Black Panther: Wakanda Forever is set to introduce one of Marvel Comics’ oldest characters into the MCU, but with a unique twist. The sequel will see Namor, known in the comics as the Sub-Mariner, come into conflict with the nation of Wakanda. However, instead of being the ruler of Atlantis, this iteration of Namor rules an underwater nation known as Talokan.
Namor has long kept his nation secret but the events of Wakanda Forever threaten that secrecy, bringing the winged-footed mutant to the shores of Wakanda. He’s already been seen flying in the trailers and showcasing some pretty impressive resiliency, but from what director Ryan Coogler says, audiences haven’t seen it all just yet.
[There’s] no equal in terms of his capabilities, being able to breathe underwater and breathe at high altitudes and walk around on land. He’s incredibly strong, he’s as strong as Thor, and if he’s around enough water he can be as strong as the Hulk.
Ryan Coogler
Despite all the changes to the character and the creation of a new underwater nation, Coogler’s comments do seem to highlight one of Namor’s classic weaknesses from the old comics: his need to return to the water to regain his strength. If he’s away from the water for too long, not only would Namor be weak, it could be fatal. This is a flaw that was exposed by some of Marvel Comics heroes and villains in the past, so it’s possible that it may come into play in the film, which releases in theaters on November 11th.
Welcome to another edition of Murphy’s Multverse’s Sunday Paper. With endless news and content coming to you throughout the week, the Sunday Paper is here for anyone who wants an overview of what happened in the past week. Whether you missed it all, or just want to catch up, this is the article for you. Remember to follow us on Twitter, subscribe to our YouTube channel, and check out our website to stay up to date. Check out last week’s Sunday Paper here.
Perhaps some of the week’s biggest news comes from two upcoming Marvel Studios Disney+ series. Despite having no release date, Wonder Man has made headlines due to some major casting announcements. For starters, Yahya Abdul-Mateen II is in talks to star in the titular role. He is well-known for his roles DC’s Black Manta in the Aquaman films has also starred in HBO’s Watchmen, The Trial of the Chicago 7, Nia DaCosta‘s Candyman, and The Matrix Resurrections where he played Morpheus. Not only that, but Better Call Saul’sBob Odenkirkis also reportedly being eyed for a role in the series, and we have a theory as to who he could play.
Welcome to the first edition of the Murphy’s Multiverse Sunday Paper, where the biggest news of the past week is brought to you all in one place. Sit back, relax, and catch up before you have to deal with whatever the upcoming week has to offer. This past week had some pretty big news across the board, so let’s break it down by subject.
Marvel Studios
The Marvel Cinematic Universe had an active news week with multiple trailer drops and marketing for Black Panther: Wakanda Forever in full swing. First, plenty of new footage and promos for Wakanda Forever have been released (check some out here and here), and critic reactions came out after press premieres this week (check out MM’s Hunter Radesi’s reaction here.) While the film does not hit theaters for another couple of weeks, you can listen to Rihanna’s first song in six years made for the film.
Marvel Studios
The first teaser trailer for Ant-Man and the Wasp: Quantumania also dropped this week, and William Jackson Harper has joined the cast. (Read more here). Marvel also released the film’s official synopsis:
“In the film, which officially kicks off phase 5 of the Marvel Cinematic Universe, Super-Hero partners Scott Lang (Paul Rudd) and Hope Van Dyne (Evangeline Lilly) return to continue their adventures as Ant-Man and the Wasp. Together, with Hope’s parents Hank Pym (Michael Douglas) and Janet Van Dyne (Michelle Pfeiffer), the family finds themselves exploring the Quantum Realm, interacting with strange new creatures and embarking on an adventure that will push them beyond the limits of what they thought was possible. Jonathan Majors joins the adventure as Kang. Director Peyton Reed returns to direct the film; Kevin Feige and Stephen Broussard produce.”
Marvel Studios
That didn’t stop Marvel Studios from releasing a trailer for the Guardians of the Galaxy Holiday Special, set to hit Disney+ on November 25, 2022. It looks like Kevin Bacon will appear as himself, Cosmo the Space Dog will make her first appearance since the original Guardians of the Galaxy, and Michael Rooker will even likely make an appearance of some sort.
Marvel Studios
It was also confirmed this week that Marvel Studios is developing a WandaVision spinoff titled Vision Quest, in which we will follow Vision on his path to regaining his memories and humanity, and it’s possible the Scarlet Witch makes an appearance. (Read more here.) Speaking of WandaVision spinoffs, Agatha: Coven of Chaos has a bit of news of its own. WandaVision staff writer Megan McDonnell is among the team of writers working on the upcoming Disney+ streaming series Agatha: Coven of Chaos, (read more here) and a recent rumor suggests that the series may be adapting the Scarlet Witch-related Children’s Crusade comic book arc. (Read more here.)
We’ve also gotten a better look at Ironheart this week as set photos offer a look at Anthony Ramos’ villain the Hood (see it here), and a wrap gift teases Ironheart’s new armor’s faceplate (see it here). After not appearing in the Thunderboltspromotion at D23, Baron Zemo actor Daniel Brühl teased the return of his character (read more here), and Charlize Theron also teased Clea’s return to the MCU. (Read more here). Speaking of teases, Hugh Jackman discussed his return as Wolverine and a likely title change for Deadpool 3. (Read more here.)
Lastly, there are a few more rumors making the rounds. Blade may have found its new director in Elegance Bratton, a relatively new director. (Read more here.) Believe it or not (it is a rumor after all), Dr. Doom may not be the main villain of the upcoming Fantastic Four film (read it here), and an official Disney site listed Emilia Clarke’s character in Secret Invasion as Abigail Brand, though the Skrull possibilities are endless. (Read more here.)
Star Wars
If a new rumor proves true, Ezra Bridger, the beloved protagonist of Disney XD’s animated Star Wars: Rebels, may receive a solo live-action series after the character’s appearance in the upcoming Disney+ series Ashoka. It is unclear clear if the rumored solo series, led by actor Eman Esfandi will be a direct sequel to Rebels or not. (Read more here.)
Oscar Award-winning director Sharmeen Obaid-Chinoy, who recently directed a couple of episodes of Ms. Marvel, has been chosen to direct what’s being described as a “secret” Star Wars film based on a script from Damon Lindelof and an as yet unnamed co-writer. Though the film is still in the early stages of development, the report indicates that it has gained steam at Lucasfilm and is among its top priorities on its theatrical slate (Read more here.) The Star Wars film is also apparently set to take place after the events of 2019’s Star Wars: The Rise of Skywalker, and could possibly bring back some of the sequel trilogy’s characters. (Read more here.)
Last but not least, a teaser trailer for Tales of the Jedi dropped. (Watch it here.)
DC
While Black Adam flew through its first full week in theaters with strong box office numbers, DC has a much bigger week in the news than anyone would have predicted. Of course, the Superman cameo in the film was turning heads before it was even released. However, Henry Cavill himself on Monday took to social media to confirm his return as Superman. He posted a video for his fans along with the caption, “A very small taste of what’s to come, my friends. The dawn of hope renewed. Thank you for your patience, it will be rewarded. #Superman.” (Read more and check out his full Instagram post here).
In fact, this week seemed to signal a new era for DC Entertainment on an even bigger scale, as it looks like Warner Bros. has finally found its Kevin Feige(s). In a surprising announcement, James Gunn and Peter Safran have been tapped to lead the DC’s future film, TV, and animation slates. They will act as co-chairs and co-CEOs of DC Studios, which was recently led by Walter Hamada under the title of DC Films. (Read more here.)
DC also left bits and pieces of news floating around throughout the week, though perhaps less exciting than the big hitters above. Joker: Folie à Deux, the sequel to 2019’s Joker, is reportedly set to start production soon. According to cinematographer Lawrence Sher, the film will begin filming “in five- or six-weeks’ time.” Additionally, the film will “largely be shot in sound stages in Los Angeles, as well as on location in New York, where the project is set.” (Read more here.) On the other hand, The Batman 2 won’t be headed to theaters until 2025 at the earliest. (Read more here.) However, it looks like the film will not be associated with the new DC Studios, and it is unclear if The Batman franchise will be either. (Read more here.) In other words, DC’s universe will still remain, to some extent, in its oddly organized, splintered form we all know and love.
Speaking of the Wild West of DC, there is more. The Batman universe untitled Arkham Asylum spin-off series is finally moving forward. Variety has shared that the creator of The Staircase, Antonio Campos, has joined the production as its showrunner. (Read more here.) Set photos from the filming of The Flash’s ninth and final season have seemingly confirmed that actress Javicia Leslie—who previously played an original character on Batwoman–will return to The CW as the multiversal villain Red Death, (read more here), and actor Elijah Rashad is set to join Doom Patrol’s fourth season. (Read more here.)
HBO Max is looking to redevelop its previously announced Green Lantern series. The show, which hailed from producer Greg Berlanti and writer Seth Grahame-Smith, was originally set to star Finn Wittrock (Ratched) and Jeremy Irvine (War Horse) as the respective Green Lanterns. Reportedly, the new series will instead turn the focus over to John Stewart, one of DC’s first black superheroes. (Read more here.)
In Other News
Some other news worth noting—Henry Cavill is departing The Witcher, with Liam Hemsworth to take on the role. (Read more here.) Andy Serkis apparently will not be back to direct Venom 3 and writer Kelly Marcel will helm the film instead. (Read more here.) Avatar: The Way of the Water might have a whopping 3 hours and 10 minutes run time, and House of the Dragon showrunner Ryan Condol discussed the season finale and about the direction the series will take in the future. (Read more here.)
With the continued expansion of the Marvel Cinematic Universe and DC properties, more and more superhero movie and television content is being pumped into screens almost non-stop. New genres and formats are being explored and countless characters are being brought into live-action. So, we should be at the peak of the age of superhero movies, right? Unfortunately, it seems we have sailed right on through the Golden Age of Superhero Movies that took place in the 2010s.
This feature could not function without describing the massive and crucial impact that Marvel Studios and the MCU had on the superhero genre. However, other films began paving a path before 2008’s Iron Man. DC had been producing films, particularly based on Batman and Superman properties, for decades that had a clear cultural impact. Marvel, through Sony or Fox, had major hits like the Spider-Man and X-Men franchises. While the superhero movie genre had been present for some time, the MCU was the undeniable spark that caused the concept of the superhero movie to explode.
While Iron Man was the first of now many films in what became the MCU, the whole franchise did not pick up an insane amount of steam for several years. The early Phase One movies were—overall—OK. They existed as origin stories, but the superhero origin story had already been done nearly 3,333 times before. Everything changed when Avengers was released in 2012.
The crossover aspect is undeniably one of the key (if not the key) components that changed the way audiences engaged with the genre. While other superhero movies still trickled out around this time, no other franchise was combining four other franchises into one mega-franchise. The MCU was surely not the first to invoke the crossover strategy, but it certainly was the first to employ it on such a large scale. And luckily, Avengers was a smash hit and will remain one of the most culturally significant films of the early 21st century. Movies stopped becoming just movies—they were entire events and spectacles that transcended just a single film. At this point, “franchise” became the business term while “universe” because the one fans experienced.
The Infinity Saga experience, frankly, cannot be surpassed. The post-Avengers excitement leading the Avengers: Endgame was the definitive Golden Age of Superhero Movies. During this time, millions and millions of fans waited feverishly for the one or two movies the MCU dropped each year. Easter eggs and cameos felt like invaluable treasures as people started to stitch together this rich, magical fictional universe that entertained them like no other. The promise of some ultimate “finale” to the saga being lived through buoyed even some of the weaker installments. And, boy, was that finale spectacular.
At this point, there is no reason to overanalyze Avengers: Infinity Waror Endgame anymore. Regardless of contemporary or retrospective reviews or criticisms, virtually everyone who was a fan during that time can tell you those films were the hype of all hype. The iconic moments from those films we still conjure up frequently were the fruition of 11 years of storytelling, and every bit of the event was stylized as the definitive and ultimate moment of the unprecedented sensation that was the MCU.
Of course, the MCU did not stop. In fact, it is producing content at a rate that would even a 2018 fan would never believe. More characters that comic book fans never thought would ever make it to live-action are now here, living amongst the universe we feel we grew up or grew old in. There is something to be said, though, about the onslaught of content. The ever-warned-of “superhero fatigue” that some spoke of a decade ago may actually be creeping in. With often little to no chance to take a breath between MCU projects, each one has the potential to feel less and less special. The anticipation for the next project has weaned. Now, it is difficult to take in the entire MCU given how many hours of content exist. A casual fan may very well be overwhelmed, and new fans may have no idea how to actually get involved. Old fans may have had to abandon their annual MCU rewatch.
But Phase Four—and beyond—content has also produced some phenomenal projects. Many would agree that Spider-Man: No Way Home, Werewolf By Night, and She-Hulk are all gifts in their respective formats. But even with quality new projects, the expectations are clearly higher than they once were. Part of it is the high of Infinity Saga that so many keep chasing. However, the toxic online culture surrounding film discourse—particularly in the comic book genre—has felt out of hand since Phase Four began. Surely the Golden Age would not include thousands of people trash-talking every frame of a film, leading robust campaigns centered around hating women, and whining, complaining, and arguing about rumored post-credits scenes for much more important films that have not been released yet.
And while the MCU can now tell bigger and more fantastic stories with an increasing range of characters, it is almost inevitable that the overarching plot will be Marvel Studios’ answer to: “How do we go bigger and better than Endgame?” The infinite possibilities, cameos, and combinations of Avengers: Secret Wars will almost certainly be a proper answer to that question and the payoff will almost certainly be astronomical. But it will not be able to live up to the Infinity Saga finale. While the story is presumably unique and the cheer-worthy moments will be plenty, at the end of the day the MCU has already taken us through that journey. The build-up and surprises are expected, and the energy will never match that of 2018 and 2019.
This article focuses on the MCU for obvious reasons, but DC and the DCEU shot their own shots, though it was generally fumbled. So far in the post-Endgame time period, we have seen a DC that is fractured, confused, disorganized, chaotic, repetitive, and often mediocre. There are no doubt some standouts, including The Suicide Squad, Joker, and The Batman. But the fact that they remain as separate isolated incidents keep the DC Universe from thriving in the way that it could. Black Adam’s insistence that this is all set to change is empty until it happens. To be fair, the recent news that James Gunn and Peter Safran will lead a new “DC Studios” is something to keep an eye on. But either way, DC really missed the Golden Age boat at this point, unless they can turn it around and do something extraordinarily special.
Of all the obscure comic book characters introduced over the 9-episode run of She-Hulk:Attorney At Law, it was an original character developed for the show that captured the hearts of fans. Patty Guggenheim’s Madisynn was undoubtedly the surprise star of her time on the show. Her “bestie” relationship with Earth’s Sorcerer Supreme, Wong, played by MCU vet Benedict Wong, played out wonderfully throughout Episode 4, “Is This Not Real Magic”, and continued on into a hilarious post-credit scene. As it turns out, while She-Hulk featured several scripted post-credit scenes, Madisynn’s “Wongers” scene wasn’t one of them.
According to director Kat Coiro, the idea for the scene developed as the crew delighted in the on-set chemistry between Wong and Guggenheim.
You know, when Wong and Madisynn have their little moment, that was not scripted but they had such incredible comedic chemistry that, at the end of the day, I had them sit on the couch, and threw a couple cameras on them and said, ‘Go. Go forth and make comedy.’ And they sure did. So, part of what was amazing about this process was the collaboration and really leaning into the strengths of our actors. And part of the secret of comedy is letting people get loose, and have fun, and play around. And so, whenever we had the opportunity to do that we would.
Kat Coiro
It’s great to see that the creative team of She-Hulk was able to recognize the comedic gold they had on their hands in Madisynn. Noboy’s asking for a Mr. Immortal spinoff, but MCU fans are definitely wondering when they might see Madisynn again!
The season finale was all about fourth wall breaking by doubling down on the few times Jen did just that in the previous episodes. She now literally breaks the fourth wall by breaking out of Disney+, going into the real Marvel Studios HQ all while demanding script changes from K.E.V.I.N., an in-joke for the Marvel Studios head Kevin Feige.
Marvel Studios’ She-Hulk: Attorney at Law Episode 9
Marvel Studios’ She-Hulk: Attorney at Law Episode 9
This, the breaking out not just to connect with the viewer/reader but going a step beyond and conversing with the creator itself, questioning his decisions and proposing something more to her liking, is fairly similar to what happened in the John Byrne’sThe Sensational She-Hulk #37. Here, Jen, after getting into a dispute with the Living Eraser, mishandles his Dimensionizers and erases herself blaming Byrne for such a poor decision.
The Sensational She-Hulk #37 (1992)
This serves as a prime example of the kind of impact that Byrne had on the character since, at the time Stan Lee wrote her first issue, 1980’s The Savage She-Hulk #1, her ability to step out of the comics wasn’t yet a thing. It wasn’t until Byrne’s iconic 1989 run that she truly became one of the most distinct Marvel characters by gaining such power. But instead of just breaking the fourth wall, Byrne’s She-Hulk made use of it. She tore pages apart so she could skip ahead to the villain more quickly and when things weren’t going her way she would request to basically skip over a fight she knew she would lose. She would even try to convince Byrne and the Marvel editors to change her looks whenever she felt her hair looked bad. The Sensational She-Hulk really made a tremendous contribution to both establishing a comic paradigm shift and dismantling comic book physics.
And the same can be said regarding the Marvel Cinematic Universe. Even if K.E.V.I.N. identified the programming error that allowed Jan to step out of the show into the real world, making sure to say to her that this was the last time she would be able to do that, there is no denying that the level of self-awareness the character may yet instill into the MCU is substantial. That is, if the other characters actually believe her on that, something that both She-Hulk: Attorney at Law and the comics hint at, as these panels from The Incredible Hulk #412 can attest to.
The Incredible Hulk #412 (1993)
If Marvel Studios ever decides to introduce a character that is also in on the gag, much as Marvel Comics did with her boyfriend Wyatt Wingfoot and the Blonde Phantom that decided to make a comeback as a She-Hulk sidekick while breaking the fourth wall herself, in The Sensational She-Hulk #4, there are surely a number of possible contenders. Even if this may somehow make Jen’s powers feel less unique, in the context of the MCU it is a concept that will surely thrive. With the upcoming Avengers: Secret Wars, why not introduce the idea of a universe where every single Marvel character grew bitter and disgruntled by knowing their free will, their freedom to do otherwise, and the power of self-determination was in the hands of a random writers’ room on Marvel Studios HQ?
The Sensational She-Hulk #4 (1989)
She-Hulk: Attorney at Law is now streaming, in its entirety, only on Disney+.
The big fourth wall break in the middle of the She-Hulk: Attorney at Law finale may be the most memorable part of the episode, but the very beginning was also iconic. The opening was a stellar homage to the opening credits of The Incredible Hulk television series starring Bill Bixby and Lou Ferrigno that aired on network television in the late 1970s and early 1980s. It was not too off-the-wall that the self-aware show would reference the classic Marvel show, but head writer Jessica Gao recently opened up about the somewhat surprising way it came about. Speaking to Comicbook.com, Gao said:
One day, out of the clear blue — this was post-lockdown, so everyone’s just working from home — my fiance, Truck Torrence, just walks into the room that I’m in working. And just announces, ‘I think you should do an opening that’s like an homage to the 1970s Incredible Hulk. That is all.’ And then he just walked out of the room. And I thought, ‘That’s a great idea,’ and then it just snowballed from there.
Jessica Gao
The idea luckily worked in practice at the end of the day. Even if some younger viewers did not immediately make the connection, most did and the aesthetic was absolutely on point. Gao continued:
And I am so tickled that we actually got to do it…[i]t looks fantastic. Our second unit director, who is also our stunt coordinator, Monique Ganderton, directed that. And you could tell that Tatiana and Mark had so much fun in those ’70s clothes. In the scripts I wrote ‘Ruffalo is in a Bill Bixby wig.’ But what was great is Mark naturally has this beautiful curly hair, so we didn’t need to put a wig on him. Like his hair naturally could support that wonderful ’70s volume.
Jessica Gao
She-Hulk: Attorney at Law is now streaming on Disney+.
Considering She-Hulk brought back major references to 2008’s maligned and often ignored The Incredible Hulk, many thought that additional characters from that movie might make an appearance. Specifically, some theorized that Tim Blake Nelson’s Samuel Sterns, who was last seen beginning his transformation into the supervillain known as The Leader, would be the overarching or background villain of the series, especially after he was announced to be returning in Captain America: New World Order.
While The Leader was nowhere to be found in She-Hulk, head writer Jessica Gao says he was in her original pitch for the series. Speaking to Comicbook.com, Gao stated:
In my original pitch, I did have The Leader in there. Just as an option, as a suggestion, you know?…[b]ut really, I can’t remember why [it was taken out]. I don’t remember if it was organically taken out, because we just came up with other stuff, or if we were told no. I honestly don’t remember. But there was thought about either bringing him back or doing some version of a new version of Leader, or some relation to him. But, I mean truly, this was three years ago, and the show has evolved so much that I don’t remember what actually happened.
Jessica Gao
Now having seen the full She-Hulk series, The Leader’s absence did not weighing heavily on the character or story. Still, Gao’s comments add fuel to the growing theory flames that Marvel Studios is plotting a grand and expansive Hulk-related plotline in the future.
She-Hulk: Attorney at Law is now streaming on Disney+.
Production on the highly anticipated Mahershala Ali-led Blade movie is currently shut down after losing director Bassim Tariq. After Tariq’s departure, it was revealed that Beau DeMayo had agreed to rewrite the script. With the hiring of DeMayo, it was expected that Marvel Studios would quickly fill the director position, but instead, the studio has slowed down to “deepen the search” for a new director, while also taking time to further strengthen the film.
On Comicbook.com’s Phase Zero podcast, Giacchino addressed whether he could take the reins on Blade. Unfortunately for fans, it looks like the list of potential directors does not include the Werewolf By Night director. Giacchino expressed that Blade would conflict with some of his other projects in the works timing-wise:
“I mean, look, I love Blade. I think that’s an amazing, amazing character. It’s one of my favorites. But I feel like that thing is already in motion in a way that is like, and I’m in motion on other things as well, and there’s just– It’s a whole… you know. It’s just, timing-wise, it’s a little crazy. So I feel like, you know… I want that to be a great movie. I want that to be an awesome movie, because that character deserves it in a huge way. But yeah, right now, I mean, no.”
We have come to an end of yet another Marvel Cinematic Universe series, but this finale stands on its own. Since WandaVision, MCU series have been rather well known for either botching or just not following through with outstanding finales. How anyone feels about the She-Hulk: Attorney at Law finale is less straightforward than usual. While the word “unique” has been thrown around a lot in Phase Four, there is no other way to start the discussion.
Even though it did not take up the entire runtime, the massive fourth wall break in the finale has to be an instantly iconic moment in the MCU. To not only take the audience out of “the show” but to spend time with the titular character in Marvel Studios’ headquarters is beyond bonkers. Of course, the jarring transition from the regular program to She-Hulk breaking out of the Disney+ screen is incredible, and it lives up to the comic book version of her doing the same decades ago. The core potential of the character is released in the finale, and there are very few moments in the MCU that can genuinely say the same.
The humor stemming from the fourth wall break is not only laugh-out-loud funny, but it is peak She-Hulk. Throughout the season, the show makes jabs at tropes and the incessant presence of the internet’s yelling in every single moment of the contemporary MCU. Anyone on Twitter is familiar with this, and anyone with a brain knew that She-Hulk would provoke perhaps the most attention in that regard. Instead of winking at the audience about it, the artificial intelligence replacement for Kevin Feige (a joke worthy of its own review maybe) addresses it head-on. The MCU has an internet relations struggle. She-Hulk is a strong, confident woman. The two combined were meant to be together, but the way the finale actually embraces it is almost too good to be true.
The fourth wall break, without a doubt, is the finale. It may even beShe-Hulk. Still, that does not mean the finale as a whole deserves top marks. It is somewhat hard to separate the fourth wall break from anything else, both because of the inherent difficulty of that and because they addressed very different things. The break speaks to the essence and the heart of She-Hulk, and what better place to do that than in the finale? But the rest of the story is quite limited because of it.
Yes, it brings home the point that this is She-Hulk’s show, but it also made it clear that She-Hulk’s story—at least in Season One—did not do much more than what we already saw before this episode. That is not inherently bad, especially considering the show really wants to call itself a legal comedy. Plus, fans should have learned their lesson after WandaVision to not expect series finales to become the crossover, universe-shattering moments of their dreams. To that, She-Hulk said: here is Skaar. But plenty of plotlines arguably deserved more time and attention, and a longer version of how Jen cleared her name would have been very welcome. That in particular is the biggest loss of the finale’s choice, but at the end of the day, the fourth wall break is always the preferred option.
She-Hulk made waves as an MCU series. As one of the few MCU projects to feature a woman in the title role, it went beyond just basic representational work on that front. Women’s real experiences were either mentioned or actually discussed, and the first project the MCU felt comfortable throwing sex in was a project where a woman led that concept on-screen. But the series will also go down as the funniest Marvel Studios project to date and in many ways one of the most grounded in reality (which is ironic in plenty of ways). Jen was an actual, believable human, and the series made that the basis of everything, even the crazier elements. She-Hulk, arguably, was what many internet fans wanted Doctor Strange in the Multiverse of Cameos to be, and yet this was just the first season of a solo series. At the end of the day, there is not much else to say except: She-Hulk smashed.
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