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Spider-Man: No Way Home – A Hero for Everyone [Spoiler-Free]

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[This review contains no spoilers for Spider-Man: No Way Home–but it does deal with themes and ideas within the film that may hint at certain elements of the story.]

There’s no question that Spider-Man: No Way Home is Marvel’s big present for fans under the tree. And, frankly, it’s everything you hope that it will be.

Taking place immediately after the final moments of Spider-Man: Far From Home, No Way Home leans into the fallout of having the Webcrawler’s identity revealed to the world. Under constant scrutiny by those who believe he murdered Mysterio, Peter Parker seeks out the help of fellow Avenger, Dr. Strange. After Peter asks him to cast a spell that will make people forget his identity, the good Doctor reluctantly helps. However, when the spell goes wrong, the effects on space/time are devastating. As other characters from the multiverse sneak into their own world, Parker must attempt to capture his mysterious foes before its too late.

There’s really no other way to say it. Despite building hype over the past few years, Spider-Man: No Way Home somehow manages to deliver the goods. Once again directed by Jon Watts, the conclusion to the ‘Home Trilogy’ balances epic scale Marvel action sequences and intimate character-driven moments that work on a number of levels. While Marvel sometimes has a tendency to sacrifice storytelling for the sake of action sequences (and vice versa), No Way Home finds a way to incorporate them into one another in such a way that they actually impact each other. (This is especially true in the film’s third act ‘mega-battle’, which actually furthers the emotional arc of the films characters.) After three films, Watts cares enough about this franchise to tell a story that means something to his team and the results are spectacular. Seamlessly blending genres and generations together, Watts creates an epic finale but never sacrifices the soul of his characters in the process.

Of course, No Way Home is an absolute nostalgia-fest for every fan of the Spidey-franchise over the last 20 years. For years, people of debated which iteration of the cinematic Spidey-verse is superior to the others. Here though, Marvel gets to celebrate them all in one big party. This is a festival of all things Spidey that should delight three eras of superhero filmgoers at the same time. 

Even if Peter Parker has No Way Home, this film is a welcome homecoming for many old friends.

However, while nostalgia may be fun for everyone, what makes the film work is that their appearances are relevant to the story through some sharp writing. By bringing back familiar faces in new situations, No Way Home could have simply devolved into a fanservice mess yet their appearances somehow further developing their original story arcs. (Returning villains like Willem Dafoe, Jamie Foxx and Alfred Molina are allowed the chance to develop their characters further without detracting from their original stories. In fact, Marvel arguably elevates their previous material in the process.)

At the same time, the film becomes a perfect finale for this chapter of the Spider-Man story. Throughout his three Spider-films, Watts has done a (mostly) impressive job spinning interesting stories for the Wallcrawler. Whereas Homecoming told a small and intimate tale of a young boy who simply dreams of becoming an Avenger and Far From Home showed that young man trying to balance his life, No Way Home takes that journey even further. Having almost literally grown up onscreen before our eyes, Holland has exemplified the youthful enthusiasm that we expect from the character. In No Way Home, further completes his coming-of-age into a true Spider-Man as opposed to Spider-Teen. Having moved through high school, Holland’s Spider-Man is now faced with understanding what it truly takes to be a hero. In No Way Home, Parker has to make decisions about his life and the safety of his friends that he would have been unable to make earlier on in the franchise. Without giving away any spoilers, this iteration of Spider-Man needed to learn what it means to sacrifice himself out of love for others. 

Why? Because that’s what heroes do.

However, No Way Home is also about second chances. Although most superhero films of the last two decades have featured heroes battling unsalvageable villains, No Way Home actually makes a point of arguing that everyone deserves a chance at redemption. Rather than writing off these villains as ‘bad guys’, Holland’s Spidey is challenged to view them as more. Here, iconic villains like Doc Ock, Green Goblin and Electro show their vulnerability and humanity more effectively than they have in other films. 

What if the ‘bad guys’ are actually the ‘lost guys’?

There’s a sensibility to this film that, maybe, anyone can change. Despite the ‘fate’ that they are dealt, No Way Home allows the opportunity for a crack in the villainous armor. Despite the negative tone of its title, No Way Home wants to believe that there is a new way for anyone who chooses it. Maybe, regardless of their past actions, there’s an opportunity for these villains to find hope. For Parker, maybe these villains are more than the sum of their darkness.

While the nostalgia is fun and action is well-executed, it’s this aspect of Spider-Man: No Way Home that truly leaves its mark. Wrapping up this chapter of the MCU’s Spidey-Verse, Watts completes the emotional arc that he began about a crew of high school kids learning how to grow up. But he also manages to tread new ground for characters that we already felt we knew. Leaning into hope for the ‘bad guys’, the film gives Spidey the chance to try to help everyone, not just his friends in his neighbourhood. 

Because that’s what heroes do.

Spider-Man: No Way Home is available in theatres on Friday, December 17th, 2021.

Venom: Let There Be Carnage – For the Love of Carnage

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Some relationships just don’t make sense. But they can sure be fun to watch.

In the new rom-com superhero flick Venom: Let There Be Carnage, Eddie Brock (Tom Hardy) has fallen on hard times. After the events of the first film, Brock has fallen on hard times. Struggling to pay the bills while living life with his frustrated (and hungry) symbiote Venom, Brock is doing everything he can to keep things together. When he is called in for an exclusive interview with serial killer Cletus Kasady (Woody Harrelson), Brock reluctantly takes the job. However, after a freak accident transfers some of Venom’s symbiote into Kasady’s bloodstream, a new terror is unleashed upon the city. Suddenly, Eddie and Venom must decide whether or not they can put aside their differences in order to work together and defeat the villainous monster known as Carnage.

Directed by Andy Serkis, Venom: Let There Be Carnage in an energetic ball of silliness. Instead of leaning into the potential gravitas of the evil symbiote, Serkis opts to create a film solely about monster mayhem and wanton destruction. (The title Let There Be Carnage is more than just a character reference.) However, in doing so, the film seems to fight many of the major tropes of modern superhero fare. For example, clocking in at a shockingly brief 97 minutes, the film leans into its story without any extra padding. (Compare that to the next Spider-Man film which has a reported runtime of 150 minutes.) There are no long soliloquys or moments where characters contemplate what it means to be a hero. Instead, the film pushes ahead with the story quickly as it builds to the inevitable superhero brawl at the film’s climax.

What’s more, despite the darkness of the character, Serkis use Venom’s relationship with Eddie to create a bromance comedy with a surprisingly light tone. In fact, the film feels more like the campier Batman films of the 90s than it does with other entries in to the Marvel Cinematic Universe. Despite the fact that Venom speaks openly about his desire to eat people, somehow the film manages to portray the demonic force as a ‘grumpy best friend’ rather than a menacing threat to others. (At one point, Venom even attends a rave wearing glow necklaces and drops the mic after speaking onstage.)

While these may seem like criticisms, the sheer ridiculousness of the franchise makes the film an absolute blast to watch. (Dare I say, it may even be refreshing?) This is a franchise that began with the expectation of darkness but has decided to surprise audiences with something entirely different. Stars Hardy, Williams and Harrelson may best be known for their more serious dramatic work yet they seem like they’re having an absolute blast leaning into the goofiness of the film. Hardy argues with Venom about taking on ‘superhero names’ while Harrelson’s sly smirk barely hides his own madness. Even Michelle Williams speaks to Venom as though he’s some form of estranged best friend as opposed to a terrifying alien symbiote. 

Underneath the laughs, this is ultimately a film about the signs of toxic relationships. Throughout the film, there are several spaces where the flaws between couples are exposed. Whether it’s Eddie and Anne, Anne and Dan, or even Cletus and Eddie, this is a film filled with duos who are struggling to keep things together. However, having said this, the best example of this may come in through Cletus and Frances as they attempt to build something, despite their issues together.

Drawn to the darkest aspects of each other, the would-be supervillain couple feed off each other’s thirst for revenge. However, despite their intense connection, their individual powers are in direct conflict with one another. With every shriek she makes, Carnage experiences pain, forcing Cletus to ask her to not use her abilities. (Incidentally, even though he cares for Frances, one could also read that as a sign of toxic masculinity where the male refuses to let his partner speak for herself.)

On the other hand, held up against the relationship between Cletus and Frances is the connection between Eddie and Venom. On the surface, the tension between host and symbiote is palpable as they want to be free from one another. However, even though they constantly bicker and fight, there’s something strangely supportive about their relationship. Whereas Eddie needs Venom’s strength and brains to find success, Venom has a difficult time finding another person that can properly host his power. For Eddie and Venom, they begin to understand the importance of the other and sacrifice their wants to make things work between them. In other words, whereas Cletus and Frances fail to find common ground, Eddie and Venom recognize that they need to humble themselves for their relationship to function in a healthy manner.

If that all sounds very strange, that’s because it is. 

But, somehow, it works.

Admittedly, special features on the disc are surprisingly sparse. While outtakes and deleted scenes are expected, the disc is definitely missing a commentary by Serkis to discuss his vision. While he does offer his views in a segment entitled ‘Eddie and Venom: The Odd Couple’, it’s really limited. Even a feature entitled ‘Tangled Webs: Easter Eggs’ that may appear tantalizing for tie-ins for future films lacks meaningful content beyond the obvious teases. (Sorry, Sony. Cletus crushing an actual spider does not qualify.)

With all that being said, Venom: Let There Be Carnage may be utter madness but it also might be one of the best comedies of the year. Wild and wacky, Serkis has bizarrely created an Odd Couple-esque relationship out of one of Marvel’s more sinister villains yet hits the right notes to keep it entertaining. So, bring on another entry.

I, for one, am actually interested to see where this relationship goes.

To hear our conversation with Venom creator Todd McFarlane, click here (audio).

Venom: Let There Be Carnage is available on 4K and Blu-ray on Tuesday, December 14th, 2021.

Hawkeye: Marvel hits a Holiday Bullseye

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Hawkeye isn’t funny. But Hawkeye definitely is.

Helmed by Rhys Thomas and Bert & Bertie, Hawkeye is an enthusiastic and energetic series that takes one of Marvel’s least charismatic heroes and lets them shine brighter than the Christmas tree in Rockefeller Square. Admittedly, a series about the ever-grumpy Clint Barton (aka Hawkeye) was not something that I expected to be excited about, especially considering the sheer number of Marvel projects we’ve unwrapped in our Disney+ packages this year. Nevertheless, Hawkeye manages to hit a holiday bullseye. Part I’ll Be Home for Christmas and part 80s buddy comedy, the series allows itself to honour Hawkeye’s serious soul while leaning into the silliness of the world around him.

Set two years after the events of Endgame, Clint Barton (Jeremy Renner) is attempting to make peace with his Avenging past. While taking his kids on a family trip to New York City to see the new Broadway smash musical, Rogers: The Musical, Barton simply wants to enjoy the holidays and take in the sights. However, when a threat from his past comes knocking, he must join forces with young Kate Bishop (Hailee Steinfeld) in order to take a bite out of New York’s criminal underworld. 

Known for his dramatic acting in his life pre-Hawkeye (remember, he was nominated for two Oscars), Jeremy Renner has never seemed to fully fit into the MCU’s quippy world of Tony Starks, Captain Americas and Thors. Marvel has done their best to find new ways to make him relatable (family man) or gritty and intense (Ronin’s revenge story). Fans of his have defended his commitment to fighting aliens when he has no superpowers while his detractors have mocked him for the same reason.

However, with Hawkeye, Marvel seems to have finally found the best way to make use of its star. By leaning into his grumpy exterior, Hawkeye let’s Renner play the straight man to the energetic youthfulness of Steinfeld’s Kate Bishop. As a result, Renner actually becomes funnier. Moments where he’s strapped to a unicorn or mistaken for Katniss Everdeen play well when Renner isn’t the one trying to make the joke work. 

We appreciate Hawkeye’s sincerity and focus. But his series reminds us that he could stand to lighten up.

Amidst the silliness and Christmas spirit, Hawkeye also fits in very neatly into Marvel’s 4th Phase. Now, three movies and five series deep (this year alone!), we can officially see the trends that have begun to take place through the MCU’s storytelling threads. Without giving any particular spoilers, Hawkeye taps into two of Phase 4’s key themes and gives it its own spin.

First and foremost, Marvel’s Phase 4 has shown its interest in passing the torch to the next generation of Avengers. By introducing multiple characters such as Yelena Belova, Shang Chi, and the upcoming Miss Marvel, She-Hulk, Ironheart and Echo series, the MCU has begun the process of introducing younger cast members who can take on the mantle of Earth’s Mightiest Heroes when the original cast decide to hang up their capes. In Hawkeye’s Kate Bishop, Marvel continues this trend by creating a character with genuine charisma and energy that’s instantly likeable. As Bishop, Steinfeld shines, portraying the character as a plucky young woman who’s determined to show the world what she’s capable of. What’s more, her adoration of Hawkeye highlights the fact that these heroes are so well known within this cinematic world that they are inspiring the next generation to take up the bow and arrow on their own. (In this way, there’s also a bit of life bleeding through the storytelling as well. While Bishop has always idolized Hawkeye and the Avengers in this world, so too are these young bloods also the ones who grew up watching these stories onscreen as well.)

At the same time, Phase 4 has also leaned heavily into the idea of ‘dealing with your trauma’. From grief to racial injustice to family pain, Marvel’s most recent stories have leaned heavily into its heroes’ abilities to focus on their personal issues while they battle world-shaking events. With Hawkeye, this trend continues as well as Barton is a man who simply wants his past to go away. Having lived his life as the vicious Ronin during the Blip, Barton wants to lean into his life as a husband and father. However, as these things tend to do, the past can only remain hidden for so long. As a result, in addition to Marvel’s trademark ‘battles with bad guys’, Barton’s greatest fight becomes having to deal with pieces of his painful past that stole parts of his soul. While the tone of the series remains fairly light, it is also willing to give Barton the chance to work through his own

With an (almost) surprising amount of fun and pop, Hawkeye is a welcome gift for the holiday season. Wildly different than the ‘time-and -space-threatening’ antics that we’re used to, Hawkeye is a light-hearted and joyful shot in the arm that is enjoyable for the whole family. 

Now, if they’d only focus their attention on bringing that Steve Rogers musical to Broadway, we could all have a Merry Christmas and Happy Holidays.

Hawkeye is now playing on Disney+.

SF Radio 8.07: Representing the World in ETERNALS

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With the release of Eternals, the MCU fully leans into its cosmic realm at long last. Spanning a story about ‘divine’ monsters over thousands of years, director Chloe Zhao unravels a narrative that asks profound questions about the universe and our place within it. So, why hasn’t it caught on with audiences? With the lowest RT score in Marvel history, Eternals has become one of the more divisive entries into the current cinematic canon, proving that (maybe) the franchise isn’t bulletproof after all. This week, the Marvel-out team of Dina Hamdieh, Miriam Ibrahim and Seun Olowo-Ake assemble to discuss the film’s strengths (and weaknesses), the relationship between leadership and power and the significance of representation.

You can watch the episode on YouTube and stream on podomatic, Alexa (via Stitcher), Spotify, Google Play 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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Eternals: Marvel Takes Itself Seriously

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Marvel’s Eternals has a Spider-Man problem.

No, the latest MCU entry does not contain direct ties to the next Spidey flick. But, in some ways, the oncoming Spidey-fest No Way Home is a great example of what will make Eternals so divisive. Although the third Home film promises multiple villains, wild crossovers and all the fun that most MCU films have to offer, Eternals offers something entirely different.

While I personally find it refreshing and engaging, Eternals is going to frustrate others.

Sent to our planet over seven thousand years ago, the Eternals are a race of immortal alien beings who have been sent to curate the Earth and protect it from Deviants, violent beasts who prey on humanity. After having defeated what they believed to be the last of their enemies, the Eternals decide to separate and live in secret amongst their human counterparts. Although, after the sudden return of half the population in the battle with Thanos the Deviants are revived with renewed hunger for blood. As a result, the Eternals must reunite once again in order to save humanity from their vicious counterparts. 

Directed by Chloe Zhao, Eternals spins an epic story that spans multiple millennia and bears her signature style. Epic in scale and beautiful, it does not put the emphasis on the pop and sizzle that has made Marvel the most successful film franchise in history. Instead, Eternals takes all of the MCU’s tropes and flips them on their ear. Never one for frenetic pacing herself, Zhao allows her love of long takes, reflective speeches and romantic interests to mark the film. Despite the fact that Eternals has the budget of other major Marvel products, it still seems to contain the beating heart of an indie film underneath. 

Similar to her work in Nomadland, Zhao wants the viewer to feel muted at the feet of an expansive world in front of you. As a result, she frequently makes her heroes seem small at the hands of an enormous universe and (literally) massive villains. Having worked on multiple MCU films, including Dr. Strange, Guardians of the Galaxy and Captain Marvel, cinematographer Ben Davis brings something unique and different to this film. Leaning into Zhao’s vision, he creates some of Marvel’s most beautiful and immersive onscreen images here, helping the viewer to experience the awesome scope of the film’s universe.

What’s more, this global emphasis also extends to its use of characters and storytelling as well. While the Avengers have always been globe-trotting, Eternals wants the film to be fully inclusive. Featuring a cast that highlights its multicultural aesthetic, the film has a global feel more than any James Bond film. Eastern weddings, western arguments and Middle Eastern sensibilities all play a part within this sprawling epic. (This will likely be the only Marvel film that contains a Bollywood number, for example.) 

Now, having said this, it’s also these details that will cause many to struggle with Eternals. Unapologetic with its intent and style, the film is a drastic departure from the ‘zip and quip’ energy of other entries into the MCU and will challenge its more casual fanbase. This is not a film that goes out of its way to be funny—although Kumail Nanjiani is a national treasure—nor does it care to be. Eternals wants the viewer to sit in the midst of its philosophical conversations and engage them. But that’s not going to sit well for a number of people.

Whereas some will marvel (pun intended) at its scope, others will feel that it is ‘slow’. Although there are those who will celebrate its willingness to delve into its complex history, others will say it’s ‘overstuffed’ with too many plot lines. While credit must absolutely be given to Marvel for backing Zhao and her unique vision, Eternalsmay be one of the first films in a long time that will prove divisive amongst its fanbase for the same reason. 

In the most interesting of ways, Eternals seems to be Marvel’s foray into the realm of DC storytelling. Marked in recent years by their propensity to lean into the grandeur of Snyder’s vision, DC has always felt more comfortable treating their heroes as god-like beings than does Marvel. Led by Superman’s divine metaphor, DC views its characters as humanity’s saviours, whereas Marvel’s stories tend to focus on man’s quest to achieve greatness or overcome their brokenness. (In fact, the importance of Disney’s first references to Batman and Superman cannot be understated.) As such, Marvel rarely delves into the realm of supernatural help. 

However, Eternals is different. It unravels an epic tale about gods who choose to help as opposed to merely heroes who fall into their responsibility. This is a story about man’s interaction with the divine and beg for answers. While the film shows these god-like beings as benevolent and loving so too, it’s also unafraid to ask complex questions about why these supposed guardians would not intervene amidst the world’s greatest crises. (Where were they when Thanos was attacking, for example?)

What’s more, one of the most fascinating aspects of the film is that the gods themselves disagree on their mission. Without getting into spoilers, some of the Eternals view humanity as worth saving while others are not so sure. The fate of the world hangs in the balance of these beings who, for all intensive purposes, do not have to help those under their care. They have seen humanity’s flaws and must decide whether or not we matter enough to save… and what it means to do so.

Quite simply, these are not questions that Tony Stark ever had to answer.

Even so, while what makes Eternals so special to me, it will undoubtedly drop to the bottom of many’s list of favourite Marvel movies for the same reason. One hopes that Marvel does not get scared off by early response to this film and allows Chloe Zhao to continue the narrative. (And yes, there are two post-credit scenes worth staying for.) This is her story and it would be a shame for someone like James Gunn or the Russos to step in and make it more palatable to a wider audience. Personally, I believe this is a film that deserves to be re-watched, discussed and reframed. 

However, admittedly ‘fun’ is not the first word to describe it. And, that could be unfortunate for its box office returns.

Now, when is the next trailer for Spider-Man coming out…

Eternals debuts in theatres on Friday, November 5th, 2021.

8.02 Family History in SHANG CHI AND THE LEGEND OF THE TEN RINGS

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In SHANG CHI AND THE LEGEND OF THE TEN RINGS, Sean (Simu Liu) is enjoying his life of simplicity in San Francisco. However, when a group of hired assassins attempt to attack him and his friend Katy (Awkwafina), Sean must re-enter a world that he has left behind in an attempt to stop an old foe from destroying the world. This week, Jason Thai and Daniel Collins drop by to talk about celebrating culture, breaking free from our parents’ legacy, and owning who we are.

You can watch the episode on YouTube and stream on podomatic, Alexa (via Stitcher), Spotify, Google Play 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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Shang Chi and the Legend of the Ten Rings: Celebrating (and Owning) Culture

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In Marvel’s Shang Chi and the Legend of the Ten Rings, skilled fighter and assassin Shang Chi (Simu Liu) is confronted by the family legacy and past that he thought he had left behind. His father is known as The Mandarin, the leader of the Ten Rings organization and one of the most villainous people in history, uses a legendary weapon to give himself immortality and power so great that it rivals Thanos’ Infinity Stones. After Shang Chi escapes his father’s grasp and flees to San Francisco, The Mandarin recaptures his son and wants him back in the fold to help with his master plan. 

There has been a great deal of attention lately focusing on Asian hate during the pandemic. (In fact, as crimes and hate against Asians have increased, Shang Chi earned terrible early reviews on Google despite not having been released to the public yet.) However, with an uncompromising vision, one of the best aspects of Shang Chi is that the movie never tries to “whitewash” him or the story to appeal to the general audience. Instead, the film embraces Asian representation and use of culture in all aspects, from the wardrobe, fight scenes, backgrounds, mythical creatures, weapons, and even allowing them to speak Chinese onscreen. 

Like Black Panther’s celebration of African culture, Shang Chi shows the audience just how rich Asian culture can be and how much great talent there is in Hollywood right now that is being overlooked. The whole movie is really an immersive cultural experience and those who have never seen an Asian-led film before are going to be blown away. Of course, it still does also do all of the great things that have made Marvel be so successful as well, such as its trademark witty humor, CGI glory, and super creative/intense superhero fight scenes. (Incidentally, in its set pieces, Shang Chi really creates martial arts scenes that you’d expect to see from a classic Jackie Chan movie, a style which blends really well with Marvel’s cinematography and choreography.) As an absolute huge celebration of Asian culture, Shang Chi is a huge step in the right direction for inclusion and diversity for Disney and the movie industry as well. (And, of course, make sure to stay for both after credit scenes.)  

Marvel’s first Asian led superhero movie, Shang Chi takes its audience on a mythical journey of intense martials art action mixed with a storyline that really speaks to Millennials and Gen-Z’s. Being a second (or longer) generation immigrant, there is often a huge lack of cultural identity. For example, while you may grow up learning bits of your background and know that you are Asian but you may not really identify (or want to identify) with your culture. In this way, you can be kind of tied between your ethnic origins and the culture of the country that you’re growing up within. Especially when as a child, you’re constantly bombarded with media that does not celebrate or acknowledge you. This notion also relates to Shang Chi himself, as his character arc follows the story of a second-generation immigrant who is troubled by his past and the legacy that his father is forcing on him.

Typically, the aspirations of a tiger parent are known for pushing their kid to become something that they don’t want to be. For many Asian parents, this dream is for their child to become a doctor or lawyer. For Shang Chi, however, it’s to become head of the Ten Rings. Wanting nothing to do with his heritage, Shang abandons it entirely by running away and completely disassociating himself with it. (In fact, he’s even ashamed of his true origins.) The relatability of watching him is how a lot of Asians feel about their family and culture too. To these youth, their parents’ culture is something to hide and attempt to break free from. Without giving away any spoilers, it’s only after Shang Chi goes on this adventure and confronts his family and homeland that he reconnects with his roots. In doing so, he begins to feel some pride in who he is and who he can become. (“You are a product of all that have come before you,” he’s told.) Personally, I really believe that the film uses this to highlight the struggle for younger Asians to acknowledge their culture and own their background is a part of who they are now. There is a message of cultural celebration within the film that invites second-generation immigrants to be proud of their heritage, rather than hide or be ashamed of your own race. 

Overall, Shang Chi and the Legend of the Ten Rings is an amazing celebration of Asian culture that was long overdue. By celebrating Asian culture, Marvel has really taken a great step in the right direction at a time when it’s needed. As the latest new character into the MCU, the film is fueled by family ties that really drive the story and demonstrate the struggle of the next generation to connect with their history. 

Shang Chi and the Legend of the Ten Rings is in theatres on Friday, September 3, 2021

What If…?: Hitting the Reset Button

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I try to stay away from spoilers, but just in case, SPOILERS ARE POSSIBLE for the first three episodes.

I have to admit it, but sometimes the MCU exhausts me. Now don’t get me wrong. I love it, especially over the past few years as I’ve gotten more involved in the screening and reviewing and podcasting side of things. 

But the analysis? As the young kids say, “sheeeeeesh.” Trying to keep up with all the hidden meanings, easter eggs, comic references, and above all, trying to predict everything that is and was and ever will happen is absolutely a full time job. And sometimes, I really just want to watch something new that I don’t have to try and analyze.

Enter What If…?, the newest Marvel series airing on Disney+. I went into the first three episodes feeling absolutely free because I figured “hey, who knows where this will go.” And personally, I was totally right. It did everything I hoped it would. It connected me with the characters I loved, it stayed true to the heart of the storylines while simultaneously flipping the script on old expectations. The animation kept it youthful and energetic and before I knew it, and it’s absolutely a great tie in to all the impact that Loki has made on all the timelines everywhere in the multiverse.

Episode one takes us back to the original Avenger – Captain America – and marks the moment of Peggy Carter’s (Hayley Atwell) choice to stay in the room. From there, the entire trajectory of both her and Steve Rogers’s stories changes. Forced to make a split-second decision to save the Super Soldier mission, Carter takes Steve’s place and receives the serum. Fighting the same battle but with a new role, Agent Carter faces an even greater uphill battle as she rebrands herself “Captain Carter.” Not only facing the typical gender stereotype of being a woman in a ‘man’s role’, she also finds herself facing a monster we have yet to truly see – and the result will reverberate across other timelines.

Episode two takes two of my favorite stories: Guardians of the Galaxy and Black Panther and gives us a galaxy in which the enigmatic T’Challa is able to persuade even the most deadly of villains (ahem, Thanos) to work towards a more peaceful universe. Oh how wonderful it was to see Chadwick Boseman’s iconic work as Black Panther on screen once more. He 100% embodies T’Challa, and there will never be another one like him. That compelling portrayal gives life throughout this episode as T’Challa wrestles with what it means to serve both his people and the universe. 

Episode three really pulls no punches when showing us what could happen if the Avengers were never the Avengers. Instead of joining together, they are targeted one by one, and Fury (Samuel L. Jackson) is left facing a vengeful Loki (Tom Hiddleston really is in his element these days) threatening to destroy the world. But he’s not out for domination… at least, not initially. Instead, they must work together to catch a far more elusive foe, but as we all know about Loki, he’s always got something up his sleeve. 

See? No analysis. No guessing games. No frantic fan theories. At least not from me. What If…? is the kind of series that is free to reset expectations and do something out of the box. In a word, it’s fun. Pure, good, fun. And I’m here for it. 

Catch it now on Disney+, and enjoy! We can all analyze later 🙂

Black Widow: Good Hair is a Game Changer

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Do I even have to put a SPOILER WARNING here? Because we will be talking about Black Widow, so…yeah…potential spoilers.

I have short hair. Most days I can leave it down and it doesn’t cause any distractions or issues with my day-to-day activities. But, if I’m going to be doing things like cleaning or travelling, I’m going to somehow put it back out of my face and out of the way. The last thing I want to worry about when I’m active is my hair.

Can you imagine fighting to take down the universe’s most terrifying and powerful villains with your hair in your face? Because pretty much until Endgame and this movie, our mightiest female heroes have worn their hair down. And if you’re wondering why I care about this so much, let me explain. But first, a brief summary of where we are now that Black Widow has released.

Eleven years after her first appearance in Iron Man 2, Natasha Romanoff (Scarlett Johansson) is finally getting her story. Set between the events of Captain America: Civil War and Avengers: Infinity War, Black Widow shines the light on the shadows that have been Natasha’s elusive past. We’ve gotten some brief glimpses into her Russian training and connections and we’ve seen hints to the emotional burdens she wears. Since we can’t go back to the very beginning of her story, I wasn’t sure how we were going to see the path between who Natasha was, and who Natasha now is to us.

As she begins her time on the run after breaking the Sokovian Accords, Natasha is pulled back into a mission she long-believed was handled. She describes Budapest (an event she and Hawkeye (Jeremy Renner) recall during the first Avengers), as the final step to her defection to S.H.I.E.L.D., effectively finalizing the cleansing of the “red in her ledger.” But she was wrong. A mysterious package arrives at her safe house with a clue about who needs her and she has to seek out the very people she once felt betrayed by.

In the later movies, Natasha thinks of the Avengers as her only family. But we quickly learn here that she once had a sister, a mother, and a father. Even though it was artificially made as a cover for a covert Russian operation, there were a few years where Natasha had a normal life. But it was not to last.

Her “father” was actually Alexei Shostakov (David Harbour) aka Red Guardian aka Russian Captain America. He and brilliant scientist and fellow Widow (and “Mom”)  Melina (Rachel Weisz) had Natasha and “sister” Yelena (Florence Pugh) under their wing until the time came for the girls to begin their training at the Red Room. Together they must work to finish the mission Natasha started all those years ago.

The target? One of the creepiest villains I’ve seen in the MCU yet, Dreykov (Ray Winstone makes him almost TOO real). Mastermind behind the Red Room – an elite training facility that transforms orphan girls into world-wide assassins that work to keep Dreykov in power over the world’s most influential leaders – Dreykov has perfected a mind-control serum with Melina’s genius that ensures his Widows will deliver on his every command. He exploits both their vulnerability and sexuality and rewrites their reality – until Yelena defects and Natasha jumps in to free the Widows from Dreykov and destroy the Red Room for good.

How does any of this lead into a conversation about hair. Well, let’s think about it. For one, Black Widow’s hair has been a topic of conversation since Johansson brought her to life on the big screen. People complained it was too short, it was too long, it was too curly, it was too straight, it went blonde, etc. Here we have someone who regularly takes out pretty scary and powerful enemies, and we are talking about if her hair is right to the character. Dude – I just always wanted to know why it was down? In Endgame, we finally see her hair up for most of the movie, maybe because in space it’s more acceptable? Or because the scene had been set for years’ worth of searching for ways to undo all that Thanos had destroyed, and suddenly it didn’t matter? For whatever reason, I was thrilled to see exceptionally powerful women go into full battle mode with their hair up in Black Widow.

The contrast between Yelena wearing her hair up from the beginning but Natasha evidently having had to take a journey for it to be acceptable to wear her hair up is hopefully a glimpse into the future treatment of female super heroes in the MCU. Yelena has the same sarcastic wit of Captain Marvel, the same desire for what was fake to be real as Wanda, and the same moral compass of Gamora’s change of heart. She is set up to take on the mantle of Natasha and she’s not here to play games. And as silly as it’s going to seem to people, seeing her with her hair up throughout the film gives me confidence that female superheroes are being equipped to fight the same battles as their male counterparts. In continuation of illustrating this point, I give you the original Avengers:

  1. Captain America. Helmet. I don’t know how effective it is but it’s there. And he’s enhanced.
  2. Iron Man. Obviously. And he’s enhanced.
  3. Thor. Yes his hair is down but he can also fly and call lightning to his very hands. And he is a god.
  4. Bruce Banner. One word: Hulk. And he’s enhanced.
  5. Hawkeye. No head covering, but he mostly fights from a distance…because you know, #bowandarrows.

Captain Marvel had a helmet and a much more protective suit but, to this day, people condemn her character – even though she has been the closest one to receiving equal treatment. And she’s enhanced. Natasha fights on the ground, hand-to-hand, and her hair is curled and flowing the whole time. Now I don’t know much about the comics, but, as an average movie-watcher, it’s always bothered me. So forgive me if such a trivial detail has had such an impact on me. Because it demonstrates strength. And it’s just one piece of how Black Widow successfully created a storyline laced with vulnerability in such a way that made the women stronger as opposed to needy. Hair down to hair up is a key element of this transformation.

For years, Dreykov (Ray Winstone and one of the creepiest villains-to-date) exploited the emotional vulnerability and the sexuality of orphaned and discarded girls and controlled them in order to maintain his power over the world’s most influential leaders. We know this because we have seen Natasha use it in previous films, whether she is using staged modelling photos to distract Tony from her identity or secretly interrogating Loki by using her past as a tool to get what she wants out of him. She was trained to do that, and so were the hundreds of Widows trained after her. The ponytail, the braids, even the earrings…all of them work together as a visual representation of the strength of these women to do what needs to be done. In Black Widow, they are being freed from the constraints of how they have been viewed and used by those around them.

And for me at least, it’s about dang time. If I’m not going to clean with my hair in my face, I sure as heck ain’t saving the world with it in my face. And now my heroes don’t have to either.

Black Widow is now available in theatres and on Disney+.

Black Widow: Spinning Her Own Web

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Marvel makes movies.

Of course, you could be forgiven if you’d forgotten this. With the recent push to extend the MCU into the world of streaming with buzzy series like WandaVision, The Falcon and the Winter Soldier and (now) Loki, it might seem like they’d forgotten about their status as the Crown Jewel of the Box Office.

Even so, while this heavy emphasis recently may have been (partially) inspired by the lack of movie screens during the pandemic, Marvel refused to budge on the release of Black Widow. For Kevin Feige, the intent was always to bring people back to theatres with a bang. So, we saw release dates pushed back further and further. (So much, in fact that there are 4 films coming in the next 6 months…)

Now, with the release of Black Widow, we can finally see why.

Immediately following the events of Captain America: Civil War, Black Widow follows Natasha Romanoff (Scarlett Johansson) as goes out on the run. Hunted by the US government, she takes a step into her old life with the hope of disappearing into the night. However, when Romanoff is forced to confront a dangerous conspiracy with ties to her past, she must re-assemble the estranged members of her family and deal with her own broken story in the process.

Directed by Cate Shortland, Black Widow is absolutely something to behold. Part James Bond and part Mission: Impossible, Widow is a globe-trotting adventure that gives Widow her due. In Black Widow, Johansson steps out on her own with a film that takes itself more seriously than many other films in the MCU. Anchored by a solid script by Jac Shaeffer and Ned Benson and some marvelous action scenes, it’s easy to see that the ‘cinematic’ side of the MCU is where they believe their emphasis (read: money) lies. In Black Widow, set pieces simply feel… bigger. Avalanches crash, floating buildings fall, and motorcycles rumble through the streets of Budapest in scenes that are are absolutely eye-popping. When compared to WandaVision’s climatic magic snowball fight or Falcon’s final showdown, it’s clear that these are action sequences are designed to be experienced on the big screen.

Of course, the greatest victory in the film is that it finally gives Johansson a chance to shine without the help of her fellow men in tights. (“I’m better on my own,” she argues.) Whereas Widow’s other appearances in the MCU have either sexualized her (Iron Man 2) or forced her into various relationships with other Avengers (Captain America: The Winter Soldier, Avengers: Age of Ultron), Widow portrays her character every bit as heroically and confidently as her super co-workers. (In fact, several of the film’s best jokes are at the expense of her previous portrayals.) Here, Romanoff is depicted with intelligence, strength and—most importantly—individuality.

Although it has a global scale, the film itself feels very personal and, surprisingly, small in its scope. In other words, this is not a film where the fate of the world is at stake but instead focuses on Romanoff herself as she attempts to work out the traumatic events of her past. Though it has been referenced in previous films, much of her history has only been mentioned in brief segments, such as ‘Budapest’ or ‘having her surgery’. While Natasha’s rage has been the motivating factor for her character, the MCU has never taken the time to properly explore it.

With Widow though, Romanoff finally has the opportunity to face the demons of her past. By reconnecting with her ‘family’, she begins to navigate the complex nature of their relationships. By revisiting her old life, she has a chance to reconnect with the story that made her the invaluable member of the Avengers that she has become.

Then, of course, there’s the Red Room itself.

Having been moulded from childhood into a weapon by the Red Room, Romanoff has long spoken of the fact that she’s got ‘red in her ledger’. Although she has managed to walk away from the psychological torture of the Room, she still remains somewhat controlled by its abuse. Without any spoilers, there remains shadows in her mind that continue to haunt her. As a result, Black Widow is a film that is very much about reclaiming power and control. By confronting the Room, however, Romanoff has the opportunity to finally do battle with that evil influence and release herself (and potentially others) from it in the process. 

For her first (and I think it’s fair to expect more) solo adventure, Black Widow is wildly entertaining. Fueled by heart, humour and action, the film has the style and scope that you would expect from Marvel without ever losing its soul. Most importantly though, Widow finally gives Johansson the starring vehicle that she deserves and sets a standard for female-led superhero films moving forward.

Black Widow is available on in theatres and on Disney+ on Friday, July 9th, 2021.