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Marvel

Loki: ReWriting Our Future

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Is anybody better at bringing people back from the dead better than Marvel?

Whether its Phil Coulson reappearing in Agents of S.H.I.E.L.D. or Natasha Romanoff receiving her first solo film posthumously (albeit as a prequel), Marvel knows how to maximize the characters that fans have grown to love, even after their apparent deaths. Now, after his ‘no more tricks’ fate in Endgame, Loki returns in his own series which promises to have a major impact on the future of the MCU. 

Directed by Kate Herron, Loki begins during the events of Avengers: Endgame and sets the beloved anti-hero off on his own adventure. After escaping from the Avengers and crashing down in Mongolia, Loki (Tom Hiddleston) is arrested by the Time Variant Authority (TVA), a bureaucratic organization tasked with maintaining the consistency of time itself. Because of his actions, Loki is charged with disrupting the primary timeline and sentenced to being ‘erased’ from time itself… that is, unless he helps Agent Mobius (Owen Wilson) to capture an even greater threat to the universal timeline.

After The Falcon and the Winter Soldier sought to challenge their audience, so too did they also lose the ‘appointment television’ vibe that made WandaVision such a success. Loki should change that. Instead of focussing on the weight of social issues or effects of grief, Loki provides a much-needed dose of levity back into the MCU. With an emphasis on fun and humour, Herron has created a series with a tone far closer to the wildness of Guardians of the Galaxy than the gravitas of The Falcon and the Winter Soldier. Fueled by wit and silliness, Loki has a comedic energy to it that is sure to excite fans of the franchise. (Though, it’s worth noting that the first episode is exposition-heavy as the series must explain the existence of an entirely different layer of reality that’s been added to the Marvel canon.)

Without question though, the centre of the show remains Hiddleston. After all these years, Hiddleston is more than ready to step into the limelight as his charisma has elevated the role from standard villain to one of Marvel’s most adored characters. (Has it really been 10 years since he first put on the horns?) Due to the time travel element to Loki, Hiddleston brings the character back to his more mischievous origins and clearly relishes the opportunity to bring back Loki’s shades of grey. What’s more, the casting of Wilson as Agent Mobius also provides a suitable foil for Hiddleston. Known for his more innocent charm, Wilson uses his likeability to balance out Loki’s more menacing humour and the two are instantly one of Marvel’s more likeable duos.

With the inclusion of the TVA, the Marvel universe has changed drastically. With the multiverse beginning to come into play, a realm such as the timestream has huge implications for the franchise moving forward. This is a place where ‘time moves differently’, superhuman abilities are rendered useless and Infinity Stones are literally used as paperweights. (The TVA is also the first official mention of the ‘Nexus’ after WandaVision’s famed commercial segments.) 

Of course, this sort of environment is both stunning and enticing to Loki himself. As he marvels (see what I did there?) at their unbelievable power, Loki is forced to realize how small he may truly be. In this world, time is sacred and the TVA are sworn to protect it from those who would dare to change it. As such, Loki is arrested because his escape was not ‘supposed to happen’, even if the Avengers can seem to pull it off without prosecution. (After all, their transgressions were supposed to take place…) In doing so, the series suggests that every character or person has a lane by which they much adhere. Villains are going to be villains. Heroes will save the world. For the TVA, there is little room for improvisation and everyone must behave as they’re expected to behave. 

However, at the same time, the series offers somewhat of a paradox. (That’s shocking for any time travel series, I know.) While Loki is branded a criminal for his decision to break the timestream, he is also offered the chance to make it right. Instead of seeing him solely as a villain, Mobius sees him as something more and suggests there may be another way. (“I can’t offer you salvation but maybe I can offer you something better,” Mobius says cryptically.) To Mobius, Loki’s criminal history does not negate him but instead highlights his craftiness and ingenuity and could provide a new direction for his life.

For Mobius, Loki’s future is not bound by his past.

With a return to its more mischievous tone, Loki is a welcome return to form for the MCU. With Loki, Herron, Hiddleston and Wilson have created a world of limitless potential that should be an instant hit with fans. It’s always most fun when Marvel takes risks and, while Loki doesn’t exactly stray from the style that has made them a juggernaut, it does provide its most unique character with a whole new box of toys to play with. 

Loki is available on Disney+ on Wednesday, June 9th, 2021.

Marvel’s M.O.D.O.K.: Mutant Mid-Life Crisis Makes M.O.D.O.K. Marvellous

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I mean, who doesn’t think a mutated head bent on murder and ruling the world is adorable?

Wait. Maybe I should rewind a little bit.

Marvel’s M.O.D.O.K. follows Marvel supervillain MODOK (voiced by Patton Oswalt) who has come to major crossroads in his life. After years of failure in his attempts to defeat the Avengers and take over the world, MODOK (which stands for Mobilized Organism Designed Only for Killing) has broken his villainous tech company AIM financially and it falls into bankruptcy. When AIM is sold to tech rival GRUMBL, MODOK is displaced as CEO and left in somewhat of a mid-life crisis. Things become even more challenging when his frustrated wife asks him for a divorce. Frustrated and hurt, the criminal mastermind must suddenly navigate a new chapter of his life and pick up the pieces with his family.

Created by the team behind Robot Chicken, Marvel’s M.O.D.O.K. is wild, hilarious and (somehow) charming. Offering a behind-the-scenes look into the life of AIM’s brilliant super-mutant, MODOK is a sharp and silly satire of the dark side of superhero films. Consistently having his plans thwarted by the Avengers, MODOK nevertheless remains undeterred and continues to look for ways to prove to the other supervillains that he belongs among their ranks. In this world, superheroes are beloved by all yet, from MODOK’s perspective, remain nothing but a nuisance. While the series is not related to the current Marvel Cinematic Universe, MODOK has the keys to the Kingdom with the Marvel characters and manages to create something new and different with familiar characters. (Jon Hamm’s appearances as Iron Man and Nathan Fillion as Wonder Man are particularly hilarious.)

M.O.D.O.K — “O, WERE BLOOD THICKER THAN ROBOT JUICE!” – Episode 108 — The time travelling Young M.O.D.O.K. finally exacts his revenge by kidnapping the family and replacing them with robots. M.O.D.O.K. goes to save his them, and they all end up in a twisted family therapy / battle to the death in Murderworld. (Photo Courtesy of Marvel)

Make no mistake though. Despite its Marvel roots and animated look, MODOK is not for kids. Like parent series Robot Chicken, MODOK uses its stop-motion style to go dark with his humour. From severing limbs to blood splatters to sexual humour, MODOK gives its writers the freedom to laugh at its evil acts and dives in with enthusiasm.

Although it’s popping with energy and dark humour, MODOK has a surprising amount of heart. Because of its serialized story-telling, MODOK has the opportunity to explore more than the maniacal machinations of a mad machine/human hybrid. With Loki and Thanos as the exceptions, the Marvel Cinematic Universe seems to rarely take time with their villains to properly flesh them out, creating a ‘monster-of-the-week’ vibe to the majority of their films. However, backed by some wonderful work by Patton Oswalt, Modok becomes more than a mutated floating head. In fact, MODOK manages to humanize its villain. (Not an easy feat for one of Marvel’s strangest villains.) While the entire cast are a joy to watch (especially Melissa Fumero and Ben Schwartz), it’s Oswalt who gives MODOK his soul.

In this way, the funniest part of M.O.D.O.K. isn’t the bizarre shenanigans. Instead, it’s how relatable he becomes. Despite his appearance and motives, MODOK is simply having a mid-life crisis. Though taking over the world remains his ‘job’, his day-to-day issues are relevant to us all. After a major tech company takes over his own, MODOK fears that his job is in peril. Moreover, he has also finally become aware that his over-emphasis on work has been causing problems at home and in his marriage. Realizing that his family is slipping away, his real hope is to make things right with his estranged wife and kids. In MODOK, we see a villain who wants to have it all… but simply cannot find balance within his family/work life. 

M.O.D.O.K — “O, WERE BLOOD THICKER THAN ROBOT JUICE!” – Episode 108 — The time travelling Young M.O.D.O.K. finally exacts his revenge by kidnapping the family and replacing them with robots. M.O.D.O.K. goes to save his them, and they all end up in a twisted family therapy / battle to the death in Murderworld. (Photo Courtesy of Marvel)

As such, M.O.D.O.K. empathizes with its lead character in such a way that he becomes relatable and strangely lovable. In Modok, we see glimmers of hope that he can turn things around in his life. This evil genius is not only relatable but also redeemable. In fact, we even root for him. (Honestly, I didn’t see that coming.) While the circumstances are vastly different, MODOK’s story could be many of ours and we want him to be able to make it work.

Violent, hilarious and touching, Marvel’s M.O.D.O.K. is a wonderful expansion for Marvel into the world of adult animation. However, while the writing works on its own, it’s Oswalt who makes MODOK so likable. His affability gives his supervillain a murderous innocence that makes him into someone you’d be willing to bring into your home.

Because, after all, who doesn’t think a mutated head bent on murder and ruling the world is adorable?

M.O.D.O.K — “IF BUREAUCRACY BE THY DEATH!” – Episode 105 — M.O.D.O.K. and Monica reluctantly team up to overthrow GRUMBL’s control of AIM. Their “complicated” history threatens their mutual goals as they work through their grievances the only way they know how… a mad-scientist fight! (Photo Courtesy of Marvel)

Marvel’s M.O.D.O.K. is available on Hulu on Friday, May 21st, 2021.

Academy Awards 2021: Boseman Loss Shows Why We Still Do (and Don’t) Need the Oscars

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It wasn’t supposed to go like that.

After unexpectedly re-arranging the schedule to push Best Picture up and let the acting categories shine, the Academy clearly wanted to send a message. With the foregone conclusion that Chadwick Boseman would posthumously take Best Actor for his work in Ma Rainey’s Black Bottom, it was going to definitively celebrate a young man who was taken from us far too soon after losing his battle with cancer last year. 

An African-American man. 

Black Panther.

The significance of the moment was going to be a victory to end that night that would be both emotional and satisfying. After all, at a moment when Black culture is looking for heroes, a Chadwick victory would have been a symbolic statement in honour of a young man who had become a beacon of hope for many, sending viewers home with a truly feel-good moment.

Well, we all know how that went.

After Phoenix announced Anthony Hopkins as Best Actor to close out the show, the shock was palpable. The room was fairly quiet. Phoenix had to fumble through an awkward acceptance on Hopkins behalf as he was the only nominee not available. Of course, Twitter erupted. (In some ways, you almost feel bad for Hopkins. At home in Wales, even HE didn’t think he was going to win. If I were him, I likely would have slept through the ceremony as well.)

In a moment that felt like the reverse of the La La Land/Moonlight fiasco of a few years ago, the ‘feel-good’ finale completely backfired.

Within seconds, people took to their social media and responded accordingly. Outrage! Fury! Cancel! The response was completely understandable—and expected. After all, around this time, it’s almost tradition for people to take to the inter-webs to complain about the Oscars and the choices that they proclaim are ‘Best’. People decry from the rooftops that the films the Academy selects show their irrelevancy (and, sometimes, that’s a totally fair complaint). Comments like ‘this is why I don’t care about the Oscars’ flood social media with tsunami-like force.

But the irony is that same blow-up on the Twitter-verse shows that people still do care.

While people may either be happy or furious, the fact that the reactions to these awards are so strong suggests that there’s still an interest in the results. For over 90 years, the Academy Awards have been the ‘standard’ by which success in the industry has been measured. To win an Oscar is considered one of the highest honours in the industry and, even though culture has changed a lot in recent years (and continues to do so), there remains a respect for that golden statue that continues to endure. To win an Oscar still says something. 

They matter because they matter to us.

The reason people were upset about Chadwick losing the award is not because Hopkins didn’t deserve it but rather that it meant something to them. Hopkins turned in the performance of the lifetime in the role but a Chadwick victory would have felt not only poignant but powerful. With his career still reaching his potential before his death, Chadwick still felt like someone that people could relate to, especially amongst the Black community. A win for him seemed like it would have felt like another win for them.

And it might have.

But, if the awards truly didn’t matter to anyone outside the industry, no one would have cared. There would have been no outcry or frustration. It would have simply passed on from the cultural zeitgeist and landed on the entertainment pages… not the front page… 

The problem may be that we’ve given too much credibility to the Academy. Though filled with over 1000 industry professionals, with this responsibility comes the expectation that it will represent the values of the people and the time. The truth is that they don’t always. Yes, they strive for representation and want to speak the voice of a culture. That’s why these films matter as much as Marvel films or alien invasions. They connect with a heartbeat that speaks the cries of our world.

But they don’t always speak for you and I. How could they?

With this in mind, the loss by Chadwick shows that, maybe, we don’t need the Oscars to play the same role in our culture. The truth is that, while considered the highest heights of the industry, the loss to Hopkins does not take away from his performance (or career) in any way. So many of history’s best films and performances were never recognized by the Academy. Citizen Kane, Raging Bull, Do The Right Thing, Pulp Fiction and innumerable others were robbed of ‘Oscar glory’ yet remain the most influential films of the last century. (And let’s not forget Delroy Lindo from the list of snubs this year…)

Regardless of who the Academy chooses to take home the gold, Chadwick Boseman will be remembered.

He matters. And he’s as important as he was yesterday.

I admit it. I love the Oscars. I love the pageantry, the music and the speeches. Unlike many, I love the fact that winners use the platform to speak their hearts about issues that matter to them. (I mean, they’ve been given a voice. They should use it.) I even love my Oscar pool with friends.

Ultimately though, they don’t determine which films or performances matter most. Only the ones that mattered to these people. That’s why it doesn’t really matter in the end if Boseman posthumously took home the gold. His performance in Ma Rainey’s was a thing of brilliance and it will be remembered. (In fact, it should be remembered.) This year’s Oscars may have been the most diverse in the Academy’s history. Chloe Zhao. Daniel Kaluuya. Yuh-Jung Yoon. H.E.R. Soul. Jon Batiste. All of these winners from last night show that things are changing. This was not #OscarsSoWhite, even if it did feel like #OscarsSoWrong.

The loss by Boseman doesn’t change any of this… but it’s all anyone’s talking about.

Yes, it would have made an amazing story to see him cap off his young but incredible career with a win. It would have been an emotional moment for us all. But there’s a reason that they announce the winner by saying ‘the Oscar goes to…’ They don’t want the other nominees to feel as though they are someone lesser than the others.

Because they aren’t. Not Riz Ahmed. Not Boseman. None of them, regardless of category. They all achieved something great with their cinematic achievements. And, like Chadwick’s performance, their work lives on. 

The Academy knows that. We may have forgotten it.

Message received.

The Falcon and the Winter Soldier: Battle Scars and Bank Loans

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Next one up.

With seven series and five films (!) on tap for 2021, it’s fair to say that Marvel wants to keep their schedule moving along. As a result, even though we’re only two weeks out from the finale of WandaVision (don’t you kind of miss Agatha already?), the House that Stan Lee Built has already moved on to their latest Disney+ entry with The Falcon and the Winter Soldier, a series which explores what it means to be a hero when you’re stuck living in the shadow of another legend.

The Falcon and the Winter Soldier picks up shortly after the events of Avengers: Endgame. (With no direct ties to WandaVision, there’s no obvious indication from the series where they fall in the timeline with one another.) Living from military contract to contract, Sam ‘The Falcon’ Wilson (Antony Mackie) has passed on the opportunity to take on the mantle of Captain America, opting instead to go home and help his sister deal with their family’s fishing business. Meanwhile, Bucky “The Winter Soldier” Barnes (Sebastian Stan) continues to live a life of solitude as he attempts to make amends for his past crimes. However, as a new evil lurks in the shadows, Sam and Bucky must work together to expose their plan and save the world once again.

With the global success of WandaVision and today’s release of the first episode of Falcon, Marvel (and Disney) have seamlessly moved from an (almost) exclusively MCU to the M-TV-U. But, so far at least, the most unexpected element has been the quality of the series thus far.

In some ways, it should not a shock that the Marvel product has been translating so well onto the small screen. While the MCU is known for its big budget special effects and larger than life battle sequence, the material has never forgotten its roots in comic books and long-form storytelling. (Besides, what is the Marvel Cinematic Universe if not the modern equivalent of the Saturday morning serials with a larger budget?) 

Even so, it does come as a bit startling how patient Marvel has been with their storytelling with this new venture into television. For example, in WandaVision, it wasn’t until the 3rd or 4th episode before the Marvel connections really began to take shape. With Falcon, Marvel again shows their confidence in their storytelling (and their fan base) by adopting this patient approach. Though this series will ultimately be only six episodes long, the introduction to the series primarily focuses on the challenges in the lives of our two protagonists. (Seriously, when did you ever think you’d see an Avenger struggle to get a bank loan? Doesn’t S.H.I.E.L.D. take care of their own?) While the series opens with a solid action scene, the rest of the episode focuses almost exclusively on character development, grappling with issues of PTSD and systemic racism.

It instantly impressed me.

Marvel has always been at its most interesting when they take risks. Whereas WandaVision leaned in exclusively into television history, Falcon (so far) seems committed to telling a story that focuses on what happens when the war [seems to be] over. With Sam working from contract to contract and Bucky grappling with the sins of his past, the two men are attempting to reintegrate their lives with everyone else. Though known as heroes for their time with the Avengers, they are now struggling to get by. Whether it’s trying to pay the bills or simply living with extreme anxiety, both Sam and Bucky are coming to grips with life after the shield. 

Now, of course, we know that the story is not going to end there. Teases of a new evil organization point to a more traditional MCU series of large-scale military battles on the horizon. But, for now at least, their greatest battle is understanding the legacy they leave behind. In this way, Sam’s story feels the most relevant. After having passed on the mantle of Captain America, he’s wrestling with his own worthiness as a hero and the missed opportunity to follow in the footsteps of an American icon. Sam understands that the world ‘needs a new hero [that’s] suited for the times we’re in.’ But he doesn’t believe that he can be that person…yet, anyways. (Certainly, the prospect of an African American lead taking on the role of Captain America would be an important opportunity that Disney needs to take—but that remains to be seen at this time.) For Sam (and Bucky as well), the mantle of ‘hero’ simply feels overwhelming. They know who they are and what they’ve done and, because of it, the standard of heroism simply feels too high for them to apply. 

While I’m certain that, eventually, the men will reconcile their past with their role as heroes, it is always interesting when Marvel challenges their characters emotionally. In Falcon and the Winter Soldier, there is a recognition that the mantle of responsibility must be taken seriously. At the same time though, the series also hints at the fact that all leaders are imperfect at some level, meaning true worthiness stems from some other aspect of their character.

But we’ll have to wait for the show to unravel to tell us what that is.

The first episode of Falcon and the Winter Soldier is available to stream on Disney+ on Friday, March 18th, 2021, with new episodes every Friday.

7.13 Wrapping Up WANDAVISION

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Previously on SF Radio, Heather Johnson, Miriam Ibrahim, and Dina Hamdieh joined me to talk about the first half of WandaVision. Now, the team reassembles to break the fourth wall and delve into the World of Westview once more. With the Series Finale in the rearview mirror, we discuss managing fan expectations and whether or not Wanda is the true villain.

You can stream the episode on podomatic, Alexa (via Stitcher), Spotify or Amazon Podcasts! Or, you can download the ep on Apple Podcasts!

Want to continue to conversation at home?  Click the link below to download ‘Fishing for More’ — some small group questions for you to bring to those in your area.

7.13-WandaVision-FinaleDownload

WandaVision Episodes 5 & 6: Coming Back from Cancellation

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[Caution: This post contains spoilers for Episodes 5 & 6 of WandaVision.]

Grief is a strange thing.

Whenever we lose someone that we love, our feelings can fly all over the place. Misplaced anger, sadness, relief or even joy can come at us in waves without prompting. We can fight with ourselves in disbelief or simply crumble under the weight of our emotions. Because everyone grieves differently, these feelings can be scary, causing us to ask whether or not what we’re experiencing is normal (or even acceptable). 

But WandaVision has taken this to a whole other level.

For those who aren’t keeping up (and, seriously, why wouldn’t you be?), WandaVision follows the marital bliss of beloved Avengers Wanda Maximoff (Elizabeth Olsen) and Vision (Paul Bettany). Playing out through the lens of classic television sitcoms, everything seems right in the world for the couple until cracks begin to appear in the façade that point to something more sinister.

Since it began, the show has literally stormed the globe. (Current reports suggest it’s the #1 series in the world.) What began as a history lesson in television nostalgia has edged ever closer into true horror with a conspiracy angle that’s driving the story forward. All this has blended together into something truly magical that has drawn in new audiences while connecting with those already heavily invested in the MCU. Regardless of your previous interest in Marvel, WandaVision has all of us asking the same question right now…

What’s going on with Wanda?

The most recent episodes have really leaned into the fact that Wanda is heavily involved in the machinations of this world. Neighbours ask her if she wants them to ‘take it from the top’ when things don’t go as planned. She can clearly control elements such as time and repair what’s broken when needed. She’s even brought back her brother from the dead (even if he’s not who she remembers). For her, Westview is a safe space where she has ‘everything that she wanted’ (as she indicated in her brief appearance to the S.W.O.R.D. installation).

But it still seems entirely connected with Wanda’s grief.

In the last few episodes, the series has specifically referenced Vision and Pietro’s deaths (even throwing Ultron’s name into the mix). When confronted with questions about her reality, Wanda attempts to ‘roll the credits’ in an effort to skip to the end of the episode and ignore the conversation (to no avail). And, of course, the sixth episode saw Vision almost vaporized in a Truman Show-esque attempted ‘jailbreak’.

What has become clear though is that Wanda can’t seem to bring people back from the dead. After the death of their dog Sparky, Wanda is called out by Agnes and the twins to ‘fix it’ yet she says she doesn’t have the power to do so. Although her resurrected brother and, of course, Vision seem free to live within the Hex, Wanda seems powerless (as of right now) to be able to keep those she loves from dying.

Apparently, in the Hex, there are rules about death. 

Rules we don’t understand, but rules nonetheless.

In many ways, there’s a strange comfort around death in this way. Though our grief may plead with us to keep people alive, there’s also a sense of freedom that comes from being able to let them go. Although he’s thriving within Westview, Vision feels trapped. Neither Vision nor Wanda seems at peace with this arrangement, even though Wanda seems the most willing to try to maintain the pretense of marital bliss. The loss of a loved one is never an easy experience but, assuming that Wanda is running this show, she seems to have lost all sense of objectivity. If she can have her husband and brother back, she is determined to make it happen. (Admittedly, this is still unclear. While the series is leaning this direction, I’m not convinced this is entirely her decision.) 

But, by being unable (or unwilling) to process her own grief and release her loved ones from her fantasy world, I would argue that Wanda’s really the one in prison. While her time with Vision and Pietro may have been cut short—saving the world comes at a cost—it is the time that she did have with them that matters most.

Like Wanda, we cannot control life and death… but we can celebrate the people in our lives when we have them.

Though the MCU has never hinted (officially) at any belief in an afterlife or specific faith, what seems clear is that Vision is being prevented from taking those next steps by being held on to by his beloved. In the same way, Wanda seems to have become a victim of her own marital façade. For her, hope appears to be deeply connected to her ability to release those she loves from her will by accepting the truth that they have already gone. Like any great series, there comes a time when the show needs to be cancelled. Though she cannot bear the thought of life without them, neither can she keep them alive by forcing them to stay in her fantasy world. In fact, this  release may be the greatest act of love that she can offer them (or herself).

When she does, maybe then the healing can begin.

Maybe then she (and they) can truly be free.

The first six episodes of WandaVision are currently streaming on Disney+ with new episodes airing each Friday.

7.11 Tuning In to WANDAVISION

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After a long absence, the Marvel Cinematic Universe has finally made its triumphant return. Streaming exclusively on Disney+, WandaVision tells the story of beloved characters Wanda Maximoff (Elizabeth Olsen) and Vision (Paul Bettany) who finally have the lives they’ve always wanted. However, as the white picket fence starts to show its cracks, the facade seems to point to something more sinister. Told through the lens of classic television sitcoms, WandaVision is a wild ride that pushes the Marvel Universe into the weirdest of places, giving it a charm and darkness that have kept audiences glued to their sets. Tune in this week as we’re joined by SF’ers Heather Johnson, Miriam Ibrahim and newcomer Dina Hamdia to talk about tv as a place of safety and the power of grief. 

You can stream the episode on podomatic, Alexa (via Stitcher), Spotify or Amazon Podcasts! Or, you can download the ep on Apple Podcasts!

Want to continue to conversation at home?  Click the link below to download ‘Fishing for More’ — some small group questions for you to bring to those in your area.

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WandaVision: Reviving the MCU in the Past

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To an extent, the Marvel Cinematic Universe reminds me of the old song that says, ‘How Can I Miss You If You Won’t Go Away?’

It goes without saying that, after 22 movies (including the highest grossing film of all time) that have dominated the box office to the tune of over $22 billion, the MCU has become the premiere cinematic franchise in the last decade. Like many others, I’ve thrilled at watching a series of films where alien invasions, magic powers and even time-travel have become realities in a universe that seems to have no limits. However, after Avengers: Endgame destroyed all box office records and essentially wrapped up all their active storylines, my enthusiasm for their never-ending commitment to ‘the next phase’ was waning. Frankly, I needed a break.

In this way, the pandemic was definitely good for something.

After the worldwide shut-down forced the MCU (and most other things) to go on hiatus, the break has allowed the dust from the series’ dramatic conclusion* to finally settle. After 18 months—the longest gap without new Marvel material in over a decade, if you can believe it—the emergence of Disney’s streaming empire has allowed the MCU to slowly wind up the gears for its much-needed reset. So finally, with Friday’s launch of their new Disney+ series WandaVision, the MCU has officially returned. 

And it’s about to get weird(er)… in the best of ways.

Bound to be divisive, WandaVision’s refresh is an intentionally wild and unique re-introduction to the world of the MCU. Set in the world of classic television sitcoms, WandaVision is a limited miniseries that follows the marital bliss of the MCU’s beloved power couple, the mystical Wanda ‘Scarlett Witch’ Maximoff (Ashley Olsen) and the cybernetic Vision (Paul Bettany). As the two attempt to fit in to their unconventional suburban life, Wanda can’t help but sense that a darkness lurks that threatens their utopian world.

While not their first foray into the world of television (Marvel’s Agents of S.H.I.E.L.D., Agent Carter), WandaVision is the first of their truly integrated series that is supposed to blur the lines between cinema and streaming content. Stars Bettany and Olsen are clearly revelling in the opportunity to portray their relationship with a fresh lens and the results are palpable onscreen. Bouncing around with enthusiastic energy, the duo make good use of their chemistry from previous Marvel films as they bring revive a bygone era. (Though, arguably, the real MVP of this MCU property is veteran Kathryn Hahn who is simply delightful playing an endless string of ‘best friend’ tropes.)

With its bizarre concept and style, it goes without saying that WandaVision is Marvel’s greatest ‘risk’. But, frankly, that’s always when they’re at their most interesting. Without any mention of the Avengers, ‘the Blip’ or other MCU tropes (so far), WandaVision feels like the fever dream of Marvel’s super-couple after falling asleep on the couch watching ‘Nick-At-Nite’. Having said this, that same separation is what also makes make the series work. While it feels inevitable that WandaVision will edge towards the superhero epic, this classic sitcom diversion is simply stunning to behold. With each episode, the miniseries fully leans into a different decade of the early years of television. Whether it’s the static sets of 1950s comedy ala I Love Lucy or the more mischievous whimsical atmosphere of early Bewitched, Shakman and his team have managed to recreate television history without fully losing the sense that there’s a greater Marvel story lurking underneath. Small details like separate beds for the married couple, charming theme songs and commercial breaks help build authenticity with a playful wink. (In fact, they even recorded the first episode of the series in front of a live studio audience.) 

Of course, this is a Marvel product and the premiere episodes carry with them the bubbling undercurrent of a much larger conspiracy. Though this tv world feels ‘perfect’, Wanda clearly is experiencing some form of ‘bad reception’. There’s a certain level of fragility within their suburban utopia. Mysterious messages from outside the world break through the innocence of the black and white world. 

But who is in control? Without giving away any spoilers, this tv reality seems like the type of environment that one might create to avoid dealing with the darkness of the real world. Within the heart of classic sitcoms lies a certain level of distance from cultural (or personal) change. One does not have to look any further from the (far too) gradual developments within television’s early age regarding issues of gender, race or sexuality to see that they reinforce cultural ideas designed to reinforce ideas of the dominant culture of their era. Is it possible that there’s a certain level of safety in these spaces or is something more nefarious going on with Wanda and her digital spouse? (Knowing the MCU, it’s possible that it’s both but answers have been sparse thus far.)

With a fresh tone and absolutely bonkers concept, WandaVision is a welcome re-introduction to a cinematic (do we use that word in this case?) universe that seemed to be running out of ideas. Thankfully, with the gift of time and, more importantly, creativity, WandaVision shows that Marvel is willing to experiment in their quest for content when the opportunity rises.

And, when Marvel takes risks, that’s something worth tuning in for.

The first two episodes of WandaVision are available on Disney+ on Friday, January 15th, 2021, with weekly episodes to follow.

*For what it’s worth, its fair to say that the last Marvel film was technically Spider-Man: Far From Home. However, that film was ultimately considered an epilogue on a story that ended the film prior, Avengers: Endgame.

Avengers S.T.A.T.I.O.N.: Saving the World Never Looked So Clean

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Sometimes, timing really is everything.

When Yorkdale Mall planned to bring in the world-renowned, interactive Avengers S.T.A.T.I.O.N. exhibit to Toronto, there is simply no way that they could have ever accounted for a city-wide lockdown the day of its release. After all, to bring in such events takes months—even years—of preparation and the events surrounding the global pandemic would have been simply unfathomable at the time.

Even so, with much fanfare but little opportunity to impress at this moment, the Avengers S.T.A.T.I.O.N. is officially open to the public. 

Filled with memorabilia and models from the Marvel Cinematic Universe, families can immerse themselves in the ultimate Avengers experience. The 25,000 sq/ft exhibit is based on the premise that you and your kids have been invited to participate in the Avengers training program, just in case Earth’s mightiest heroes need some extra help during the next attack. After being welcomed by a message from Agent Maria Hill (Cobie Smulders), families are encouraged to interact with games and props that range from Thor’s Hammer to Captain America’s shield.

Now, before I go any further, I know what you’re thinking. 

The first question on everyone’s mind is (and should be) public safety during the time of COVID-19. At a time when daily cases continue to rise at an alarming rate, an interactive (and highly touchable) experience in a closed space seems like the last place that anyone would want to be. Somewhat amazingly though, Avengers S.T.A.T.I.O.N. has managed to minimize risk across the board. Partnering with the city of Toronto, Marvel has managed to maintain the interactive component while making the entire exhibit touch-free. From my own experience at S.T.A.T.I.O.N., I was thoroughly impressed by their attention to safety protocols that seemed to go above and beyond the call of duty. Though I must admit that I did miss the opportunity to grab Mjolnir for myself, under the circumstances, the adaptations made by the Avengers crew were nothing short of remarkable. Aside from the normal (and hands-free) hand sanitizing stations and staff on hand ready to clean where necessary, some of their more impressive adaptations included:

  • re-usable styluses for every attendee in order to interact with exhibits, which are immediately sterilized after each use
  • double the ventilation required for the exhibits massive space in order to create better circulation
  • adapting exhibits (such as Captain America’s shield) so that photos can be taken without actually touching them
  • The exhibit only allows 10% of its normal capacity at any specific time slow to ensure guests have the opportunity for social distancing.
  • spraying the entire facility down every night with hospital grade sanitizer

Saving the world never looked so clean.

With that out of the way, guests are free to interact with the exhibits without fear. And, make no mistake, there is much to see within the S.T.A.T.I.O.N. itself. Multiple interactive games and stations line the area designed to bring reality to the whimsical world. (The touch-free game that suits you up like Iron Man as he battles Ultron’s robot warriors and interactive Incredible Hulk exhibit were among my favourites.) Behind glass, official costumes worn and props used within the Marvel films adorn the walls. (In fact, Avengers S.T.A.T.I.O.N. even has special times to adjust their volume and lights for those who may be on the spectrum or hearing impaired.) 

What’s more, there is a remarkable level of detail to the exhibit for those who want to really explore. Wakandan language within the Black Panther exhibit is decipherable and elaborate. Digital ants greet you in front of the Ant Man costume. What’s more, around the exhibit, screens are filled with information that should provide any MCU fan ample opportunity to learn more about their favourite heroes.  Finally, as you leave the S.T.A.T.I.O.N., guest will be invited to play one final challenge to determine if their ready to join the team.

All in all, the place is an absolute blast for all ages.

Though I might argue that the price is a little steep at $40 given the changes that needed to be made to adapt the experience, Avengers S.T.A.T.I.O.N. is still likely worth your time. At a time when we all need a little bit of fun, this is a truly immersive experience that wants to remind you of our need for heroes while inviting you to become one.

Perhaps most importantly though, they’re also concerned about keeping our world safe from disease as well.

Avengers S.T.A.T.I.O.N. is currently closed for 28 days and plans on re-opening on December 21st, pending government restrictions. Tickets are available for purchase from December 21st onwards at https://www.avengersstationcanada.com

Marvel’s Avengers S.T.A.T.I.O.N. finally lands in Toronto!

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Finally, the Avengers are ready to assemble!

At long last, Paquin Entertainment Group, Victory Hill Exhibitions and the Yorkdale Shopping Centre are proud to announce the CANADIAN PREMIERE of Marvel Avengers S.T.A.T.I.O.N.: The Experience.

Running from November 20, 2020 until January 31, 2021, the interactive exhibit will allow guests to journey through an advanced, multi-room training facility, where they receive unprecedented access to the most sensitive intelligence and cutting-edge science behind the Avengers.

Though there may be concerns about safety due to COVID, CEO of Paquin Entertainment Gilles Paquin assures their agues that this unique will follow safety guidelines and allow for a unique and amazing experience. A timed ticketed entry system and limited capacity allow for plenty of room to socially distance in the 25,000 square foot venue. Guests will undergo a health screening upon entry and masks are mandatory at all times within the exhibit. Diligent cleaning protocols have also been implemented. For more Health and Safety information, visit avengersstationcanada.com. 

“The Avengers movies were game changers, and this exhibition will give everyone a chance to extend and personalize their experience with this iconic franchise” says Gilles Paquin, CEO of Paquin Entertainment Group. “With our 25,000 square foot venue, you will be able to safely explore the exhibit in a socially-distanced setting.”

The Instagrammable, must-see exhibition features multiple rooms dedicated to favourite Avengers characters from the Marvel Cinematic Universe, including Captain America, Iron Man, Black Panther, the Hulk, Thor and more. Along with getting up close and personal with original props and costumes straight from the big screen, guests are invited to examine Thor’s iconic hammer, explore Iron Man’s Hall of Armour, capture photos with Captain America’s shield, experience the contactless HULKBUSTER simulator and learn about Wakanda in a brand-new Toronto-exclusive Black Panther exhibit.

The Yorkdale Shopping Centre will host the multi-room exhibition and Marvel Avengers S.T.A.T.I.O.N. retail store. The store, which is now open to the public, offers limited edition items and exclusive merchandise including t-shirts, hoodies, jackets, collectable posters and Avengers-themed toys, games and action figures from iconic brands such as FUNKO, Beast Kingdom, Hasbro, TY and Diamond comics. The store also features a very special collaboration with Roots Canada. It’s a Marvel fan’s retail dream come true. 

Powered by a partnership with Destination Toronto, Marvel Avengers S.T.A.T.I.O.N. will kick off on November 20th inside the Yorkdale Shopping Centre. Thousands have already signed up to receive information on advance ticket sales. Public tickets will go on sale on November 12th and will be limited. Please follow @avengersstationcanada on Facebook and Instagram for more details about the exhibit, and visit avengersstationcanada.com for tickets.