicable. Enjoy this moment while it lasts, because we’re at the summit.

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THOR Rereview

“How quaint.”

This is the thought that kept going through my head while revisiting Thor on this runup to Infinity War. Back in 2011 I hated this movie, thought it was just simply the worst of the worst and a huge, boring misstep for Marvel Studios. Today I look at it and see that it’s a movie developed in a world where comic book movies hadn’t yet entered their modern age, and the film has echoes of a landscape where David Hasselhoff played Nick Fury and where superheroes and their enemies usually had their final battle in a warehouse, or on docks, or on a bridge. Marvel knew how to make more grounded characters like Iron Man or more familiar characters like the Hulk work, but Asgardian gods? Space cities? Magic and high weirdness? They weren’t quite ready to commit just yet. Looking back from the post-Thor: Ragnarok vantage point how can we say anything but “How quaint”?

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