Tag: TV Features

  • ‘Agatha: Coven of Chaos’ May Retroactively Revive ‘WandaVision’ Fan Theories

    ‘Agatha: Coven of Chaos’ May Retroactively Revive ‘WandaVision’ Fan Theories

    WandaVision may have been one of the most theorized projects in the Marvel Cinematic Universe. Not only was it Marvel Studios’ first venture into Disney+ and long-form storytelling, but its bizarre premise left many wondering what exactly are they building up to. While we now know that we’re definitely in the Multiverse Saga, the introduction of Evan Peters as a fake Quicksilver in the MCU left some fans a bit frustrated; ignoring the reactions to the meta Bohner joke for long-time sitcom fans. Yet, the recent development on the first spinoff series, Agatha: Coven of Chaos, could be the spark to revive some old theories once again.

    Keep in mind, we still know very little about what exactly the Kathryn Hahn-led Disney+ show has planned, but some of its castings are quite promising. The original title of the series was House of Harkness and hinted at further exploring her family tree. Yet, the project was suddenly renamed to Coven of Chaos, which opens up the possibility of jumping deeper into the supernatural world that Agatha Harkness resides. We assumed that the show might move away from Westview, the setting of WandaVision, but more and more castings hint that the place may remain important.

    The recent announcement that Debra Jo Rupp, who is currently set to appear in the Netflix revival series That 90’s Show, will join the cast of the spinoff. In WandaVision, she played Ms. Hart, someone who was trapped as part of Wanda’s hex over Westview. Yet, her return opens up a lot of questions on why exactly she’d have a role again. She could appear in the story as a minor background character but why spend more time in Westview? Or, could she have a role in a different part of the story after all?

    One of the most popular theories early on was that Emma Caulfield‘s Dottie was a witch just like Agatha. We knew that she was going to turn out to be the antagonist of the show, which led to us theorizing there must be more going on. Yet, Dottie never was connected with any story and simply ended up as a victim. The actress was one of the first returning actresses cast for the project. With Debra Jo Rupp‘s return as well, it almost feels like Agatha may have had a contingency plan after all.

    When we last saw her, Wanda hexed her into a role that she was playing throughout the Disney+ series. Yet, she won’t likely be able to break free from her reality-altering powers so easily. Theoretically, she might be freed the moment Wanda is taken out during the event of Doctor Strange in the Multiverse of Madness, or she has some help. It would be fun to find out in retrospect that Caufield and Rupp’s characters were part of the ruse this entire time. It not only adds depth to the events but also retroactively confirms many theories.

    We still have no news if Evan Peters might also return to the Marvel Cinematic Universe as Ralph Bohner, but there’s a lot of potentials to explore his character more. He was rumored to be the person that Randall Park‘s Agent Woo references in the film being part of a witness protection program. Perhaps he was her Plan B and the reason that she stayed at his house, or he may even be further connected to the multiverse than we at first assumed. With new Mephisto rumors also circulating online, who knows just how many theories from WandaVision may make a return, or could even finally be confirmed once Agatha: Coven of Chaos releases on Disney+.

  • The Last of Us: Apocalypse 101 – Rule #49, Learn Not To Feel

    The Last of Us: Apocalypse 101 – Rule #49, Learn Not To Feel

    PREVIOUS ENTRIES:

    Rule #1, Cities Are Bad

    Rules #13-17, When You Kill Them Make Sure They’re Dead

    Rule #27, Only Carry What You Need (And Weapons!)

    May 18, 2026

    -Iggy Bigby

    Y’know, I once wrote a story about a little girl. She dreamed up a magical universe, as an escape.

    Her reality was abusive. She needed somewhere to go, but she didn’t have the power to leave on her own. So she used her imagination. She created someplace special, just for her. A place to be happy. A place to be free. The story was occasionally charming, sure, but it was dark. And the ending was crushing.

    The little girl, despite all her best efforts, succumbed to the pain of her reality and died in search of her wonders. It probably hurt more to write it than it did to read it. I even attempted to give the story a happier ending, to appease my future audience, but I couldn’t do it. What I had already written felt right, and anything else would just rob it of its weight. It would take away its truth.

    I was afraid my friends and family would question my mental health if they read it, so I never shared it with anyone. Looking back on it now, I realize I didn’t want to share the story because what I put on paper scared me just as much as I thought it might scare others. It had become my own personal scripture, with a demon on each page.

    It’s lost forever now, likely rotting in the rubble of a house I grew up in. But it still rattles around my brain from time to time. I’m 35 years old now, and it’s rattling again. Only this time it’s different. This time, I’m not scared of it. I have a new perspective, and I understand what the story really means – It was an outlet. A way for me to express what I knew about the world without confronting it directly. I couldn’t find a happy ending because I couldn’t see my own.

    I never cried over losing my family. My old family, the one I had before all this. I know that sounds terrible. It’s not like I didn’t want to cry, it just never came. I couldn’t force it out. It’s strange, I’ve always been someone with big emotions. But whenever something really bad happened, something unspeakable, I would just buckle down and choose not to feel it. A defense mechanism, like if I processed it I might explode.

    I’m a survivor. That’s how I’ve made it this far. Dropping to my knees and crying wasn’t going to help. Head down, move forward. On to the next.

    But then the next was Alex. And after that, our little Sweet Pea.

    I made a mistake. I started feeling again. I felt so much. For years, I didn’t think about that little girl or that horrible story. In a world that wanted so desperately to prove me right, I just thought about my loves. My new family. I could see my own happy ending.

    We had to leave Buffalo. The snow was too much in the winters, and the buildings couldn’t handle the banks piling up all over. We barely made it to spring a few years ago, so our family moved south. Outside the city, somewhere in hickland, we found a stable of horses. The folks inside the house nearby had kept them healthy and well-fed. They couldn’t do the same for themselves. Their bodies were fresh, but they weren’t infected. So we took what we needed from their place and left on horseback.

    Pittsburgh became our new home. A nice little suburb outside the city. Plenty of empty houses*, canned food, and supplies. Alex and I cleared the block of infected. Set up a homeschool for Sweet Pea. Lived with smiles on our faces. Nearing a decade together.

    I came up with a stupid idea to celebrate mine and Alex’s anniversary. There was a little trail, not far from our house and right next to the river, where we loved to spend evenings. Sit, talk about life, admire the city skyline. At the end of that trail was the entrance to the sewage system, locked with two great big doors. One morning, while Alex was teaching Sweet Pea at home, I snuck away and painted a mural of us on them.

    It wasn’t for anybody else to see. Just for them. I wanted the reveal to be an event, something they talked about for days. Something that made Sweet Pea giggle. But it wasn’t that. It was a disaster.

    Alex loved it so much. He told me it was amazing, and I didn’t believe him. Then suddenly, I saw his eyes, and it really was special. The way they were sparkling. Lit up. Sweet Pea laughed, her lovely little laugh, and they were all I cared about. A moment separate from reality. A happy ending.

    I was too distracted to notice Sweet Pea open the doors. In all the time we’d been there, Alex and I had assumed they didn’t open. Locked. Stagnant. But child minds think differently. She found a way. A curious little hand pushing too hard on a rusted bolt, perhaps. I don’t know. It doesn’t matter. I just remember the clicking sounds we heard as soon as those creaky doors swung open.

    Everything happened so quickly. I made eye contact with Alex, and the happiness had vanished. Just fear. We weren’t prepared. We let our guard down. Stupid. The infected came pouring out of that dark cavern-like ants. Sweet Pea was right there. We couldn’t get to her in time.

    I wanted to let the monsters take me. I watched her sob. I started sobbing too. I couldn’t make my legs move. Alex managed to get to her, pull her out before she suffered. If it weren’t for him, I wouldn’t have made it out either. He took charge, pushed me forward. We ran for a while. I lost them both in the chaos. Now I’m here alone. Crying over losing my second family. Thinking about Sweet Pea. Wishing she didn’t have to be the little girl from my story.

    What I have left is this journal and a reminder why I started writing it in the first place. I was right. Happy endings don’t exist. Life always ends in death. No matter how hard you try to fight it. So I’m officially putting down my next rule in “Apocalypse 101”.

    Rule #49, Learn Not To Feel

    I don’t know where Alex and Sweet Pea are, but I know I’ll probably never see them again. I don’t envy Alex, either. If they both escaped those infected, he still has Sweet Pea. And she still has a bite mark on her shoulder. I hope he’s able to do what he has to for the both of them. He won’t read this, but I hope he doesn’t need it. If you want to keep living in these times, you have to learn not to feel.

    You can’t stop to mourn the bodies at the stable. You can’t grow attached to one place. You can’t be afraid to kill. You can’t love so much you forget where you are.

    When you feel, you open yourself up to death. I don’t know what’s next for me, but I know I’ll do it on my own. Consider doing the same. You see what being vulnerable got me.

    *(Our suburb was pretty empty, but the city itself had a lot going on. Infected, yes, but also large groups of people. Lots of shooting. We stayed away as a family, but now I might not have a choice. Cities are bad, but there are too many infected in the other direction for me to take on alone. Maybe if I keep to myself, I can sneak through undetected…)

  • Everything You Need To Know Ahead of ‘Tokyo Revengers’ Season 2

    Everything You Need To Know Ahead of ‘Tokyo Revengers’ Season 2

    Get ready to mark your calendars because the highly anticipated Season 2 of Tokyo Revengers is finally premiering on January 7th as part of the Winter 2023 lineup of new anime releases. As some have been anxiously waiting to find out what happens next in this drama-filled series, here’s a quick recap of the first season and what to look forward to in the next.

    What Happened So Far

    It feels like an eternity since we last spent time in the world of Ken Wakui’s Tokyo Revengers. Toman and Valhalla now proudly stands at 450 people, with Kisaki hailed as a hero after the events of Bloody Halloween. Takemichi is now the leader of the first division while Chifuyu took over as his second-in-command. Then he travels to the present to learn that Toman has grown even more powerful and influential. However, in this timeline, Mikey has vanished and Draken has been executed with Kisaki left in charge. In the end, Kisaki kills adult Chifuyu and prepares to shoot Takemichi for opposing him for the past 12 years. He confesses to orchestrating Baji’s death and calls him “my hero” before the screen fades to black as a gunshot is the last sound left with the viewers.

    What to Expect

    The second season of the anime will adapt the “Christmas Showdown” Arc and will introduce a slew of new characters. Yet, there are also some major changes to the previous cast, as Tatsuhisa Suzuki, the original voice actor for Draken, was involved in a big cheating scandal and multiple suicide attempts. As a result, he has been replaced by Masaya Fukunishi. The new cast includes:

    • Mikako Komatsu will play Yuzuha Shiba.
    • Tomokazu Sugita will play Taiju Shiba.
    • Junya Enoki will play Inui Seisyu
    • Natsuki Hanae will play Kokonoi Hajime
    • Tasuku Hatanaka will play Hakkai Shiba

    The next seasons’ new opening called “White Noise” has already been released with the song being performed by Official HiGE DANdism, which you can check out here:

    Tokyo Revengers has become a popular series throughout the years and there’s a lot of excitement to see how they bring the second season to life. It’s upcoming release on January 7th will see the series. It’ll be made available on Hulu in the United States and on Star+ in the rest of the world. If you need to catch up, the first season is currently available on Netflix and Crunchyroll.

  • One Cancelation After Another: Netflix May Be Pushing Subscribers Away

    One Cancelation After Another: Netflix May Be Pushing Subscribers Away

    There’s something bizarre about the streaming age. We’ve hit a point where some aspects are being dialed back to make it more financially safe. Up until now, Netflix had free reign over the industry and could invest wherever they see fit. We commonly could always expect a second season for any project no matter how good or bad it was. They also became the home for many series that ended up getting canceled; some even hoped that their favorite show could get picked up to this day as Lucifer did some time ago.

    Yet, we’re not in that same era anymore. There’s so much competition out there with heavy hitters like Disney+, Hulu, Amazon, and HBO Max; the latter imploding in its own way. There are also various smaller offerings on the table trying to establish their own market with Peacock Paramount+, ESPN+, and many more. Even internationally some networks are establishing their very own streaming options to build their own markets. It’s slowly turning into a free-for-all that is making the investment quite a bit more difficult.

    So, the question becomes how Netflix can establish itself in that market. Would they innovate to offer something unique like their attempt to try interactive games in the platform? Would it be to invest in more unique IPs like a Power Rangers cinematic universe or other popular IP like Avatar: The Last Airbender or even One Piece? They are doing all that but it’s being overshadowed by one simple fact: most of their new shows don’t survive beyond a single season.

    We just got the news that 1899, a supernatural mystery series by the creators of Dark, has been canceled after one season. While some smaller releases simply don’t pull in an audience like Blockbuster and are more flexible with their format, it’s bizarre to see a high-investment like 1899 not even being given a longer run to truly bank on its entire mystery concept. The show was pitched with multiple seasons in mind and it pulled in an audience going by its performance on the streaming service. Yet, there’s no clear reason given on why the series was passed on.

    Netflix seemingly wants to recreate the virality they’ve seen with select projects. To some degree, their strategy seems to be to throw out as many shows to ensure that one or the other manages to pull in some massive viewership numbers. Wednesday was a huge success, even managing to compete with Stranger Things. Yet, it’s an external production and may even end up on a new platform if they don’t invest enough money; adding more pressure to the series to keep up its high viewership with future seasons.

    There is the other issue that Netflix doesn’t own all rights to their projects. There’s a reason that the various Marvel series left the streaming service with them having a prominent placement on Disney+. Wednesday even currently sits in an uncertain spot as MGM is now owned by Amazon and they could end up losing the rights to what would’ve been their next major hit franchise. Even The Sandman was on shaky ground due to it being a DC project and requiring Warner Bros. Discovery’s approval to move forward.

    So, Netflix is slowly losing the projects that would make it stand out while nuking anything that would have a chance to grow throughout multiple seasons. But that’s not all, as viewers are slowly losing interest in whatever they are offering if this trend continues. Why even invest any time into watching their newest series if the chances of a show surviving are so slim? There’s also the fear that shows one is invested in like the live-action One Piece or Avatar: The Last Airbender if their chances to survive are so minimal.

    Netflix opened up for transparency in how shows perform, but their actions don’t seem to fully reflect what they are looking for in how a series performs. Unlike Disney, they are far more dependent on the success of their series as they don’t fully invest in the merchandise until after it was proven successful; see how long it took before Squid Game or Stranger Things offerings found their way out into the market. Their wait-and-see approach goes against their high-investment gamble, as it creates a bizarre mixture of risk-averse actions with money being thrown out left and right.

    Some franchises are given quite a bit of time such as One Piece being in some form of production since 2017. A Power Rangers cinematic universe is being developed for quite some time now as well, which would indicate they are in for the long haul. Yet, their recent actions don’t seem to truly match some of their investment choices. It creates this feeling of a lack of commitment to these projects they invest in, which reflects upon the viewers as well.

    We also can’t forget Netflix’s desperate attempt to keep users from password sharing, which they hope would lead to an increase in subscribers. Yet, it doesn’t truly ensure any churn for the streamer, and may likely lead to some not wanting to return. It’s been ingrained into our culture by this point that it would push away subscribers without any true benefit for them to sign-up. At this rate, Netflix is becoming its own worst enemy and may push people away, as enough alternatives are on the market.

  • ‘The Bad Batch’ Season 2 Premiere Features Prominent ‘The Clone Wars’ Location

    ‘The Bad Batch’ Season 2 Premiere Features Prominent ‘The Clone Wars’ Location

    The Bad Batch are back and traversing the galaxy far, far away. Just as everyone expected, the premiere episodes of the animated series’ second season took the titular team of lovable rogue clones to places far and wide. What might have been a surprise, however, was where Dee Bradley Baker‘s Hunter and his comrades ended up. Spoils of War and its follow-up, Ruins of War, saw Clone Force 99 arrive on Serenno, a lesser-known planet that played a huge role in the events of Star Wars: The Clone Wars and several of it’s spin-off materials. Longtime fans of the franchise likely lit up at the mention of the planet’s name, but its status as a less-frequent setting in the Star Wars universe may have caused some confusion among casual viewers.

    Serenno is a planet located in the Outer Rim Territories, placing it far away from the activities occurring in the central Core Worlds and the galaxy’s governance. As a result, Serenno essentially functioned with its own government for most of its history, making it a fairly independent location. According to legend, it was once ruled by the Sith Empire, until the eight Great Houses of the planet joined together to force the dastardly conquerors off world. The revolt was led by House Serenno, named for its patriarch, who was consequently named ruler of the planet. The people of Serenno also took to naming their homeworld after their greatest House, because apparently, a few honorary street signs wouldn’t have been enough.

    House Serenno continued to rule the planet until, as The Bad Batch revealed, its societal demise following The Clone Wars. Its final leader was a man of complicated legacy and someone whose name should automatically ring a few bells for those who’ve seen the Star Wars films. Count Dooku, introduced in Episode II – Attack of the Clones and featured heavily throughout The Clone Wars series, was a member of the House Serenno family, ruler of Serenno, a former Jedi Master, and finally, the second-to-last Sith Apprentice to the legendary Darth Sidious.

    Dooku was portrayed by the late Sir Christopher Lee in live-action and has been voiced by Corey Burton in animated form for over a decade. He was a major player in the events of the Clone Wars, founding the Confederacy of Independent Systems with other Separatist leaders and funding its infamous droid army with his family’s immense wealth. Tangentially, that makes Serenno one of the most important locations of the Clone Wars era, despite its minor usage in Clone Wars storytelling. It’s mentioned consistently, but has never been shown in live-action and was only the setting for a handful of Clone Wars episodes – seven, to be exact. It was also part of the plot for Star Wars: Dark Disciple, a novel based on an unproduced Clone Wars story arc, which would have given the planet more screen time had those episodes made it to air.

    Count Dooku’s grand castle is the most recognizable aspect of Serenno among fans, as most scenes from The Clone Wars set on the planet played out in the villainous royal’s throne room. That room makes another appearance in The Bad Batch, which takes its time to flesh out the history of Serenno and give viewers their most comprehensive look at the Outer Rim marble yet. A native of the planet explains that Dooku was secretly using his people’s money to supplement the Separatist movement, which lead to an economic crisis they’ve not been able to recover from.

    A huge benefit of projects like The Bad Batch is their placement in the universe’s timeline. The show’s existence between other major Star Wars properties gives it a chance to fill in the blanks where most audiences might not have even realized there was a space. Serenno and its past are important parts of Star Wars lore, and thanks to The Bad Batch, they have both now been threaded through multiple eras of storytelling.

  • The Last of Us: Apocalypse 101 – Rules #13-17, When You Kill Them Make Sure They’re Dead

    The Last of Us: Apocalypse 101 – Rules #13-17, When You Kill Them Make Sure They’re Dead

    If you missed Rule #1, Cuties Are Bad, read through it here.

    February 25, 2019

    -Iggy Bigby

    “Martial law” is such a funny phrase. At first glance, it definitely looks like “marital law”, but “marital law” and “martial law” are too very different ideas.

    “Marital law” is something I joke about with Alex* – if you make me a promise, you stick to it.

    “Martial law” is what happened to the country after Outbreak Day – a bunch of military assholes come steamrolling into town and take over, ranting about “maintaining order” and some other “here to keep peace” bullshit.

    Unfortunately, their version of “peace” is what my political science classes would have described as “militant oppression.” The Federal Disaster Response Agency – FEDRA, if you’re lazy – and what was left of the government set up military rule in every Quarantine Zone nationwide once it was clear the situation was out of hand. We’re still in Buffalo, at the “Canalside QZ”, but we’ve heard about similar set-ups in Atlanta, Pittsburgh, Salt Lake City, Seattle, Denver, and Boston. Some of them are worse than others, and not all of them are still standing.

    I’ve spent the better part of the last 6(!) years in QZ. Once the dust settled at UB, FEDRA raided the campus. I was huddled in that abandoned wing writing “Apocalypse 101”, the Great American Novel. According to the crumpled pages I just found at the bottom of an old bag, I made it to Rule #12 before I was forced into QZ and life regained a deranged sense of normalcy. I stopped thinking about “survival” and started thinking about keeping my head down. I watched FEDRA shoot innocents in the street. People I knew. For no real reason. All in the name of “civility.”

    Now, though, it seems like I should start writing again. There’s a palpable sense of unrest in the QZ. They’ve told us there’s a food shortage, and we should only expect to receive half-rations for the foreseeable future. Anyone without the proper ration cards is on their own. Those of us they consider “able-bodied” are drafted and forced to work details inside and outside of the city. I work the wall. Shoot infected on sight. It’s pretty miserable, but these days, what isn’t?

    Alex made friends with (smuggles alcohol to) one of the FEDRA agents, and when he drinks, he talks. QZ radio signals are dropping like flies. Recons say it’s hordes of infected and folks who’ve had enough. We’ve heard more and more about a rogue militia group attacking QZ’s, calling themselves “the Fireflies”. They want democracy back, and they want a cure for whatever the hell all of this is. Them and everyone else.

    Thing is, if something like that happens here, Alex and I won’t be able to rely on QZ walls to keep us alive anymore. As bad as this place is, at least it’s kept out the infected. Luckily, should we end up on our own, my time faithfully guarding our hollowed grounds has taught me a thing or two about what we’d be up against. I was thinking about jotting down a guide for Alex to have, keep him safe, and then I remembered this journal. So, without further ado, my latest additions to “Apocalypse 101.” For everyone to enjoy. Six years in the making.

    Types of Infected and How to Kill Them

    There are really only a couple ways to be infected. You get bit, or you breathe in a bunch of parasitic spores that make you hack up a lung and turn your brain into plant-powered, flesh-eating mush. Once you’re infected, there’s no going back. That’s why FEDRA agents normally just shoot suspected infectees where they stand. False positive or not.

    Runners

    If you’ve got that Cordyceps in your system, you’ve got two days left of being you. After that, you’re one of them. You’ll lose control of yourself. Irritable, violent, twitchy. Skin pale, covered in lesions. Eyes glossed over, hair falling out. We call infected in this early stage “Runners“, because, well, they’re still fast. Agile. Erratic.

    Runners are the easiest type of infected to kill, so long as you’re able to keep them separated. A horde of them will overrun you quick. It’s too much flailing at the same time. If you see more than a few Runners in any area, approach with caution and take them out silently.

    Silence and patience are the keys to everything outside the walls.

    All types of infected are triggered by loud noises; they make them go nuts. Most of them can’t see, but Runners can. Stay out of their line of sight unless you think you can take them on. Like I said, they’re pretty easy to bury. Aside from an insatiable need to eat every living thing they can find, they’re still mostly human. That means anything that could kill a person will kill a Runner. Gun to the torso, knife to the throat, baseball bat to the head. You name it.

    It’s smart to clear your area of Runners because if you don’t, they’ll become something a lot worse. That being said, killing them has probably been the least enjoyable experience of my life. They’re still mostly human, which means a little bit of who they used to be is still in there somewhere. Runners cry, and they moan, and they screech. They know what they are now, but they can’t stop it. Some of them won’t even attack. They just stand there, hunched over, fighting themselves. It’s horrible. Like putting down a sick dog.

    Stalkers
    The Last of Us™ Part II_20200708100013

    Honestly, my least favorite infected type. Insanely creepy. This is what you become in the weeks and months after infection. Somewhere between human and monster. You’ll likely hear a “Stalker” before you see them, and by the time you see them, it may be too late.

    At this point in their infection, the Stalkers have begun growing a sort of fungal armor on their bodies. They’re stronger too, so you’re not gonna be able to kill them with your fists like a Runner, or sneak up behind them for a choke-out. In fact, stealth is probably not an option for you here at all. That’s their game, and they’re great at it.

    Stalkers still have a little eyesight and they’ve got their speed. They love dark rooms and places to hide. The Cordyceps has spread to their neck and faces, so they can’t make human noises anymore. It’s just croaking sounds, and they use them as a form of echolocation. Once they know you’re there, they’ll start up their modus operandi. They hide behind corners, in walls, and crouch where you can’t see them. That croaking is the only thing that gives them away. When you turn your back, they’ll sprint to the next hiding spot. Closer and closer.

    The best way to combat them is with a strategy of your own. Don’t charge them, or try to fight them head-on. You’ll lose. They travel better than you. Stay back, set traps, and plan every movement. If you can lure them out of hiding and into a pipe bomb, do that. If you can’t, strap up with the heaviest weapon you’ve got and wait until they jump at you. Follow the croaks and the one glowing eye until they’re near enough to fire a shotgun at. Just know what else might be in the room with you, and what the sudden sound of an explosive might do when it goes off.

    You can throw bricks and bottles around to confuse them if you’d like. Make them think you’re somewhere else. But that doesn’t always work.

    Clickers

    These are the famous ones. The way people talk about them in QZ’s, you’d think they were the only ones. They’re certainly the most annoying. “Clickers” are what you get after about a year of letting human DNA stew with Cordyceps fungus. Stronger than the average person and nastier than a toilet after Mardi Gras.

    Clickers get their name from the way they survive. With no eyes, they make clicking sounds to get around and hunt for prey. Echolocation, like the Stalkers. Only at this point, they’re more plants than humans. Shocking to look at. Usually very little clothing, on account of the fungal growths tearing through it all. No faces, just mushroom-like masses on top of wet cryptid bodies. They do have teeth, though. And they’re sharp.

    All those growths make for a pretty solid form of protection. You could shoot one point-blank in the head, and the shrapnel wouldn’t even puncture the skull. You either need a lot of ammo or incredible precision to bring a Clicker down. If you can move quietly and get close, you can slip a knife, or shiv, under their fungal plating for an instant kill. This also applies to immaculate arrow shots. With no vision, you don’t have to hide from them. You just might want to avoid making a peep if they’re turned in your direction. Typically, a Clicker will just stand there and claw at it’s own face until it thinks about dinner. If it knows food is nearby, it won’t leave until it’s full.

    Like any tree or garden before them, Clickers are very susceptible to fire. A well-tossed Molotov cocktail or fully-functional flamethrower will put an end to their misery if you can manage to get your hands on that sort of thing. Otherwise, it’s recommended you don’t engage unless well-equipped to blow through fungus. Especially if there’s more than one Clicker in the area. That’s just asking to die.

    Bloaters

    A “Bloater” is a Clicker left to rot for too long. Years of fungal build-up. Incredibly rare, and something you should hope never to see. Their name is well-earned. Massive, big-old turds. I’m talking bear-sized or bigger. Like, “you-stand-very-little-chance-of-walking-away” large.

    Most of the tactics that apply to Clickers also apply here, only on steroids. Nobody has the kind of ammo needed to shoot one of these things to death, so your best route of action is to turn tail and get your ass out of wherever you are. If that’s not in the cards, you better hope you have specific, armor-piercing bullets loaded (a hunting rifle is surprisingly effective) or another tank for that flamethrower. Don’t even think about going hand-to-hand with a Bloater. It will literally rip your jaw out of your face and start beating you with it. These guys are brutal, physical, and hungry.

    Keeping your distance won’t work against Bloaters either. It’s better than facing them up close, but they’ve got a special kind of growth that feels designed by Satan just to screw with us. A Bloater can grow bulbs of mycotoxin on its body, and if it knows you’re there, it will start whipping them across the room at you until you can’t breathe anymore. Rough.

    Their only real weaknesses are these: they’re dumb and slow. You can trick them into hurting themselves if you’re smart enough about it. Let them ram into walls or walk into pools of gasoline. Fun stuff if you’re sick in the head.

    Others

    We’ve covered the main four stages of infection, but I have heard tell of other variants roaming different parts of the country. “Shamblers” are essentially just soaked Bloaters, which apparently exist in coastal cities. They’re so full of liquid they just spray their mycotoxin directly from their torso, no bulbs required. They explode when they die, too. So stay clear after they hit the ground.

    The craziest rumor I’ve heard is that some infected can get all tangled up with each other, and grow into a single terrifying mass. Never seen it myself. No idea how you’d handle that predicament. Would probably have to take myself out if I ever came across it.

    Rules #13-17, When You Kill Them Make Sure They’re Dead

    Still reading? Good. All of that was wildly important. The infected are no joke, and knowing how to deal with them is one of the most important survival skills a person can have. In order to emphasize this, I’ve grouped the last four rules – each type of infected and how to kill them – under one umbrella. I’ve also named this section of “Apocalypse 101′ after something I make Alex promise every time he sneaks out of QZ. It’s part of our “marital law.”

    When you kill them, make sure they’re dead.

    *(I guess it’s been a while since I last wrote in here. I’ve got some life updates! Remember that shuffling I heard in the abandoned wing of UB? That was Alex. I wasn’t alone in there. He found himself a hiding spot and stuck to it, only leaving for supplies at night. He’s like a very handsome Stalker, who never once tried to kill me. We agreed to help each other survive, and found ourselves sharing a bed not long after. He’s been the one thing I’ve had since Outbreak Day. My only family. He hasn’t been drafted yet, but he keeps his days busy smuggling supplies in and out of the QZ. Big network of that growing underground. I hate it, but I trust him. We both know what we’re doing.

    Almost makes me think we’d be better off living with the Clickers than FEDRA…)

  • Marvel Studios’ Phase 4 Gamble in a Post-‘Endgame’ World

    Marvel Studios’ Phase 4 Gamble in a Post-‘Endgame’ World

    In 2022, Marvel Studios’ Phase 4 ended after a volume of projects were released in theaters and on Disney+. It wasn’t going to be easy moving beyond the Infinity Saga, as it would always be in the shadow of Avengers: Endgame wrapping up what some may have felt was the franchise’s true end and the weight of expectation that erupted from it. Going by the Internet’s usual reactionary tale, there have been some mixed emotions at times in regard to how exactly Phase 4 has wrapped up. There have been highs and lows, but there’s something curious about the way the franchise has been developing for over ten years in.

    Lightning in a Bottle

    Cinema has been dominated by superhero films; there’s no denying that fact. Not just by Marvel Studios but any other studio trying to replicate the style and base concept that led them to what they are today. The Cinematic Universe remains a distant dream for some studios even as others built their own take that allowed them to at least attempt a similar style of world-building to make use of that glimmer of replication they’d been searching for.

    Even Sony struggled to somehow get the Marvel license to work in their favor with various strange choices in characters to headline their own Spider-Man spinoff. After the DC Extended Universe failed to truly get going, they now are simply wiping the slate clean with Peter Safran and James Gunn spearheading the entire cinematic universe. As of now, they are Warner Bros. Discovery CEO David Zaslav‘s only hope to create what Kevin Feige kickstarted back in 2008.

    Going by how desperate the attempts have been throughout the years, it’s easy to just forget how insane it’s been that Marvel Studios’ held up a cinematic franchise for over ten years. It even ends in a grand finale that wraps up so many stories in a way that almost seemed impossible to accomplish a few years ago. Avengers: Infinity War and Endgame were game-changers for this approach and only Marvel could pull it off.

    Limitations of a Studio

    Imagine you’re in the same shoes as a production study that already managed to do the impossible. They build a cinematic universe and managed to wrap up its initial storylines in a way that had many come together in joy. What do you do next? They pretty much have to set up a sequel that not only welcomes a new era of heroes with some legacy actors leaving their respective roles behind while also paying tribute to what came before. It’s not an easy task for any studio to just whip up while still trying to leave one legacy behind.

    Wherever one feels about Phase 4, Marvel Studios took on way more risks going into the latest generation. Not only did they have Disney+ but also had the opportunity to reshape the way we view what makes a Marvel film what it is. The Marvel formula trope has been around since the first Phase of the MCU, and just doing the same thing over and over again would not always yield results.

    Don’t forget: Marvel Studios only has Marvel. The Internet may complain about the number of projects they put out and have the IP Marvel brand slapped onto it, it’s all this one production studio can use. They aren’t Lucasfilm that developed other projects based on various IPs besides their anchor of Star Wars. They aren’t Warner Bros. that can publish Don’t Worry Darling and Black Adam in the same year as distinct projects. Marvel is in their name and it’s all they can use.

    Disney’s Plus on Pressure

    Plus, the expectation of any project being part of the MCU adds to that pressure. Disney+ is a Disney-owned streaming service that needs to become competitive fast. It would’ve been dumb not to make use of your biggest brand to ensure its growth can compete with the likes of Netflix, Amazon, and more. So, Marvel Studios now stands at the challenging crossroad to help Disney grow its streaming service while remaining bound to its MCU structure.

    Marvel Studios didn’t just up their production without any forethought; no matter how some tried to paint that very picture. They absorbed Marvel TV, who had barely any projects moving forward and facing challenges long before they entered the streaming game, to make use of their experience. They had long-time employees that were involved since the early days take on producing roles to help these developments.

    Now, they wanted to offer something unique while former Disney CEO Bob Chapek tried to shape the streaming service with his own unique team; something Bob Iger‘s return swiftly wiped out. There’s a lot that happened behind the scenes throughout the years that definitely made Phase 4 way more challenging than it truly needed to be. We don’t know all the details but somehow Marvel Studios still managed to produce some high-quality productions as they adapted to a new format under very challenging circumstances.

    A Pandemic of Issues

    Speaking of, we can’t forget that there’s another elephant in the room that is still showing its fangs to this day. COVID-19 changed everything we know and hampered many productions throughout the years. It forced the newly developed Volume technology, made popular through The Mandalorian, to take on a much bigger role for projects like The Batman, Thor: Love and Thunder, and more. VFX artists are forced to work from home trying to keep up the usual pace we saw before the pandemic.

    Productions like Black Adam pushed back its release to work on its VFX longer, but this still led to the similar issues anyone has accused Marvel of throughout the year. There’s a bigger issue at play with how VFX artists and the industry’s general abuse of its systems, but it’s not a singular problem even if the most popular franchise became a quasi-popular choice to point it out. Productions like Moon Knight or Falcon and the Winter Soldier couldn’t film in locations due to travel restrictions, forcing them to adapt as quickly as possible.

    All these small issues add up and can be seen in some productions. Not just that, Marvel Studios even with its TV merger was still new to this game. They not only had to adapt their usual structure to a format they weren’t adjusted to but during times when you’re not given many choices in how you adapt. Most productions that have released up to this point were all still filmed during the high point of the pandemic. There’s an interesting irony in how two of the only productions to beat box office expectations in 2022, Minions: Rise of Gru and Top Gun: Maverick, are holdovers from 2020.

    Phase 4’s Gamble

    Under all these circumstances, there’s something fascinating about how Phase 4 felt the most creatively free of any phases. Fittingly, it felt like a callback to the early days when Marvel Studios was still learning the ropes during Phase 1. The studio took a gamble with Phase 4 by simply diversifying rather than relying too much on what worked in the past. In a way, they may have worried that the superhero fatigue would set in eventually; even if it has been mentioned since Avengers: Age of Ultron all the way back in 2015.

    So, they seemingly took more chances with their projects. She-Hulk had a very specific audience in mind that opens up their portfolio to new viewers. Moon Knight was an actor-driven project while Secret Presentations introduced a more open concept for further exploration of the MCU in short film form. Even the films had some rather strong director-driven elements like Chloé Zhao introducing indie filmmaking elements with Eternals, Sam Raimi doing his thing in Doctor Strange in the Multiverse of Madness, and Taika Waititi going full comedy in Thor: Love and Thunder.

    Playing the Long Game

    As much as people want to focus on the now, this gamble is something more for the long term. If they diversify and try out new things now, they’ll benefit from it further down the line as the new Saga, confirmed to be the Multiverse Saga, finds its legs. Still, they haven’t lost all their momentum and power at the box office, especially after a harsh year like 2021.

    2022 was the first year of recovery for the box office since the pandemic hit and Marvel Studios still stands strong at the box office with most of its entries pulling in strong numbers. People tend to point to them not passing a billion with any of the projects as one warning sign, but it’s not too surprising given China’s exclusion, two key markets currently at war, still adjustments post-pandemic, and a generally dead year for releases.

    Avatar: The Way of Water and Top Gun Maverick are the only films this year showcasing any strong legs; ironically both being the same type of nostalgia-driven entry building upon a long absence combined with good word-of-mouth. Marvel is still going strong and all that in a post-Endgame blues phase that would require some reshaping and reorganizing to keep going.

    Phase 5 and Beyond

    We’re about to enter Phase 5 of the Marvel Cinematic Universe and it’s got a lot of interesting projects that seem like they continue this trend of what we saw before. The projects may continue to get more interconnected moving forward as Ant-Man and the Wasp: Quantumania builds upon the main antagonist of the saga, who may also appear in the second season of Loki. Secret Invasion and The Marvels may build upon each other reshaping our understanding of the world; perhaps even past projects. Daredevil: Born Again and Echo act as a pair further exploring more grounded elements of this world with Captain America: New World Order and Thunderbolts‘ rumors hinting at the MCU continuing to expand in creative but exciting ways.

    The MCU is not going to end anytime soon and we may slowly see a shift back to those elements that people fell in love with. Marvel Studios may also adapt its pacing with the shows and films; especially after taking some lessons from what they learned. Bob Iger is back in charge at Disney and he may give some more freedom back to the studios that were lost during Chapek‘s reign and the needs built around Disney+. We may also see some lessons learned from the pandemic on how to best optimize and further develop their projects.

    Change isn’t something immediate, just like how the Phase 4 gamble may not pay off for everyone right now. While the outcry machine that is the internet remains the way it is, there’s more to what is currently happening. Fatigue may be building up for some but others may have just found themselves joining a world they only heard about from friends. Maybe everyone is just waiting for that one project to catch their attention like the franchise used to; especially with our nostalgia for what once was many years ago. Like any long-running franchise, we sometimes remember “what once was” with different glasses than when it was released especially after the emotional rollercoaster that was Avengers: Endgame. Perhaps there’s a good reason why there hasn’t been another Avengers film since and won’t be until 2025.

  • Murphy’s Team-Up Volume 30: One Must-Have Character in James Gunn’s DCU

    Murphy’s Team-Up Volume 30: One Must-Have Character in James Gunn’s DCU

    James Gunn has a big job ahead of him in creating a shared cinematic universe out of the ashes after nuking the old guard. While he’ll smartly focus on Superman, Batman, Wonder Woman and the Justice League, he’ll also have to keep it fresh by bringing some new blood to the DCU. With that in mind, we have a handful of suggestions for Mr. Gunn as he gets things moving ahead in 2023.

    Joao Roque Pinto on Mister Terrific

    Dream casting: John Boyega, John David Washington, Scarlett Johansson

    When thinking of a character that will allow for interesting storylines (be it through solo outings or as part of a team), with interesting powers without them being too out there, someone who big screen audiences have little to no knowledge of who it is and its back story, and that will be able to play well with the biggest names in the DC catalog, Mister Terrific (Michael Holt) came immediately to mind.

    Gunn usually thrives when defining characters within team dynamics and Mister Terrific can be integrated into several teams the character has been a part of over the years. From the Justice League to the Justice Society of America, from Task Force X’s subdivision Checkmate to The Terrifics. His Genius-level intellect, “a natural aptitude for having natural aptitudes”, can also allow for a more plot-driven type of story, moving away from the spectacle that most team-up movies tend to be.

    Not discounting his use of T-Spheres, he remains a character that can easily be combined with almost any sort of comic book movie approach, from the more grounded to the most fantastical, all while also bringing to the table a representation factor into the larger DC Universe that should never be dismissed.

    Jeffrey Peterson on Clayface

    Dream casting: Denzel Washington, Josh Brolin, or Brad Pitt.

    An origin story that starts in the 60s, maybe 70s, but definitely after the ‘golden age’ of cinema. Automatic buy-in through casting a respected Hollywood star that’s on the older side, but the film also gains the benefit of really only effects of makeup or CGI when really necessary. The film can still use noir and thriller elements of The Batman while leaning into a more physiological terror space. The movie has the opportunity to discuss body dysmorphia and alteration, self-help, generational trauma, and the arts, specifically film, without doing any of it too directly. The other golden opportunity is that Clayface’s abilities only have to be hinted at since those actors are good character actors anyway. The more monstrous reveal once the powers get out of hand can naturally happen in the third act or the first, depending on the classic film a director (Jordan Peele or Alex Garland) wants to reference.

    Dalbin Osorio

    I know there’s going to be a consensus for all sorts of Green Lanterns to show up, so I’m going to get in front of that and say that Simon Baz is the Lantern we need to see. As a hero who ends up wielding a fusion of Sinestro and Hal Jordan’s power ring, and as the Corps’s first Arab-American member, Simon has the chance to bring some much-needed diversity to a DC Slate that is predominantly cis hetero white men. Showing Simon’s street racing, and racial persecution following a subsequent car accident, would make some amazing TV.

    Now, who to play him, you ask? How about 40-year-old Lee Majdoub, who played Agent Stone in Sonic The Hedgehog? You’ll next see him playing the villain in Assassin’s Creed: Mirage, and he’s still young enough to where he could theoretically play this Lantern for 10 years.

    Jared Kirschenbaum

    Bat-Mite, as John Economos puts it in Peacemaker, is “a two-foot-tall interdimensional imp who stans Batman.” There are many interesting things DC Studios could do for a Bat-Mite project or an appearance elsewhere. Bat-Mite is similar to the Superman villain Mister Mxyzptlk, with a very different characterization. He is a being from the Fifth Dimension, which means Bat-Mite has access to phenomenal cosmic powers. And while Mister Mxyzptlk uses his powers to toy with Superman, Bat-Mite uses his powers to “help” Batman, because Bat-Mite is at his core, not a bad guy. His biggest problem is just that he is irritating. Basically, Bat-Mite is the fan from hell. He critiques Batman, makes things more difficult, and ruins Batman’s plans. The closest thing to Bat-Mite is probably Syndrome from The Incredibles. And in the wrong situation, Bat-Mite is dangerous. Sure, he likes Batman and wants Batman to succeed, but if Bat-Mite gets angry at Batman or wants to make a task more difficult for him to make it more fun to watch, there really are not many limits to what Bat-Mite can do. He is a nerd who just cannot help himself. Sometimes he is more bad than good, but a lot of the time, in his heart, he does just want to help.

    To be fair, since he is not showing up in a Batman movie anytime soon, James Gunn could totally make a Bat-Mite movie and it would probably be a lot of fun. However, this is not really where he would be the most useful in the DCU, especially since Bat-Mite has already come up in Peacemaker. And since a second season of Peacemaker will probably factor into whatever Gunn is cooking as Co-chairman and CEO of DC Studios and is more of a lock than the majority of other DCU projects, Bat-Mite should 100% show up as part of season 2. Imagine, Bat-Mite shows up floating next to Peacemaker. Only the audience and Peacemaker can see or hear Bat-Mite as he spends most of the show telling Peacemaker that he is not as cool as Batman. Is Bat-Mite real or is he a figment of Peacemaker’s imagination or some subconscious manifestation of his inadequacy? Who knows? But a stylized cartoon or weird CGI-man thingy floating around Peacemaker in season 2, telling him how he needs to do a better job of being a hero like Batman is the totally out-of-left-field choice that Gunn would absolutely make. When season 1 started, nobody thought that Peacemaker would be fighting aliens. So, why not throw in a being from the Fifth Dimension, especially one who would not really work in many other movies or shows? Bat-Mite as the angel and devil on Peacemaker’s shoulder in Peacemaker season 2 would be so much fun. 

    MTF III

    Who better to be an entry point character for the present state of the Batman Family and all of its tentacles than Bruce Wayne’s son, raised by Ra’s Al Ghul in the world of assassins, then introduced into the world of vigilantes as the next to carry on the legacy of Robin? Through him, we can meet all of Bruce’s surrogate sons and daughters and explore a different dynamic with Bruce, as he needs to find his softer side to connect with an offspring who might be more intense than even him.

    My #2 choice would be Nubia. While the idea of a “Black Wonder Woman” might seem at first glance to be one note, through her we can learn about the secret history of the lost Amazon tribe of Bana-Mighdall, who left Themyscira’s magical protection and gave up their immortality to create a society of warrior women in the Amazon way, but amidst the tumult of Northern Africa. Through interactions with Diana, Nubia could be a doorway into juxtaposing a more militant vision of the Amazons against the utopian one we were exposed to in some of the previous Wonder Woman outings. Nubia’s heroic journey can be about her learning to inspire hope in Man’s World rather than instilling fear.

    Charles Murphy on The Spectre

    As Marvel Studios’ fans wait for Ghost Rider to make his way into the MCU, DC’s own Spirit of Vengeance could serve an important role in James Gunn‘s new DCU. The being known as Aztar is as old as the universe and serves as the hand of divine vengeance for DC’s One Above All. There have been a whole lot of different iterations of the character over the years and Aztar has been bound to a few different human hosts, but a combo of the New 52’s modern version of Gotham PD officer Jim Corrigan mixed with the brilliant work done by John Ostrander in the 1990s offers the perfect mix of a character tied into the connected universe Gunn is building while also being able to do his own thing. Is this the right superhero role for Gunn’s bestie Nathan Fillion?

  • Hope Springs: As ‘Eternals’ Blazes its Post-Zhao Trail, A Prestige Series Would Represent A Bold New Path

    Hope Springs: As ‘Eternals’ Blazes its Post-Zhao Trail, A Prestige Series Would Represent A Bold New Path

    2021’s Eternals was a divisive film. With an Academy Award-winning director at the helm, it boasted an all-star cast while exploring themes of humanity, spirituality, and sacrifice. It also used Z-list Marvel characters that very few audience members had a connection to, and the course of the movie’s runtime proved inadequate to develop that connection with any of them. Add in a very underdeveloped primary antagonist, and the result is an extremely low consensus as to its quality, with a Rotten Tomatoes score that reflects that.

    But one recurring comment in discussions about the film’s scope was that the story might better have been served by a series instead of a film. And considering that the film stretches from 5000 BCE to the present, there’s a lot of jumping around in the timeline that makes it harder for a viewer to find proper grounding. That being said, Chloé Zhao had a vision, and it’s doubtful that she would have signed on to do the project, nor would have had the ability to attract the wide range of global stars for it, if it was “just” a show.

    But as we reach the cusp of 2023, things have changed quite a bit. A new rumor suggests that Zhao is not expected to return for the Eternals sequel, and the progression of the Marvel Cinematic Universe’s Multiverse Saga has shifted the focus to its Big Bad, Kang. Whatever our interest in the ongoing exploits of our synthetic lifeforms cosplaying as deities while being the harbingers of worldwide cataclysm, they have surely been diminished, Harry Styles notwithstanding. That isn’t to say that these exploits aren’t worth getting into, though. There’s rich storytelling ground and fantastic actors who deserve the opportunity to be showcased. That’s why Eternals should return as a “prestige” series, telling the stories of individual Eternals in an anthology format.

    There are a number of reasons that this is preferable to greenlighting a sequel, shepherding it through the development and production process, and trying to promote it against the backdrop of much more high-profile and anticipated projects featuring more beloved characters. Because of the narrative around the first film, getting people out for the sequel is going to be an even tougher sell. Even though the next director they might choose brings a certain amount of differentiation, it’s hard to do better than the previous year’s Best Director. And the cast was already top-notch. What possible new actor could enter the mix and move the needle?


    But for a streaming show, you’re not getting people to load up the family and settle in for two or three hours in the cinema. You’re asking them to boot up Disney Plus at their leisure and watch something poignant, thought-provoking, and moving. We just recently saw that with Andor, Star Wars was able to reset the narrative around that franchise because of the elevated quality of the storytelling and filmmaking of Tony Gilroy, even with lower-than-average streaming numbers. The calculus was that if you make something truly great, people will find it eventually, even if it isn’t fully steeped in the zeitgeist.

    The Eternals, by their very nature, have stood apart from the MCU meta-narrative until now. And with 7000 years to explore for each character, each Eternal should easily be able to command his or her own standalone narrative, shaped around a different director’s vision, and showcasing that character in more depth. And for each cast member, instead of having to find the time in their busy schedules for a full movie shoot, they can carve out their availability in tandem with the production, unconstrained by the continuity of one main story.

    Just think of the different styles that could be displayed, and the levels of experimentation that would allow them to deviate from the oft-derided “Marvel House Style.” Shooting one episode could be a way to get daring filmmakers like The Daniels in the door without holding them to the parameters of traditional MCU guardrails. And the endpoint of this experimentation would be the differentiation of each Eternal to a greater degree, and a bigger investment in those characters in the future, regardless of whether they appear together or apart.

    As much as we love Marvel, it’s really hard for them to make prestige television that still feels like it fits within the same universe as the films — especially when, for the most part, connectivity is a draw. But in the case of Eternals, they already leaned into the idea of these characters’ limited connections. So stories told in that space can just concentrate on being as interesting and powerful as possible. And Marvel should be able to attract interesting and powerful storytellers and filmmakers as they deepen and add more texture to the world of the Eternals. And that, in many ways, would do a lot more for the Eternals brand than any sequel film could.

  • 12 Days of X-Mas: Day 2, Havok

    12 Days of X-Mas: Day 2, Havok

    The X-Men are coming to the Marvel Cinematic Universe and Marvel Studios has no small task ahead of them in making sure that the iconic team can lead the franchise in Phase 7 and beyond. Marvel Studios is also sure to make every effort to separate their adaptation of the team(s) from what came before. To celebrate the 12 Days of Christmas, we’ve decided to put together a list of which characters might play a key role and how Marvel Studios can ensure nobody will confuse them with their Fox counterparts.

    The X-Factor

    One of Fox’s most mysterious decisions in rebooting their own X-Men franchise in 2011’s X-Men: First Class was the choice to make Alex Summers the older brother of Scott and a member of Xavier’s first team of X-Men only to sideline him fairly quickly. Without being able to access the depths of Simon Kinberg’s mind, it’s impossible to know why Alex was underutilized but it really just seemed like Fox didn’t have a long-term plan for him. That’s good news for Marvel Studios because it allows them to make the easy choice to introduce Alex alongside Scott and then set him on his own path; a path that sets him on course to become the leader of his own team: X-Factor.

    Telling the best version of Alex’s story means having him separated from Scott. Rather than being given the advantages provided to Scott by Xavier, Alex’s struggles with his self-confidence and his emerging powers result in an alpha-level mutant whose lack of control makes him fairly dangerous. Ultimately though, like Scott, Alex is a born leader and allowing him to grow into his powers and then put together his own team would be a fantastic way to set him apart from Lucas Till’s forgettable version.

    Among its many failures, foremost of Fox’s foul-ups was that it never allowed its X-Men universe to grow and evolve beyond the core X-Men teams. The comics are loaded with mutant teams outside of the X-Men: X-Force, Excalibur, Generation X, hell even X-Statix all exist. Other than the brief assemblage of X-Force in Deadpool 2 and the ill-fated New Mutants, Fox stayed away from these teams. That means Marvel Studios can (and almost certainly will) dive headlong into developing them and Havok’s X-Factor should be one of the first and most important. While the team was originally just Scott’s X-Men working with the government, Alex put his own squad together and that squad is among the most memorable and powerful versions of X-Factor to have existed.

    Marvel Studios would be wise to let Alex grow into a leader of X-Factor and ultimately come into opposition to his brother and his more authoritarian approach to leadership. Though the brothers can’t harm one another with their powers, they could certainly go toe-to-toe and break out the fisticuffs should Havok still be around long enough to see his brother cause a schism among mutantkind. Marvel Studios certainly loves brother vs. brother drama. Beyond that, a Havok-led X-Factor team provides a fantastic way to grow the mutant-corner of the MCU beyond the adventures of the core and introduce some other incredibly important characters who were criminally underused by Fox: Polaris and Jamie Madrox. Whatever it is Marvel Studios has planned for the mutants, they should certainly make room for a proper portrayal of Alex Summers.