Category: Features

The MCU’s Best Storytelling Days Are Still To Come

As part of the relaunch of Murphy’s Multiverse, we invited several friends, old and new, to write some guest features. This was written by our friend and longtime supporter, Joao Pinto.

Avengers: Endgame marked the end of an era. We said goodbye to several characters in more ways than one, as the MCU rode into the sunset at ease with what it had accomplished for over a decade. A couple of months afterward, Spider-Man: Far From Home served as an epilogue to the Infinity Saga, one that showed us that going forward things will have definitively changed and that nothing will be as it once was. As fans look forward to what’s coming next, from Disney+ shows to theatrical releases, from sequels and spin-offs to entirely new IPs, there is no way not to wonder if the connection with the new characters we’ll be welcoming, and with old ones now under a brighter spotlight, will run as deep as the ones many had with the characters that won’t be along for the ride. Will their stories be able to hold their own when compared to a 23-movie-long behemoth of a storyline? Nostalgia will manage to creep in, but there are a couple of hints that make it believe that the MCU’s best storytelling days are still ahead.

Since 2008 the MCU has expanded and gotten bigger with every single chapter. And every few years since the first Avengers movie it was time to bring the team back together, with more members, bringing new franchises into the mix, until we got to the point in Avengers: Endgame where there were 25+ superheroes suiting up for that final battle. So, how do you top that? You don’t. And so there would be little sense in even trying to do so.

Late last year we were hearing that an Avengers-like event movie would have to wait another five years. Considering what 2020 has been like, it’s easy to understand if we now have to wait until at least 2025 to get something like the now-iconic Alan Silvestri theme back in theaters. And what this self-imposed five-year waiting period tells us is that Marvel is very confident about their new strategy, the stories they want to tell, and how they want to tell them. The Avengers movies were always a chance to touch base, to get people to the theaters in droves, to hype up the brand, and continue to make a solid argument for both the commercial and cultural relevance these movies had earned. But nowadays, they seem comfortable enough to take a chance and live off of some “smaller” franchises, some brand new ones and even some tv shows for a while. So what can we expect in terms of their new approach towards storytelling for the next few years?

Strange Alchemy 2.0

If you’re here on Murphy’s Multiverse you probably know what “Strange Alchemy” means in the context of the MCU. It’s basically what Avengers: Infinity War‘s writer’s room called the process of bringing characters together, trying to figure out the most interesting pairings to, as they once did in medieval times, try to turn base metals into (cinematic) gold.

This has always been one of the most interesting aspects of the MCU. The way they manage to flip the status quo through these interactions and keep coming up with something fresh that keeps most characters (some that find little moral adversaries in their solo outings) on their toes. By reshaping pre-established power structures, characters (and therefore storylines) take a step forward, forcing themselves to become a bit more layered in order to keep up with the growing complexity of their surroundings.

With huge team-up movies on standby, Marvel will maybe make up for it by sprinkling even more cameos throughout both the theatrical releases and the Disney+ shows, making it easier to get characters to show up on several projects instead of being mainly allocated to their little corner of the MCU, enriching the interconnected narrative. This connectivity has always been a hallmark of Kevin Feige‘s MCU and getting characters from Thor, Ant-Man, and Captain Marvel to show up on WandaVision might just be a small hint of things to come.

Deeper dives with substance

It’s not that we haven’t had TV shows that reference the movies and their events, but the reality of it is that the opposite has been negligible. But now, Disney+ will finally give the theatrical side of MCU the chance to interlink with made-for-TV content, allowing the story to go back and forth, and maybe expanding the MCU into even bigger and better heights.

This time we’ll get to go deeper, in a more intimate light, into the stories of characters introduced in the movies, both by continuing plot points that were set up in a movie (Falcon and The Winter Soldier; Loki) or by setting up a plot point of its own and then having the big payoff play out in theaters (WandaVision). This will allow for longer, more complex stories to be told, with varying paces and scopes. We’ll also get to see some new characters brought into the mix through Disney+, by giving them the time equivalent of two or three movies to introduce themselves into this universe. Stereotypical origin stories, something that the MCU has been trying to avoid (we haven’t had one of those since Doctor Strange in 2016), will have the chance to be treated in a different light, with perhaps also a greater ability to bring in established characters to help make the show feel like part of something bigger. For the sake of example: If you give Bruce Banner a 30-minute cameo in a She-Hulk movie you might risk him upstaging Jennifer Walters. But if you give Banner and entire She-Hulk episode to be on, she still has at least another 5 episodes to have everything be about her story. This way, if the story could do with the presence of another, more established character, the writers can always choose what’s best for the plot without the concern of deviating too much from the focus of the show.

By deciding to make most shows a single season event, Marvel Studios also shows their intentions of keeping the stories moving forward. By the end of the season, each character might not be where they were at the beginning in such a way that a second season would need to be reframed and relabeled. This doesn’t mean that every character will either die or indefinitely move to the movies at the end of each show, it just means that after Ms. Marvel is done, Kamala Khan could easily move into a Champions limited series or something of the sort. This means that we won’t get stuck into a routine of endless seasons from each show, always with similar foes, similar sidekicks, and now have the change of always leaving on a high note, with characters constantly evolving within the MCU.

Broader events

One of the most common complaints when it comes to how Marvel Studios decides to adapt the comic stories to the big screen is the number of details they tend to leave out. Sometimes they even decide to get bits and pieces of a couple of storylines in the same movie together, leaving even less screen time for most things readers would have expected to be able to see. This all comes down to time. Not only the available run time for the movie, but also the number of years they have available with the character and the actor that portrays it. We can’t seriously expect Marvel to address every single bit, of every single major storyline of any given character. They’ve been picking and choosing while being concerned with the overarching story, making sure characters are all moving at the exact pace that allows for all the pieces to be in place when the time comes for them to get together in some major event.

Even these events, that are the ones that on the comic side of it tend to have a huge amount of setup, countless side stories that focus on specific characters and their own path through it all, are more often than not streamlined so that the story told is done in a way that is compatible with the blockbuster runtime. And even if they mostly end up getting a similar amount of runtime as a “regular” movie, some of these stories run so deep they could be a trilogy on their own.

But now, with both movies and streaming shows at their disposal, Marvel might finally take their major, and not so major events to another level. Having each medium being able to support the other, while having all the talent contractually on board can allow for an even more immersive experience that mirrors what comics have been doing for decades through tie-ins. Imagine if, when the time comes, when they decide to get an Annihilation movie into production (for real this time), we get a Disney+ limited series with an episode dedicated to each character that’ll play a big part in the main theatrical event. We probably won’t have Ronan available, and Drax really isn’t the same character, but after having them introduced in previous projects, we could get Nova, Super-Skrull and Silver Surfer episodes setting up the movie.

Interconnected episodic segments, on the big and small screen, telling different sides to the same story, focusing on both the grand scheme of things and the smaller details of some personal struggles. The possibilities are as exciting as they come.

All of this is nothing but an opinion. On paper, it might have everything going for it, but it will still come down to the quality of the scripts, of the performances, of the directing, and so on. But the MCU hasn’t gotten as big as it has because people took to it because of their pretty faces and explosions. They’ve done their job and they’ve done it well. They’ve been competent. Even nowadays, with so many projects being put on hold, release dates shifting all the time, considering the way they’ve handled themselves over the years, there is no reason not to think that the final products might actually be better because of the waiting time. Scripts can be polished, visual effect don’t need to be rushed, plans can be improved. These 10+ years of content can give Marvel a bit of extra tranquility, but surely also remind them of the added responsibility to not just maintain but to raise the bar on what a shared cinematic universe can really aspire to become

June 13, 2020
Jeff Lemire’s HAWKEYE May Be A Big Influence on Upcoming Series

Even though we don’t know when production will begin much less when it will air, fans are very excited for the Marvel Studios series Hawkeye to drop on Disney Plus. Kevin Feige has told us two very important things: it will introduce Kate Bishop and it will feature some more of Clint Barton’s time as Ronin. Rumors have swirled about other potential plot point and characters, but those two tidbits from Feige are key. Additionally, if we’ve learned anything from the limited information available to us about the other Disney Plus series, it’s that they will truly build a world, full of supporting characters, around the leads. For The Falcon and The Winter Soldier, that means we’ll meet Sam Wilson’s family and get some more details about Bucky’s history; the same is very likely for Hawkeye.

Executive Producer Trinh Tran has promised that the show will paint a picture of Clint Barton’s past and while it’s been retconned a few times over the years, there are some parts and people that seem to stand the test of time. Clint’s story is rooted in an abusive childhood, depends on a relationship with his older brother, Charles Bernard “Barney” Barton and time spent at a carnival where the brothers met some criminals who influenced the rest of their lives. It’s also likely we’ll see a deeper dive into Kate Bishop’s history which means a look at her father, Derek, and his dirty dealings.

We already know that Matt Fraction’s acclaimed Hawkeye run is going to heavily influence the series. What you’ll see here are some panels from other classic and recent runs that could help us get deeper into the pasts of our Hawkeyes. I have no insider knowledge here, just a lot of comic books, a decent memory, a subscription to Marvel Unlimited and a little more free time than normal. So, enjoy the read and let’s see if we can spot these influences when the show airs!

Hawkeye, Vol. 3 (2003). Fabian Nicieza and Stefano Raffaele.

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Why They Might Use This Run

As you’ll see, each of the books here that take a deep dive into Clint Barton’s background will have a few things in common. First of all, they’ll focus on the relationship between Clint and his older brother, Barney, Secondly, the books will show the time the Barton boys spent living the carnival life. Finally, they’ll tell some version of how they were influenced by Swordsman and, in almost every instance, Trick Shot, a couple of carnival showmen with criminal proclivities. In this case, this is probably my favorite iteration of the Clint/Barney relationship, which could make for a really interesting plot device.

Possible Influential Panels

The flashback, as many do, starts with Clint stumbling upon Swordsman embezzling money from the carnival. In this version, Swordsman chases Clint, causes him to fall and break his legs and prepares to kill him before he’s stopped by Trick Shot.

Following the unfortunate series of events, Barney invites Clint to join him in enlisting in the Army. Clint, at first reluctant to go, changes his mind but misses the bus. Barney goes on to become an FBI agent after leaving the service and, in a cruel twist of fate, meets up with his brother while undercover and is shot in the chest by Clint!

Hawkeye: Blindspot (2011). Jim McCann and Paco Diaz.

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Why They Might Use This Run

McCann’s series, as many of the others here, give us some insight into the early days of the Barton boys. We get a little different version of things each time, but here their abusive father dies and the boys run away and, of course, end up at the Carson Carnival of Traveling Wonders. While the carnival life really seems like an odd thing to put into the series, it’s hard to imagine the boys not being influenced by Swordsman and Trick Shot. This limited series gives us a brief look at the original Trick Shot, Buck Chisolm, training Clint. It also sees Clint square off with Barney, who is working for Zemo as the new and improved Trick Shot. Should Barney feature in the series, it’s possible they go with this version of the character and take the sibling rivalry to a new level.

Possible Influential Panels

All-New Hawkeye, Volume 1 (2015). Jeff Lemire and Ramon Perez

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Why They Might Use This Run

This 5-issue limited series details (and retcons) the early days of Clint Barton and his brother Barney and Jacques Duquesne, aka the Swordsman, as their paths converge at the Carson Carnival of Travelilng Wonders. The events that take place here, during Clint’s formative years, put him on the road to becoming Hawkeye. While this retcon removes Trick Shot from the early days, it makes Duquesne an even bigger part of Clint’s early years and considering that we saw Barton’s skill with a blade in Avengers: Endgame, it seems very likely that we’ll see Duquesne’s early influence on the Bartons and this version is a little more mild than some of the other options.

Possible Influential Panels

Lemire’s run made some alterations to the Barton boys’ history as told in Hawkeye: Blindspot but he did shine a little more light on the abuse they suffered at the hands of their father and, after his death, their foster dad. The flashbacks show us the day where Barney has finally had enough and fights back. The ordeal leads to the boys running away and stumbling upon the Carson Carnival.

After the boys fall in love with the wonders of the carnival, their foster father shows up and begins to rough them up until he’s interrupted by Duquesne. Duquesne runs their foster father off and immediately becomes a hero to the boys.

Duquesne takes Clint under his wing, teaching him to shoot a bow and quickly realizes the skill of the young man. In fact, Duquesne begins to train Clint to join his act. Unfortunately, Duquesne takes Barney under his wing, but instead of teaching him archery, he teaches him to become a criminal. Clint discovers what’s going on and confronts Duquesne. Thought it doesn’t turn violent, it leads to Clint and Barney going their separate ways.

All-New Hawkeye, Volume 2 (2015-16), issues 4-6. Jeff Lemire and Ramon Perez

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Why They Might Use This Run

These 3 issues give new insight into Kate Bishop’s early years and establish just why she and Clint Barton have such an incredible bond. Just like the 2015 series, the events that take place in Kate’s formative years put her on the road to becoming Hawkeye.

Possible Influential Panels

Lemire continues to use flashbacks to give us the goods. The second half of the series fills in some serious gaps in Kate’s past. We find out her father, Derek, hasn’t made all his money through his publishing company and that he’s involved with some dangerous-though-D-list-criminals, mostly notably the infamous El Matador. Kate decides to snoop on her father’s dealings, finds herself stranded in the top secret meeting location, found by someone who looks suspiciously like Tarantula and then held for ransom by the wily Matador!

As it turns out, Clint and the Avengers have been tailing El Matador and rescue Kate. After being saved by Earth’s Mightiest Heroes, Kate is fascinated that Hawkeye, using just a bow and arrow, can hold his own a team of super-powered or suited up heroes. Given a few tweaks here and there, these scenes could easily be retconned into the MCU. We know that, for at least part of Hawkeye, we will see some more of Clint’s adventures as Ronin. We also know, thanks to Rhodey’s exposition in Avengers: Endgame, that one of Clint’s adventures ended up leaving a bunch of dead criminals in Mexico. It doesn’t take much imagination to tie that brief description to the first meeting of the Hawkeyes!

These final issues of the series build up to the Hawkeyes going their separate ways after sharing some honest moments about how much each one means to the other. The great takeaway here is that Clint, through all his troubles and daddy issues of his own, has provided Kate with the positive father figure she was never going to have in Derek.

When you’re dealing with a character like Clint Barton, who has been around for so long, there are so many possible stories from which to draw. If you’re looking for one that seems most ready made for Disney Plus and that keeps as many of the key points as possible, it’s certainly Jeff Lemire’s. Lemire’s work on Kate Bishop’s background is equally well-done and likely to inform the MCU version of the character. At this point it’s likely to be a while before we start to uncover some plot points for the series, so as we sit around and speculate, it’s great to have these panels in mind!

June 13, 2020
Scoob! and the Hanna Barbera Family: The Potential For The Next Big Cinematic Universe

As part of the relaunch of Murphy’s Multiverse we invited several friends, old and new, to write some guest features. This was written by MCUExchange’s Joseph Aberl.

There is something rather fascinating about the direction modern cinema has taken. Just having a successful trilogy was once the main goal for any franchise. There was only a handful that truly managed to break beyond that border, but it came at the sacrifice of quality. One can only look at the many sequels that films like A Nightmare on Elm Street or Friday the 13th managed to gather alongside their pop culture acclaim. As the franchise went on, they did start getting a bit campier in nature and they started to veer the franchise off of what made it unique, to begin with. Characters like Freddy Krueger became more known for the comedic aspects as the series went on. It wasn’t until the release of Freddy’s Nightmare that it managed to return to the roots that defined him.

This approach changed when in 2008 Marvel Studios kickstarted their cinematic universe with Iron Man. At the time, it still seemed like a crazy concept that could’ve fallen apart at any time. If any films in the lead up to The Avengers bombed, it would’ve remained a one-time experiment. Somehow, the major crossover turned into a cultural success story that would just mark the beginning. After eleven years, the franchise is going stronger than ever with 23 films. They try to keep things fresh by focusing on a different genre with each film. It became a template that many sought to copy.

Naturally, a variety of new franchises were banking on advertising themselves as future “cinematic universes”. There was the infamous Dark Universe. It would’ve seen the return of classic Universal monsters that crossover with each other. After a botched outing with The Mummy, the franchise was dead on arrival. This short-lived concept is rather ironic given its history. The original 1930s monster movies established the first inklings of a shared universe with crossover films.

Even Warner Bros. faced some troubles when kickstarting their cross-cinematic franchise. Using DC characters like Batman, Superman, Wonder Woman, and many more, they had a foundation to build upon. While Man of Steel gave them a unique and darker approach, they started to rush to catch up with Marvel. Luckily, they decided to change their strategy. By utilizing a slightly disconnected concept, iconic characters are receiving their franchises. Some are more independent like Joker while others continue from the established universe. Moreover, they are looking at elements from a self-contained story that have potential to expand. This is what led to Aquaman getting a spin-off focused on the Trench. As such, it feels more like an expansion of an existing world rather than forcing one into existence. Warner Bros. can test the waters before rushing into it.

Just recently, a new contender threw their hat into the ring hoping to bank on this concept. Warner Animation tried their hand at establishing a franchise built around the characters created by Hanna-Barbera Productions. The recently released film SCOOB! includes a variety of famous characters that can splinter off into their films. In a way, this does highlight Warner Bros. general approach. The film mainly focuses on the duo of Scooby-Doo and Shaggy, but we are also introduced to a variety of childhood icons like Blue Falcon, Dynomutt, Dick Dastardly, and Captain Caveman. The post-credit stinger even adds to that list to tease other projects. To balance it all, the film moves away from the classic formula of the Scooby-Doo franchise by adding superhero elements to the story.

Hanna-Barbera is no stranger to this concept. Their various iconic characters ended up crossing over multiple times. They even joined for a sport-centric show. The Laff-A-Lympics series was the point where the shared universe was fully realized. This was even taken to its natural extreme in a the show, Harvey Birdman, Attorney at Law. The self-aware series parodied the original line-up by twisting them into modern sensibilities. All encapsulated in an adult meta-comedy that functions as a connected universe. The show introduces a lot of characters but adapts them to abide by the show’s internal logic. The first episode eases the viewer in by using characters from Jonny Quest, who are a bit more grounded than say a talking shark from the future, before escalating it. Also, the focus remains on Harvey Birdman as the glue that keeps everything together.

Sadly, when watching the film, even nostalgia cannot hide the feeling that this was rushed. A twist on the classic formula has been done before but it can easily become muddled. Scooby-Doo is a legacy series with a very established genre behind it. It still going strong since its initial inception in 1969. The new direction was teased but there is a mental connection one makes with such an established franchise. The main focus of the film repeats mistakes we’ve seen happen before, e.g. when Sony tried to spin-off the Amazing Spider-Man 2 into a shared universe. Trying to include as many potential franchises in one film can distract from the actual plot, a mistake even Marvel Studios is not completely innocent of repeating. The Spider-Man sequel did exactly that by rushing through iconic villains without much build-up.

SCOOB! repeats that mistake with characters that haven’t truly seen the limelight in quite some time. Scooby-Doo could’ve worked as an introduction into a world full of copy-cat mystery solvers, superheroes, and talking animals. Yet this film isn’t even about Scooby and the gang. Most of the film focuses on Dick Dastardly villainous plot and the Blue Falcon trying to escape the shadow of his father’s legacy. Daphne, Velma, and Fred are relegated to side-characters in their own film. In comparison, films like Iron Man and Man of Steel kept their focus on their main cast. There may have been minor hints but it wasn’t until the sequels that the universe started to truly expand.

Let’s be honest, the fact that Marvel Studios was able to establish a shared universe for this long is a miracle. It could’ve fallen apart at any time. There is a reason why it is commonly compared to a TV show, as it requires a showrunner that makes sure that every gear is in place. Each film can turn into a pothole for another. The view of the entire franchise as one also creates the habit of generalizing every new entry even if it tries to change up the formula. They are limited because most of their characters are defined as superheroes.

The Hanna-Barbera line-up could’ve avoided this issue. Not every character dabbles into same genre. Yes, they have countless groups of mystery-solvers but most of their IPs are unique. You could split up SCOOB! into multiple films that are connected through an overarching plot. Scooby-Doo introduces us to the more grounded world with a mystery that lays the groundwork. This is then continued in a film following Blue Falcon’s world-trotting adventure as a superhero. Dastardly could be the mastermind that was manipulating different events from the shadows. As it stands now, a sequel to SCOOB! will have to reinvent the franchise again. The ending tries return to its roots but there could be a disconnect moving forward, It either has to return to the formula it tried to leave behind or continue as a Blue Falcon franchise.

There shouldn’t be a rush to establish a cinematic universe. Already existing IPs have a enough options to work with. If that is all stockpiled into one singular film, they start to blend together and lose their identity. It may have worked for Marvel Studios but they are also looking into ways to tell stories in new and interesting ways. Sony ended up partnering with them to make use of that existing franchises. Warner Bros. meanwhile decided to go a different route with DC. Universal just dropped the concept entirely to return to the classic structure. Even large IPs like Pokémon didn’t even think about advertising a shared universe until their first entry, Detective Pikachu, proved that there was an audience.

There is a good chance for the Hanna-Barbera universe to take off. The foundation may be rocky but there is a reason Scooby-Doo is an icon. Even with the film being released on video-on-demand rather than the traditional route, it was a financial success. SCOOB! managed to even beat out the recently released Troll: World Tour that saw similar success via streaming. From that standpoint, Warner Animation has a good reason to continue working on expanding this universe. Iit is an opportunity to introduce a new generation to characters like Secret Squirrel, Jabberjaw, Space Ghost, Top Cat, and many more. If they truly want to make this a unique experience, here’s hoping we get the ultimate crossover with a return of the Laff-a-Lympics.

June 12, 2020
‘THE FALCON AND THE WINTER SOLDIER’ Madripoor Gang Jacket Revealed

Many of you reading this may remember a little over 6 months ago when The Falcon and the Winter Soldier was doing a week long shoot in Griffin GA. Just Jared posted a large batch of photographs from the shoot revealing a nasty bike gang and other unknown forces harassing our heroes Sam Wilson and Bucky Barnes along with the villainous Zemo.

Instagram user Justbeachy4stacy visited this set in Griffin one night, just as she had visited the Barnesville set the month prior. We spent quite a bit of time the night she went, chatting in DM about what was happening there and if she was seeing any stars. She spotted Anthony Mackie but was too star struck to take a picture, just missed Daniel Bruhl, may have seen the director talking on the phone at one point, and saw a really big bald guy she thought was probably an actor but couldn’t place.

In our conversations at one point she showed me a picture she snapped of the back of someone else at the snack area. She said she thought he was actor or extra. I couldn’t tell who it was but I was very intrigued by the symbol on the back of the jacket pictured below.

I held back the image at the time thinking it might be a piece to a puzzle for another day. But now with a Murphysmultiverse.com redesign and relaunch and still no real clear idea what the symbol may mean, I felt it was as good a time as any to share and let people discuss it.

And I will say, it may mean nothing, or it may be an Easter egg for us to pick up on later, or it may have a larger link to some of our villains who Bucky, Sam, and Zemo face in what we now know was Madripoor.

At least some of the biker gang members surrounding the boys in those Just Jared pictures are wearing the same jacket, only cropped out to mostly cut out the gang symbol. See on the right on this image, and on the left on this one.

Here’s a closer look at the symbol on the jacket itself.

A number of villains immediately came to my mind upon seeing this symbol. Red Skull & Mephisto, of course, immediately spring to mind.

Mephisto

The Madripoor dragon, and other traditional villains of Madripoor spring to mind as well. We know there was extra casting calls for gang members of various ethnic groups for this shoot. IMDb lists at least one stunt actor as a Yakuza gang member, although it seems as if the group surrounding Bucky and Sam in those Just Jared shots are not exclusively Japanese but a mix of people. So again it is unclear if it’s one group which is a mix, or multiple different groups surrounding them.

Madripoor Dragon

But those don’t seem like quite the right fit for this image. There’s also the white sort of claws there, and faint circle around the head. It actually made me think of M.O.D.O.K. first. Could this be a redesign of that very strange and distinct looking villain? Perhaps an Easter egg, or perhaps a hint of him taking control behind the scenes in Madripoor? Or perhaps it’s something else entirely.

M.O.D.O.K.

What do you think? Let us know in the comments!

June 12, 2020
How To Adapt Comic Stories The MCU Way

Phase 4 will be huge for the MCU. It’ll be the phase we see beloved characters like Kate Bishop and Kamala Khan make their debut in this world. It’ll be the phase we see the first Asian superhero with Shang-Chi. It’ll be the phase the multiverse will branch off and fall apart. And not least, it’ll be the phase where we see a very recent comic story get adapted with Thor: Love and Thunder.

5 years ago, Jason Aaron introduced the idea of having a disease-ridden, dying, middle-aged Jane Foster wield Asgard’s most prized weapon. The idea not only came with an exciting spin on a decades-old character but it also brought a lot of status-quo changes for the Thor mythos. Mjolnir was no longer just a hunk of uru shaped into a hammer; it now had a sentient storm inside it choosing the worthy. Aaron reintroduced Mangog into the fold as well as turning Roxxon into a prime big bad for the Marvel Universe. Aaron’s Roxxon was led by one Dario Agger, an intensely corrupt executive who had the power to turn into a minotaur. So yeah, good shit.

Taika Waititi clearly knew this, hence the need to adapt such a badass story on-screen despite its recency, which brings us to the whole point of this piece.

Now, whether the majority of Aaron’s story makes it onto the story has yet to be seen but the choice to adapt something so recent is a choice that stands out to me as a frequent reader of the source material. I, for the most part, enjoy back-reading more than I do reading the current stories happening. For the longest time, I had this notion at the back of my head that stories needed shelf-life before they could be eligible for adaptations. Old stories that stood the test of time had first dibs to on-screen reimagining before any of these new ones. New stories had to stay on the shelf for a while, just so we could see how strong they stood 10 years from now. Kevin Feige and his thinktank at Marvel Studios clearly do not share the same sentiment as me.

Over the course of the decade, the MCU has found great success in adapting all kinds of stories, spanning the entirety of Marvel’s history. But even though there’s a seemingly equal mix of old and contemporary adaptations, the MCU is by and large influenced by modern Marvel comics. The Avengers and all the ancillary stories around it are based on the Ultimate line of comics, which was originally published to depict what a real-world Avengers initiative could look like. The Guardians of the Galaxy had been in publication for decades but it wasn’t until the Dan Abnett and Andy Lanning run that the blueprint for the live-action adaptation came.

There are varying degrees of how the Marvel Studios machine draws inspiration from text. Some adaptations are more pronounced than others while some are nuanced. Take a look at the last two Captain America films. Both films not only adapt the primary premise of each comic, which in Winter Soldier’s case is the brainwashing of Bucky Barnes and in Civil War’s case the ripple between the Avengers but more specifically Tony and Steve, but they also remake panels in live-action and share subtext with the source comic.

More often than not, you have the films that draw loosely from the text like Thor: Ragnarok. Ragnarok is an idea inherent to the Thor mythos yet the film barely touches upon the crux of the Norse apocalypse as it is foretold in ancient text and Marvel comics. In actuality, the film has less to do with the actual Ragnarok story in the comics than it does with Planet Hulk, an arc that came out a little over a decade ago. A chunk of Thor: Ragnarok takes place in Sakaar, the planet Hulk inhabits for some time. The premise of Hulk being a stranded gladiator is there but the meat of what the actual story is about isn’t there. Hulk doesn’t become the emperor of Sakaar in the film nor does the planet get nuked by the ship Hulk rode in.

One look at the MCU slate these past 11 years and it’s easy to assume how favored the newer stories are compared to the older ones. Modern stories tell more timely problems and depict characters in ways the current generation see themselves in. There’s a reason why we’re getting Kamala Khan before a character like Nova who’s been around for decades. The world is populated by a lot of people whose voices have yet to be heard, who see themselves in Kamala Khan. The same can be said for this new iteration of Captain America, with Sam Wilson under the helmet. Both Sam Wilson becoming Cap and Kamala Khan are recent additions in the comics that resonate well in the world we live in.

There’s an uncanny ambition to how modern Marvel stories are told. As the social themes of comics progress, so does its ambition for storytelling on a visual and narrative scale. Matt Fraction and David Aja’s now-classic Hawkeye run and Tom King’s Vision arc are fantastic examples of how cape stories could be in this day age. Both have a distinct deconstructive approach to tackling superhero stories akin to modern-day independent cinema. It’s no surprise that they’re getting a live-action adaptation of both stories despite them existing less than a decade with the upcoming Hawkeye and Wandavision Disney+ series.

By design, stories nowadays are conceived with the intent of bundling them in paperback/graphic novel form. Whereas back in the day, comics only existed in single issues. Stories were marketed individually. Daredevil: Born Again wasn’t referred to as Born Again until it was reprinted in graphic novel form. Up until that point, it was simply known as Daredevil #227-233. In this graphic novel era, there is a stronger push for long-form storytelling. The kind that Marvel Studios draws inspiration from.

We live in an era where the summer crossover events are everything to publishers. Gone are the days where events used to be contained in a small particular run. Now, crossover events are highly-publicized marketing ploys, composed of multiple tie-in stories that culminate in one big comic extravaganza. Sound familiar? That’s because it is in many ways the same thing Marvel Studios is doing with their films.

And thanks to the success of Hollywood comic adaptations, the industry has attained somewhat of a resurgence in publicity. Civil War was one of the first comic stories to gain international notoriety just for the novelty of pitting superheroes against each other. The publicity became so big that even my non-comic book reading relatives heard about it elsewhere. The bigger the story, the bigger the spectacle. Avengers: Infinity War and Avengers: Endgame may not be based on recent stories but the way they were designed in the MCU apes the modern way crossover events are told. Just for their scale alone, it’ll only be a matter of time until we see stories like the latest Secret Wars or Siege happen on-screen.

As for the older stories, they do get their live-action dues here and there. Most if not all ideas plucked from the stories of old are centered around a character’s essence and origin story. By design the Avengers are based on the Ultimates line, however, the first film takes cues from the original Stan Lee and Jack Kirby story where the team is forced to convene to defeat Loki. The beats of Stephen Strange’s journey towards mysticism are from Stan Lee and Steve Ditko’s original ideas. The idea that Scott Lang is a reformed convict trying to make good with his daughter by stealing the Ant-Man suit is straight out of his original appearance in the 70s. Iron Man 2 was originally intended to be an adaptation for the iconic Demon in a Bottle storyline but because of the alcoholism aspect, the concept was vetoed and watered down to Tony battling the intoxication of the arc reactor instead of alcohol. As bad as they are, elements of the Thor films take inspiration from the amazing run by Walt Simonson.

Barring all the problematic stuff that made you go yikes from the olden era, there’s an unmistakable charm to the classics. The Saturday Morning Cartoon style of writing can seem to be dated at times but you can’t help but revere the SMASH!, BOOM!, POW!, EXCELSIOR! sincerity of Stan Lee. The way these stories struck the right thing at the right time and how timeless it got as the world changed. Spider-Man’s themes from the Silver Age still resonate in this day. The redemption stories of Iron Man and Stephen Strange continues to echo in our minds this day.

Of course, a lot of stories from that era had ideas that absolutely insane groundbreaking; no one had seen the likes The Coming of Galactus and Infinity Gauntlet when they were released. The stories defined what original truly meant back then. It’s because of these stories that the modern era has a foundation to build something on. The MCU at its core works because of how ingrained old-fashioned earnestness to the way they write these characters in a modern light. As Coulson puts it, we all could use a little old-fashioned these days.

It’ll be interesting to see how the MCU moves forward with taking modern comic inspiration in the next decade or so. It was announced not too long ago that Kevin Feige was being promoted to Marvel’s Chief Creative Officer, which meant all stories spanning television, comics, and film would have to go through his desk. Feige today has essentially the say to whatever kind of story he wants in the comics for the MCU to draw from. That could either go horribly wrong due to the forced corporate synergy or it could go well if Feige tells the comics division to continue telling bold and ambitious stories independent of what’s happening on screen.

June 11, 2020
Thunderbolts*
Premiere: May 2, 2025

Following a late 2021 rumor that stated that a Thunderbolts project was going ahead at Marvel Studios, a June 2022 trade report not only confirmed the project but also announced a few names charged with bringing it to the big screen. The director’s chair is said to be filled by Jake Schreier with the script being penned by Black Widow writer Eric Pearson.

During Marvel Studios’ Hall H panel at San Diego Comic-Con 2022 it was announced that the Thunderbolts feature film would be the final chapter of the MCU’s Phase 5. However, as the script moved on from Pearson to multiple different writers, the film found itself bounced down the line and, as Marvel Studios reshuffled its entire slate, it’s now on track for a 2025 release.

The team’s full (?) line-up was announced in September 2022 at D23. Julia Louis-Dreyfus returns as Valentina Allegra de Fontaine, with Florence Pugh, David Harbour, Sebastian Stan, Wyatt Russell, Olga Kurylenko, and Hannah John-Kamen also reprising their characters from previous projects. Steven Yeun was cast as Robert Reynolds/Sentry but left the project before its 2024 start of production. In January 2024, Yeun dropped out of the film and was replaced by Lewis Pullman. In late January 2024, Geraldine Viswanathan joined the cast, replacing Ayo Edebiri in a supporting role.

On March 27th, 2024, Florence Pugh posted a behind-the-scenes look at the film to social media and revealed that the film’s title had been changed to Thunderbolts*. At the time, no information was provided about what the added asterisk might mean.

Cast
- Julia Louis-Dreyfus as Valentina Allegra de Fontaine
- Florence Pugh as Yelena Belova / Black Widow
- Lewis Pullman as Roberty Reynolds/Sentry
- Sebastian Stan as James “Bucky” Barnes/Winter Soldier
- David Harbour as Alexei Shostakov / Red Guardian
- Wyatt Russell as John Walker/U.S. Agent
- Hannah John-Kamen as Ava Starr/Ghost
- Olga Kurylenko as Antonia Dreykov/Taskmaster
- Geraldine Viswanathan in an unknown role
June 11, 2020
What I Heard This Week: The ‘UNCHARTED’ Domino Effect

Every now and then I come across some information the veracity of which can be confirmed by a second source. What happens FAR more often is that I come across some information that while believable and from trustworthy sources, cannot be confirmed by other sources for various reasons. For instance, on February 19th, I wrote this piece relaying some rumors I’d heard about Marvel Studios updating its Disney Plus slate; the next day, the news broke that a special Disney Plus event would be held in London on March 5th where it is expected that Marvel Studios and Star Wars slates will be updated. I also shared information about Peyton Reed directing episodes of season 2 of The Mandalorian months before he made it official.

This little nugget was one I found to be very interesting on a lot of levels despite it not being directly related to any of the properties I find interesting.

It has been passed on to me that Sony is currently planning to begin filming on their upcoming video game adaptation, Uncharted, in mid-to-late July. The film was just about to kick off production in Germany when the COVID-19 pandemic shut it down but the studio believes that the current community health situation in Germany provides a safe environment.

This is of interest to me for a few reasons. In late April, during one of the mass shufflings of movie release dates we have seen in response to the pandemic, Sony moved Uncharted from an October 8th, 2021 release date to July 16th, 2021. MCU fans might remember that this was the original date for Sony and Marvel Studios third Spider-Man collaboration, a film that was moved to November 5, 2021, a date originally held for Doctor Strange: In the Multiverse of Madness.

The common denominator here is, of course, Tom Holland. Holland is the lead of both Uncharted and Spider-Man and Sony’s move, in conjunction with Marvel Studios willingness to move the Strange sequel, meant that Holland was always going to film Uncharted before kicking off Spider-Man. However, what is truly interesting to me is that I have also recently heard rumblings about the production of Spider-Man 3 aiming for a late-September.early-October start date. During any other time and taken on their own, these dates would make perfect sense. It’s very common for Marvel Studios to roll cameras on a film 10-14 months before it hits studios, but you can probably see how these two start dates don’t make much sense when taken together.

Thankfully, I heard just a little more on the subject in regards to Sony’s plans. We all know that, for the foreseeable future, movie sets are going to be very different than what they have been in the past. Fewer people, fewer large scale sets and shorter working days. In practice, that would seem like it would mean shoots would take more time, not less, making it all but impossible for Holland to finish Uncharted in time to get to work on Spider-Man 3; however, it seems that Sony is really keen on getting as many productions done as they can while the water is warm, so to speak (most industry folks are expecting more shut downs in the Fall once flu season begins and the second wave of COVID-19 is expected to hit). To that end, the studio is working towards some unconventional means to get Holland’s work on Uncharted done and dusted in time for him to be back stateside to do Spidey. That might mean shooting out of order to complete Holland’s scenes and it might mean starting work on Spidey without the lead on set, but from what I’m hearing, studios are stepping WAY outside of their comfort zones to get things done during these crazy days.

If you follow me on Twitter, you know I’ve been banging the “don’t worry about start dates” drum for a while because right now there’s just no way to be sure when things will start, pause, restart and finish; however, in this instance there were so many connected pieces along with the planning around unconventional work by the studios that I thought it was worth the chance to put it out there knowing a COVID spike could happen in 3 weeks putting everything on hold again and making me look dumber than normal. The best we can do now is wait and see, but it’s good to see studios addressing these issues and trying to make hay while the sun is shining.

June 10, 2020
House of M: How One of the Biggest X-Men Stories May Inspire ‘WANDAVISION’

When Disney Plus launched in 2019, we were treated to a behind the scenes look at Marvel Studios plans for the streaming service in a feature called Expanding the Universe. Given the lack of content available these days, I recently went back and watched it again.

As the feature shifts to WandaVision, there is a brief segment with supervising producer Mary Livanos in which many comic book pages, presumably used for inspiration for the series, can be seen in the background. At the time, I like so many others, was so caught up in seeing the birth of Wanda and Vision’s twins, that I pretty much ignored the rest of the pages. Given the amount of free time I currently have on my hands, I decided to identify the rest and did so to pretty great success, leaving only one of the visible pages unidentified.

As you read, understand that I am moving left to right and up and down with the assumption that there are 6 pages per row. The rows aren’t all in perfect alignment, so you’ll have to adjust as you go. But, with no further ado, here’s what I was able to find.

1. Scarlet Witch (2016) #9, page 18

Why is it here?

Thankfully Murphy’s Multiverse has some great followers and one of them (@wandamaximoofff) was eagle-eyed enough to identify this panel which comes from James Robinson’s solo Scarlet Witch series. In this issue, Pietro visits Wanda and their discussion quickly turns into a major falling out that sees the twins use the full force of their powers on one another. The panel depicted sees Wanda unleash a powerful hex on Pietro and getting the upper hand. Rumors have swirled around Pietro, whose death in Avengers: Age of Ultron was another nudge in the dark direction that Wanda is headed, so it is entirely possible that though Wanda would be very happy to have her brother back to life (could this be why Evan Peters has joined the cast?), it’s possible they don’t see eye to eye once Pietro gets an idea of just what’s happening in this new reality.

2. Vision (2015) #7, page 11

Why is it here?

This was a flashback issue in the great Tom King series. Wanda and Vision are hosting a dinner party and we get to meet their guests. I can tell you that one of the earliest episodes of WandaVision (I think episode 1) will see Wanda hosting a dinner party. I certainly wouldn’t count on them having the same lineup of guests, but you can bet that Kathryn Hahn’s Agatha Harkness/Agnes will be there.

3. Unidentified

Mary’s head is very small, but she seems to put it in the way very effectively.

4. The Vision and The Scarlet Witch (1985), Cover

Why is it here?

This is a classic cover and the issue begins with Doctor Strange visiting Wanda to let her know that she is pregnant and the two having a discussion about Wanda having used her “magick” to make it happen. Later in the issue, Wanda shares the news with Vision who faints in his excitement.

We know that Doctor Strange is set to play a role in WandaVision and that Wanda is set to have a huge role in Doctor Strange: In the Multiverse of Madness, so we might expect more than a scene or two out of the Sorcerer Supreme.

5. The Vision and The Scarlet Witch (1985), page 36

Why is it here?

The birth of Billy, a surprise second baby. When Wanda went into labor, Doctor Strange was back on hand to deliver the baby. To everyone’s surprise, including his and Wanda’s, a second child was born. Billy would eventually become Wiccan, share a surprising trait with his mother and be instrumental in bringing her back from the edge of madness.

6. House of M (2005), page 3

Why is it here?

Following the events of Avengers: Disassembled, Wanda finds herself almost uncontrollably altering reality. Here, she’s revisiting the birth of her children but rewriting it just a bit before being addressed by someone just off screen who has been trying very hard to hold her back.

7. House of M (2005) #7, page 6

Why is it here?

By this point in House of M, Wanda has completely rewritten reality at the behest of her brother, Pietro. Doctor Strange and Wanda talk as a battle rages on outside. This page cements the importance of Strange to her journey and may also hint at Wanda rewriting the reality of the MCU.

8. House of M (2005) #7, page 23

Why is it here?

Simple. The most famous words ever uttered by Wanda. Here, as House of M comes to a climax, Wanda’s descent into madness is sealed as she depowers nearly all the mutants of Earth in what became known as the Decimation.

9. Unidentified

It’s behind her head. You can’t see it!!!! It’s probably the most important one!!!!!

10 and 11. Vision (2015) #7, pages 5 and 6

Why are they here?

Interesting panels from King’s flashback issue of Vision. It shows both the awkward nature of Wanda and Vision’s relationship, but also shows them coming closer throughout the 2 pages. Interestingly enough, pages from this book not shown in the background (maybe because they’re hidden behind Mary), include Vision, at a point further down the road, telling Wanda that things have gone on long enough and that they need to talk about the children because they are not real…that discussion, about the nature of what is or isn’t real, is likely to be a thematic focus of WandaVision.

12. House of M (2005) #1, page 4

Why is it here?

Here’s that guy from earlier that was doing his best to control Wanda: Professor Charles Xavier. It certainly doesn’t seem likely that Wanda will meet Charles here, but this is a powerful page that shows how hurt and desperate Wanda has become.

13. House of M (2005) #7, page 17

Why is it here?

A continuation of the conversation with Doctor Strange, but also an interesting look at both Wanda admitting she’s losing control of her powers to alter reality and the fact that one of her sons (I don’t think it’s every clear which one did it, but we can probably guess) just flat out erases Hawkeye from this reality. I do suspect scenes like these will be a big part of the second half of the series.

14-16. Unidentifiable

Again, these are all behind her.

17. The Vision and The Scarlet Witch (1985), page 28

Why is it here?

The birth of Tommy.

18. House of M (2005) #1, page 5

Why is it here?

It’s Wanda snapping out of her flashback and realizing the damage she did during the events of Avengers: Disassembled. It’s here when Xavier realizes he will be unable to control her any more. That realization leads to an argument about whether or not Wanda should be let to live, which leads to the House of M timeline which leads to the Decimation which leads to the return of the Phoenix Force and so on. The last panel, specifically, could show Charles’ face as he made a decision that impacted Marvel Comics for well over a decade.

You’re on your own here to speculate about what we might actually see in the show, but it is clear that WandaVision will be influenced, at least thematically, by House of M and Vision in addition to 1985 limited series The Vision and The Scarlet Witch. Could the show be the way in which mutants are introduced to the MCU? Will Wanda’s reality altering powers force Doctor Strange or even Hawkeye to confront her? One thing we do know, this is going to be one wild ride.

June 10, 2020
Lessons From Lucasfilm: How Marvel Studios Can Learn From Star Wars

As part of the relaunch of Murphy’s Multiverse we invited several friends, old and new, to write some guest features. This was written by our good friend, Marvel News Desk’s very own Caleb Borchers.

2019 was an important year for Marvel Studios as they finished out their first saga of films in triumphant fashion. One of the facets of their success is that Marvel Studios passed up Lucasfilm as the most financially dominant arm of Disney. While Star Wars films had historically outperformed their Marvel counterparts, Marvel is now clearly ascendant. It may not be a totally apples to apples comparison, but both Marvel and Lucasfilm released the final film of an era of storytelling. One could argue that Rise of Skywalker was actually set up to be an even greater event in that it capped off 35 years of film making across several generations of fans. When the dust settled, however, Avengers: Endgame dominated Rise of Skywalker with far more than two times the international gross.

Despite their general dominance, Marvel Studios still has a few things they could learn from Lucasfilm and their company compatriots in a galaxy far, far away. As fans of both franchises can attest, Star Wars still provides some things to fans that Marvel just hasn’t been able to duplicate. Here are three ways that Marvel Studios could benefit from some of the practices over at Lucasfilm.

(Obviously one could write the opposite article and it might even be longer. First on my list for how Lucasfilm could learn from Marvel Studios would be something like “Hire a director and actually trust that director, keeping them on board until the movie is released!” I don’t mean here to pretend that Lucasfilm has no flaws, just that they do some things really well.)

Make Use of Animation, Particularly on the TV/Streaming Side

Many Star Wars fans feel that the best material to come out of Lucasfilm since the Disney takeover has nothing to do with the Skywalker saga or the big screen. Instead, The Mandalorian and Star Wars: Rebels have been the big homeruns of the era, in addition to positive reception of the latest season of Star Wars: The Clone Wars. While Lucasfilm has struggled to match Marvel in producing multiple successful films a year, Marvel hasn’t even touched the world of animation, with the exception of the upcoming What If…?

Animation for Star Wars has been great in its ability to extend and deepen their universe. Anakin Skywalker was a dud in the prequel trilogy. But fans of Clone Wars are much warmer to the character after he was more fully realized in animation. Almost every planet in the Star Wars universe has multiple stories of lore now between the various animated projects that have returned to settings from the films. Imagine a TV show that could explore what life is like in Wakanda or what the daily cases handled by X-Con Security might look like or what threats the Nova Corps have defended against. Animation allows all this exploration on a minimum budget. The only limits are the imaginations of the animators.

Another advantage of animation is that it allows for connections and cameos that are impractical in live action properties. Just in Rebels alone Star Wars fans saw Leia, R2-D2, C3PO, Lando, Mon Mothma, Obi-Wan, Vader, Maul, and the Emperor operating within the larger universe before A New Hope. Imagine the Marvel connections that could happen within the bounds of animation. Peter Parker and Shuri could meet at a youth science expo. We could get a history of Mar-Vell and the Skrulls with Ego stopping by in the midst of things. Or Red Skull could be in a confrontation with Odin during his attempts to find artifacts in Norway during WWII. Kevin Feige has rightfully been hesitant to force those kinds of interactions into films where they would be a side show. Animation would allow him to make those interactions the focus of what would literally be a side show to the main MCU.

Animation also serves as a lab in which new characters can be added and developed. Lucasfilm is about to cash in on a decade and a half of animation to bring the like of Ahsoka Tano, Bo Katan, and Sabine Wren into The Mandalorian. Casual fans might not know those characters but the loyalists most certainly do. And everyone will know them when they explode onto Disney+’s most popular show. While Feige and crew have done an excellent job blooding new characters in other films (including Vision, Scarlet Witch, Spider-Man, Black Panther, and more) their capacity could open in animation. There would be more screen time if nothing else.

Another advantage for Marvel Studios is that it increases output. Star Wars fans are kept somewhat happy between films because there are more stories happening in the animation world. They’re seeing the biggest stars of their universe on the small screen too. This has ancillary benefits of selling more merchandise. Fandoms generate revenue disproportionately from the most dedicated fans, why not give them something else to enjoy and purchase? (To be fair, comics do serve this function for many MCU fans.)

Now some will argue that Marvel already has an arm to do these kinds of things and that is Marvel TV. Fans of both universes will know that the crossover and continuity of Star Wars television is on a totally different level than the crossovers between Marvel films and TV shows. While ABC’s shows and Netflix’s universe were given lip service by Marvel, it was always a one way relationship. TV shows worked hard to connect over and the films just ignored the TV universe. Certainly one would never hear the voice of Charlie Cox in Endgame the way Rey hears from half a dozen TV only Jedi at the climax of Rise of Skywalker. Also, with the exception of Fury and Sif in Agents of S.H.I.E.L.D. film characters hardly come into TV shows. But in Star Wars characters, ships, locations, etc. move back and forth. Perhaps the most distinct version of this is the TV character Saw Gerrera appearing in a pivotal role in Rogue One. Marvel TV could do this function, but it hasn’t. Maybe that will change with Disney+, but live action Disney+ shows are still not going to provide the flexibility of animation.

One final things animation does is that brings in new, young fans. While Star Wars fans may not love how young Star Wars: Resistance skewed, it still captivated younger viewers. The reality for a company like Disney that has centuries in front of it most likely is that they must always capture new fans from young ages. Enticing kids to watch is a way to guarantee another 60 years of revenue from loyal fans. Marvel Studios is clearly aware of this with their focus on a younger Spider-Man as well as all the rumors about Young Avengers. Animation is another easy on ramp to this audience base.

Designate Some Canon Keepers

Almost every time a documentary crew talks to Lucasfilm about a new project, those interviewed includes someone from the Lucasfilm Story Group. This group functions as the official keepers of canon. They appear to have detailed records on every character in their universe, all the appearances of those characters, and important dates involved with characters. They keep up similarly with locations and ships and much more. As such, anytime a filmmaker is interested in doing something there is a definite authority to determine if the decisions will break the canon of the universe.

Kevin Feige and crew need such a group and they need it badly. Some talk has occurred suggesting some of this work happens. Feige has alluded to an official timeline that is kept somewhere at Marvel Films HQ. But none of it is as official as the Lucasfilm Story Group. This has become painfully clear a time or two, with the date cards of Spider-Man: Homecoming being a perfect example. While the concerns are relatively pedantic, it is even more short sighted to not keep up with these things. The beauty of the MCU, even as opposed to the comics, is a relatively cohesive story with a real sense of the passage of time and character development. A group like this could help in so many ways.

Not only would the existence of such a group help Marvel Studios, but they should also publicize who is on the canon committee and make them household names. We should all know someone as “the continuity guy” and Marvel. The opportunities at conventions would be fun. Come to a panel and ask your obnoxious continuity concern and get an official answer. Also, how much time would it save for Feige when on a press tour to deflect the “gotcha” questions by simply saying, “That’s a great question for our continuity guy, you should interview him.”

Stronger controls on continuity and canon would allow Marvel execs to be off the hook, would tighten up the universe for fans, and would just add an overall level of polish to a universe that’s already fairly cohesive. My last suggestion piggybacks off this idea and might not be popular.

Swing the Continuity Axe

Many fans were incensed when Disney bought up Lucasfilm and immediately canned what is known as the “extended universe” canon. This was an attempt to streamline plans for new content. With all the novels and comics about Star Wars post-Return of the Jedi off the table, J.J. Abrams had much more freedom to tell a new and different story about the universe post-Luke, Leia, and Han. It was a bold move but one that greatly simplified a very messy mass of story.

Marvel Studios needs to do the same thing with the so-called “canon” of the Marvel TV shows. While the original idea was ambitious, it never truly worked. Early on there were great moments, like the Hydra overthrow of S.H.I.E.L.D. which occurred simultaneously on Agents of S.H.I.E.L.D. and in Captain America: The Winter Soldier. But the positive fan experience of that moment seemed to be a detrimental experience to the creatives behind the products. S.H.I.E.L.D. felt mis-paced for much of its first season but we now know that is because the show was merely treading water until the big crossover reveal. The second season’s helicarrier crossover idea with Age of Ultron is still awkward to this day.

The Netflix shows didn’t fare much better. Despite the Sokovia Accords rocking the superhero world to its core in films, Jessica Jones and Luke Cage are out and about in the streets showing off their powers with no concern about the police arresting them for their power usage. Fans have bent over backwards to try to explain the inconsistency away. Maybe it was about the geography or power level of the characters. Maybe you could squeeze the time frames so all the shows happened pre-Ultron. While one can understand the efforts lovers of these shows went into keeping them in canon, it is hard not to see that the producers of the shows (and definitely the producers of the films) just didn’t care as much.

The most egregious example would be the utter nonsense surrounding Thanos, the snap, and Agents of S.H.I.E.L.D. The season 5 finale is clearly placed during the invasion of Wakanda and season 6 is clearly in a non-snapped world. This says nothing of the fact that the time travel rules of Endgame and Agents of S.H.I.E.L.D. are in almost complete disagreement. As S.H.I.E.L.D. continued the continuity just frayed to the point of no longer being salvageable.

Dropping the shows from continuity also allows some characters who were poorly done on TV to be reclaimed in the films. The Inhumans are too important to the history of Marvel to allow the utterly disastrous ABC show to be considered the MCU version of Black Bolt and Medusa. Iron Fist fans also deserve a better version of their favorite hero. This isn’t true for every version of every TV character, but Marvel Studios can choose to rehire actors who did work like Charlie Cox, Vincent D’onofrio, or Olivia Holt.

If Marvel Studios would adopt these three practices from Lucasfilm it would improve the already strong MCU. More characters, depth, and breadth would be available to the universe. That increased potential would be kept within logical canon guidelines. And the TV shows which just do not fit into the larger narrative of the show would be freed from those expectations to be enjoyed for what they are.

June 9, 2020
A ‘Black Widow’ Actor May Have Made the Jump to ‘Shang-Chi’

I came across something kind of interesting during a recent check of IMDb for Shang-Chi and the Legend of the Ten Rings. One of the Widows in the upcoming Black Widow film is listed as a stunt performer on Shang-Chi as well!

Jade Xu and the other Widows in the Black Widow trailer.

A quick double check of Jade Xu’s Instagram confirms that she was indeed in Sydney Australia for a new Marvel adventure there beginning March 1st until at least March 8. Good enough to confirm for me that the listing can be trusted.

Could it be one of the Widows survives the events of Black Widow and appears in Shang-Chi and the Legend of the Ten Rings? Or is she simply doing some miscellaneous stunts? Her height and build, I believe, would make her a good candidate to double Awkwafina’s character, widely rumored to be Shang-Chi’s sister Fah Lo Suee, so this is another strong possibility.

The reason I’m really excited by this stunt performer being listed for these projects is the very high level of skill she possesses. We are certain to get some great fighting sequences with a stunt actress like this involved!

Jade Xu, per her IMDb listing, is a 3 time Wushu/Kung Fu World Champion and began her martial arts training at 6 years old. You can find examples of her athleticism and grace on her Instagram, YouTube channel, and website jadexu.com

Jade Xu

June 9, 2020