Category Archives: Comic Books, Jack Fisher, Superheroes

Why We Should Embrace Married Superheroes

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What is more emotionally satisfying than seeing someone you care about find happiness? Whether it’s a friend, a sibling, or even a celebrity you admire, don’t you feel a twinge of joy when you see them achieve something special? Unless you’re a cynic or a sociopath, you’ve probably had those feelings at least once in your life.

With those warm and fuzzy feelings inside, why shouldn’t that also extend to the iconic superheroes we know and love? When our favorite heroes finally get around to marrying the love of their life, it’s natural to want to cheer them on the same way we would cheer for our best friend as he and his bride do karaoke at the reception.

However, those tasked with building the canon seem to have an aversion to married superheroes. Just this past summer, that aversion was on full display. Two major superhero weddings were set up, one involving Kitty Pryde and Colossus in X-men Gold #30 and the other involving Batman and Catwoman in Batman #50.

Sadly, both events ended without tearful vows and a drunken toast, although one salvaged a matrimonial quickie at the last second. I’ve already broken down how one wedding just prolonged an already drawn out romance while the other denigrated the entire concept of romance, as a whole. Rather than bemoan those romantic misfirings, I’d like to step back and look at the bigger picture of married superheroes.

This is actually a controversial issue among fans of superhero comics and those who create them. I’ve been browsing comic book message boards for years. I can attest to just how much fans care when their favorite characters get married. They continue caring long after the wedding reception.

On the other side of the controversy, though, there are the creators that work for Marvel, DC, and their corporate overlords. They have a slightly different view of married superheroes and one that’s not nearly as sentimental. To say their views are complex is like saying a plumber has mixed opinions on food poisoning.

While many of those writing, editing, and producing superhero media are fans themselves, they often have to leave their fandom at the door. Companies like Marvel and DC Comics don’t pay them to write fan fiction. They pay them to tell stories that will sell, increase the value of their brand, and improve market share.

A writer or editor’s ability to do this is prone to many challenges. Fans, especially comic book fans, are notoriously fickle with their passions. If they see something they don’t like happening to a character they love, they’re pretty vocal about it. Just ask fans of Captain America, the Fantastic Four, or Cyclops of the X-men.

In that respect, I have some sympathy for the people responsible for handling beloved characters. They’re basically playing with someone else’s toys and getting paid for it. However, if they break those toys or damage them in any way, there can be hell to pay. Just look at the current situation with Star Wars.

That sympathy, though, only goes so far and I can’t extended to how some at Marvel and DC have approached marriage. DC Comics editor, Dan Dido, once went on record as saying that superheroes should not get married. Long-time Marvel editor and COO, Joe Quesda, even had to justify breaking up Spider-Man’s marriage to Mary Jane Watson by claiming that it “stabilized” Spider-Man too much.

Now in general, I try to be understanding and respectful when people hold positions that I disagree with. I’ve even tried to do that with hot-button issues like abortion, feminism, and organized religion. In this case though, I just have to call bullshit.

Claiming marriage does too much to stabilize a superhero is like saying ketchup makes food too red. It gives the impression that stability is somehow a liability with superheroes, as though they can only be interesting when their world is falling apart and they’re one stubbed toe away from a nervous breakdown.

It’s true that we superhero fans love seeing our favorite heroes fight back invading aliens, punch Nazis, and even take on renegade alien gods. However, it’s also true that we don’t expect or want that to be the only story that superheroes tell. We’re also interested in the lives they live outside their flashy costumes. It doesn’t just humanize them. It gives us more reasons to root for them.

Both Mr. Quesada and Mr. Dido try to make the case that part of being a hero involves sacrificing parts of their personal life in order to serve the greater good. There’s little doubt that being a hero comes at a price, as many of Batman’s former lovers can attest, but that doesn’t have to involve outright isolation.

It also doesn’t mean being a superhero makes a functioning marriage impossible, either. Yes, it’s a lot harder to be a loving spouse and a superhero, but I wouldn’t say it’s as daunting as battling planet-eating space gods or surviving a team-up with Deadpool. In fact, it can enhance their heroics in ways that go beyond romance.

I’m not the only one to make that point either. In wake of the recent wedding debacles by Marvel and DC, Comic Books Resources asked why publishers are so afraid of married superheroes. They cited the same excuses I did about heroes needing to sacrifice, but they also pointed out how these kinds of real-life, mundane events help people connect with these characters.

What the article didn’t get into is why this matters. Superman is a hero with god-like power who can move planets and create diamonds with his bare hands. He’s also married to Lois Lane and still has to put in the effort to make that marrage work, even when it becomes prone to complications.

Reed Richards of the Fantastic Four is among the smartest beings in the entire Marvel Universe. He creates thought projectors, flying cars, and personal robots without breaking a sweat. He too has to work hard to keep his marriage and family functioning, especially when a handsome Atlantean king keeps trying to sleep with his wife.

Then, there’s Spider-Man. I know I’ve brought him up a number of times and not always in a positive light, but what happened to him and his marriage is still one of the most controversial things that have ever happened in comics. In many ways, he embodies the ultimate flaw in the excuses to undercut married superheroes.

In the infamous story, One More Day, Spider-Man’s marriage to Mary Jane Watson wasn’t just undone. He actually made a deal with Mephisto, Marvel’s stand-in for the devil, to sacrifice his marriage in exchange for saving his Aunt May’s life. Considering his Aunt had told him just a few issues ago that she didn’t want to be saved, Spider-Man still went through with it.

To say fans were upset by that decision would be like saying the Hulk has a slight anger management problem. This act didn’t just undercut an iconic superhero romance. It essentially reverted Spider-Man back to the state of an immature loser who had barely grown up since high school.

Again, Marvel made plenty of excuses. Long-time Spider-Man writer, Dan Slott, claimed that Spider-Man has to remain within a particular status quo. He has to keep being this lovable loser who is always struggling to hold down a job, keep a girlfriend, and still be a hero. In order to keep that unique appeal he has, and all the merchendising money it makes, he can’t be married.

I understand that logic, but I still call bullshit. You know what happens to characters who never change, grow up, or evolve over time? It’s the same thing that happens to real people. They become boring and unlikable. In Spider-Man’s case, he becomes something worse. He becomes the guy who sold his marriage to the devil to save someone who didn’t even want to be saved. That’s not heroic. That’s just plain selfish.

That’s the price a superhero pays for remaining in a prepetually regressed state. I contend that price is far higher than any associated with the inherent difficulty of writing married characters. With Spider-Man, One More Day established that no matter what he did in his personal or heroic life, he would never change. He’d always end up sleeping on his Aunt May’s couch.

It doesn’t matter if he pursues a new romance. It doesn’t matter if he becomes a billionaire and runs his own company. A reader can just assume he’ll screw it all up somehow and end up right back where he started. It’s just hard to root for any character that keeps regressing like that.

It’s like rooting for a sports team that never wins. Even terrible teams can turn it around at some point. Yes, that includes the Cleveland Browns. If that team never wins, though, why even root in the first place?

This is why marriage is so vital to the growth and evolution of superheroes. When a hero gets married, it’s not just an excuse to have a big event full of superhero-themed cakes. It’s a culmination of a much larger story about love, growth, and strength. It takes a lot to make a marriage work and not all of it can be done with superpowers.

Therein lies the ultimate appeal, though. When a superhero gets married, they go from simply pursuing a relationship to actually making it work. They have to learn how to build a life with another person and become part of a larger family, something that cannot and should not be exclusive to the Fantastic Four.

It fundementally changes how superheroes approach their lives, in and out of costume. It adds new layers of complexity and intrigue. Yes, it’s considerably harder than telling stories about Superman rescuing Lois Lane from Lex Luthor’s evil clutches. That’s exactly what makes it more compelling.

I don’t doubt that Marvel and DC will continue making excuses about married superheroes. Whether or not their approach to the issue evolves remains to be seen. However, since they’re in the business of keeping their characters relevant, they will have an incentive to adapt these characters for changing times and maturing audiences.

Being the romantic I am, I believe love will eventually win out in the end because love is part of why we root for superheroes in the first place. Love isn’t just about being unselfish. It’s also about achieving something special after so much sacrifice. Fans of superheroes want to see them achieve the things they struggle for. It affirms that all those heroics have meaning and purpose.

Marriage doesn’t have to be the ultimate achievement for a superhero. It can be part of it, though. It doesn’t have to be an end. It can be a beginning, as well. Until Marvel and DC lets its heroes get to that point, though, those stories won’t get told and hearts will keep getting broken for all the wrong reasons.

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Filed under Comic Books, Jack Fisher, Superheroes, Love Or Obsession, Marriage and Relationships, romance, superhero movies, X-men

The Emerging Problem Of Superman And Lois Lane

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I think I’ve made it fairly clear that I’m a big fan of superhero romances. I’m a big fan of romance in general, but romance between superheroes has a special place in my heart. I was a comic book fan before I was a romance fan. As the years have gone by, it has been among my favorite combinations. I put it up there with pizza and a cold beer.

It certainly helps that superhero comics have inspired some of the most iconic romances of the past century. Say what you will about Rose and Jack in “Titanic.” I still find the love story between Batman and Catwoman is much more complex and compelling in terms of depth, not to mention many times sexier.

Superhero comics have informed a lot with respect to my fondness for romance. I also think they offer unique insights into the complexity of romance. Love is complicated enough. Adding superpowers and super-villains into the mix only compounds the drama. Sometimes it can end in tragedy. Sometimes it can make for some truly epic romance that strikes all the right emotional chords.

In some instances, though, mixing romance and superheroes can cause problems. Like relationships in the real world, there are many ways to screw it up. Comics have done plenty to mishandle romance. Just ask any Spider-Man fan about a story called One More Day and watch them recoil with disgust. I’ve even noted a few examples.

However, there are some instances where romance in superhero comics cause unique problems that are subtle in substance, but vast in implications. It doesn’t always involve relationships that are inherently toxic to multiple characters. Sometimes, those problems can emerge in even the most iconic relationship.

In the pantheon of superhero romances, the top spot is usually reserved for Superman and Lois Lane. In terms of romance in superhero comics, they are the gold-encrusted diamond standard by which all others are measured. Their love is isn’t just iconic. It’s a foundational component for both characters.

Superman loves Lois Lane. Lois Lane loves Superman. That romance is established in the pages of Action Comics #1. It’s a critical part of how both characters evolve over the years. You can’t tell Superman’s story without Lois Lane and you can’t tell Lois Lane’s story without Superman.

In the same way Superman always does the right thing and Deadpool always makes the dirtiest joke, this dynamic is fundamental. It establishes the kind of romance that is pure, unconditional, and uncorrupt. There’s no need for a previous love interest to die or a love triangle to provoke drama. Superman and Lois Lane just love each other and that’s all there is to it.

However, even with a romance this iconic, there is a problem and it’s actually a very recent problem. It affects both Superman and Lois Lane, but I believe it affects Lois to a much greater extent. It stems from an issue that I’ve been noticing more and more lately with certain romances. When it shows up in the most iconic romance in the history of comics, though, I take notice.

The nature of the problem has less to do with love and more to do with how a relationship defines certain characters. In both fiction and real life, it’s common and even romantic for two people to become so close that their lives become heavily entwined. There comes a point, though, where it stops being romantic and starts being destructive.

For most of their history, Superman and Lois Lane’s romance was built around simple, but effective dynamics. Lois Lane loved Superman, but not Clark Kent, who she didn’t know was Superman. Superman kept his identity from her to protect her many years, which created plenty of tension and made for some great moments.

Eventually, Superman reveals his identity to Lois and they eventually get married. I remember that moment. It was an amazing milestone for both romance and comics lore. The problem only came when that dynamic was complicated by a new theme that has since permeated the narrative.

It didn’t start at any particular date, but I think “Superman Returns” marked the unofficial turning point. That movie, on top of turning Superman into a deadbeat dad, made a small, but critical tweak to the Superman/Lois romance. In essence, it turned their love from a strength to a liability that is detrimental to the ideals of Superman and romance, as a whole.

At the beginning of that movie, Superman’s actions are the same as they’ve always been. He does the right thing because it’s the right thing. That’s who he is and why he’s so iconic. Towards the end, though, what he does becomes less about doing the right thing and more about resolving his relationship with Lois Lane.

Suddenly, doing the right thing and saving Lois aren’t just supplementary plots. They’re indistinguishable. One is the other and that’s a problem for reasons that go beyond romance and heroism. It wouldn’t have been that big an issue if it had only played out in one sub-par Superman movie, but in recent years, the problem has escalated.

It manifested in its most overt form in “Injustice: Gods Among Us,” a video game with a comic book series tie-in that essentially provides a worst-case-scenario for Superman. In this story, Superman is tricked into killing both Lois and his unborn child by the Joker. It’s not just an atrocity and a tragedy. It fundementally breaks Superman.

I’m not just referring to his spirit either. The death of Lois Lane also marked the death of Superman, as an ideal. In both the game and the tie-in comics, he’s no longer a hero. He’s a tyrant who becomes everything he once fought against. I wouldn’t go so far as to call him a villain, but he’s definitely not the beacon of goodness that so defines his character.

While it makes for a powerful story, the particulars of that transformation are profound and not in a good way. It implies that Superman’s heroism is directly tied to Lois Lane and not supplemented by it. If she dies, then Superman ceases to be that iconic hero who stands for truth and justice.

That sends the message that Superman’s love for Lois Lane isn’t a strength. It’s a crutch. She’s not just his connection to humanity. She’s his lifeline. Beyond putting a burden on a character whose appeal is her ambitious pursuit of truth, it reduces Lois Lane to a singular role and one that’s impossible to maintain.

Unlike Superman, Lois is human. She’s going to age. She’s going to eventually die. Under this dynamic, Superman will eventually lose sight of his ideals. He’ll eventually stop being the hero that fights for truth, justice, and the American Way. Without Lois, he’s destined to give up and for a character who once moved the sun, that’s pretty weak.

This issue came up again in the plot for “Batman v. Superman: Dawn of Justice.” While I enjoyed the movie and don’t think it deserved half the criticism it got, there was one major issue that I felt undercut the story. Once again, it came back to Superman’s relationship with Lois.

Throughout the movie, Superman constantly questions his role and responsibilites as a hero, especially after seeing Batman’s approach to pursuing justice. That’s perfectly appropriate with respect to humanizing his character, but at the end of the day, he bases much of his decision to save the day around saving Lois.

That’s not to say that there isn’t merit to saving a lover, but this is Superman we’re talking about here. This is a hero whose entire appeal is built around him having god-like power, but still doing the right thing. When the right thing is only ever in the context of saving his girlfriend, then that undercuts both the ideals and the romance itself.

It’s largely for that reason, among others, that I find the romance between Superman and Wonder Woman more compelling. Back in 2012, there was a brief period in DC Comics where the timeline was tweaked, which happens fairly often, and Superman’s marriage to Lois Lane was nullified. That gave these two iconic heroes a chance to be together.

I could probably write several more articles about why I think the Superman/Wonder Woman romance is special in its own right. In many respects, I think it’s healthier than the Superman/Lois Lane relationship. It may never be as iconic, but it fundementally avoids this problem.

Wonder Woman can take care of herself. She can save herself and be a hero on her own terms. Lois Lane, however, is becoming more and more defined by how she defines Superman. For the most iconic superhero couple of all time, that’s pretty shallow.

The recent comics have done little to address this issue. With yet another tweak to the timeline, Superman is back with Lois. They even have a child now. However, the nature of their relationship is still on uncertain ground. I still feel it lacks the complementary dynamics that made it work so well for so many years.

There’s a chance it could change. Given the fickle nature of comic book continuity, it’s very likely that the Superman/Lois Lane dynamic will continue to evolve. However, I think it’s going in the wrong direction if Superman’s reasons for doing the right thing are that dependent on Lois.

Whether or not this problem deepens or subsides remains to be seen. Superman and Lois Lane are still the most iconic romance in the history of comics. That will continue to hold true, even if the problem deepens. Superman and Lois Lane are great characters in their own right. That aspect cannot and should not get lost under the weight of their iconic romance.

As much a romantic as I am, I don’t deny that it is possible for a love story to go too far. Loving someone and being dependant on them are not the same thing, especially when superpowers get involved. If a relationship becomes too dependent, then it can be more damaging than a mountain of kryptonite.

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Filed under Comic Books, Jack Fisher, Superheroes, Marriage and Relationships, romance, superhero movies

How To Disappoint (But NOT Destroy) An Iconic Romance In Batman #50

688356-_sx1280_ql80_ttd_It’s been a rough summer for fans of romance, superheroes, and superhero weddings. In fact, in all the years I’ve been reading comics and following romantic sub-plots, I can’t remember a time when there was this much melodrama and heartbreak. I understand that any epic romance is going to involve a healthy bit of emotional strain, especially when it involves superheroes. There comes a point when it just becomes too much.After the deconstruction and denigration of superhero romance that unfolded in X-men Gold #30, I feel like we’re dangerously close to that point. It’s as though everyone involved in making superhero comics is admitting that superheroes can’t get married. They can’t have a functional, compelling romance and still be interesting.That sort of sentiment is basically an affirmation of Marvel’s justification for undoing Spider-Man’s marriage to Mary Jane Watson in the infamous One More Day story. Given the relative infamy of that story line and the recent upheaval with the X-men, many fans of both superheroes and romance were placing a lot of hope that the wedding of Batman and Catwoman could help stop the bleeding in Batman #50.I certainly counted myself among those who was very excited about this event. I even admit I really wanted this to make up for the disheartening outcome of X-men Gold #30. The romantic in me wanted at least one superhero wedding this summer that didn’t end in heartbreak or tragedy.Well, if you saw the same spoilers in the New York Times that I did just two days before Batman #50 came out, you already know that’s not what happened. Bruce Wayne and Selina Kyle did not get married. That means in terms of superhero weddings, the summer of 2018 is now 0 for 2.However, that outcome did not compound my lingering disappointment from X-men Gold #30. I’ll even go so far as to say that Batman #50 didn’t send the state of superhero romance past the point of no return. It didn’t improve the state of affairs. It was disappointing, but not to the point where it damaged a story or a romance beyond repair.Before I explain, I want to establish that many of the details beyond this point are heavy spoilers. Seeing as how this comic was already spoiled a couple days prior to its release, much to the chagrin of comic retailers, I don’t think I need to place too many warnings. I still recommend that people buy the comic, but there’s more going on here than a wedding that didn’t happen, much more so than what we saw in X-men Gold #30.By nearly every measure, Batman #50 approaches the concept of a superhero wedding differently than X-men Gold #30. The wedding of Kitty Pryde and Colossus was set up as this big, momentous affair between an established couple that overcame a lot just to have the opportunity to get married. They brought in friends, family, and fellow superheroes from across the X-men comics.In contrast, the ceremony in Batman #50 was very small. In fact, there wasn’t much of a ceremony to speak of. The only ones who were present besides Batman and Catwoman were Aflred, Bruce Wayne’s butler and long-time confidante, and a lone judge who was already drunk so that he wouldn’t remember his or Catwoman’s identity. Batman always has a plan for that sort of thing. That’s why he’s Batman.On top of that, Batman is the one who proposed to Catwoman back in Batman #24. He’s the one who pitched the idea of getting married in the first place. That’s critical because Kitty Pryde was the one who proposed to Colossus in X-men Gold #20. That matters because she’s also the one who broke it off and at the last second, no less. Things were a bit less cruel in Batman #50 and that’s saying something for a Batman comic.At one point in the story, Batman makes clear that he still wants to marry Catwoman. He’s not having second thoughts. It’s Catwoman who makes the fateful decision to break it off and she doesn’t wait until half-way through the ceremony, either. To put that another way, an admitted jewel thief who enjoys having sex on rooftops showed more decency than Kitty Pryde on her failed wedding day.It’s not a public spectacle that turns into an equally public debacle. It’s a private affair that simply doesn’t pan out. There’s no awkward reception. There’s no attempt to salvage it by shoehorning another romance into the mix just so someone gets married, as though such romances can be swapped out like batteries. It just doesn’t happen.Moreover, Catwoman actually gives a reason for not going through with the wedding and, unlike Kitty Pryde, it’s not a wholly contrived. She establishes throughout Batman #50, through a series of montages documenting their romance over the years, why she loves him and why he’s such an effective hero. In the process, she reveals something profound about Batman.What makes Batman both effective and iconic is how he takes the pain of a tragedy, namely the death of his parents, and turns it into strength. The same pain that would break a lesser man drives him to do so much more. He’s the Dark Knight who defends Gotham. He’s a hero who deserves to fight alongside demigods and aliens on the Justice League. For him to be Batman, he needs that pain to fuel him.From Catwoman’s perspective, Batman finding happiness means denying him the fuel he needs to be Batman. That’s not a realization that just randomly pops into her mind at the last second, though. This is something the Joker actually points out to her in Batman #49. It has less to do with whether or not she loves him and more to do with him being the hero that Gotham needs.That doesn’t make Catwoman’s decision any less disappointing, but it’s still nowhere near as callous or selfish as Kitty Pryde’s decision in X-men Gold #30. I know it’s somewhat unfair to keep comparing the two, given the different circumstances of their relationship, but those distinctions highlight an important element that the failed Batman/Catwoman wedding has that the Colossus/Kitty Pryde wedding didn’t.What happens in Batman #50 is definitely a setback for Batman and Catwoman’s relationship, but it doesn’t fundamentally destroy it. In fact, there’s a very critical detail at the end of the issue that leaves the door open for this romance to keep evolving. I won’t spoil it, but it unfolds in such a way that makes romance fans like me want to root for this relationship.The same definitely cannot be said for the Colossus/Kitty Pryde relationship. After the way things played out during their wedding, it really feels as though their romance is damaged beyond repair. It’s no longer a love story. It’s an outright tragedy, one that would need an even greater contrivance to repair at this point. In a universe with shape-shifting aliens, though, that’s not wholly unfeasible.In the grand scheme of things, Batman #50 is still disappointing in the sense that it doesn’t let Batman and Catwoman take their love story to another level. In fact, not a whole lot changes. The way it plays out feels more like a setback rather than a tragedy. The writer of the comic, Tom King, even claims it’s just part of a much larger narrative between Batman and Catwoman.How that story will play out remains to be seen. Given how long it took Batman and Catwoman to get to a point where they try to get married, Batman #50 already gives the impression that their romance is being dragged out. For a couple who has been off and on again since the 1940s, that’s saying something.If I had to score Batman #50, as both a comic book fan and a romance fan, I’d give it a 6 out of 10. It’s a bit of a letdown, but it’s not nearly as soul-crushing as X-men Gold #30. It still leaves the state of superhero romance in a very precarious state, but at the very least, this book gives me reason for hope.I’ll still be very skeptical of any future superhero wedding for the foreseeable future, though.

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Filed under Comic Books, Jack Fisher, Superheroes, Marriage and Relationships, romance

Heroes, Villains, And The Forgotten (But Relevant) Message Of “Megamind”

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Every now and then, a movie comes along that was unremarkable in its time, but gained greater meaning years later. It’s one of those unspoken challenges of movie making that doesn’t involve dealing with difficult actors. Sometimes, a movie is either ahead of its time or too late to make much of an impact. Like cooking the perfect steak or good fart joke, timing is everything.

That brings me to “Megamind,” a very well-done, but often overlooked animated movie from Dreamworks. Since it’s not Pixar and doesn’t involve “Shrek,” it had a lot working against it before it came out. However, it also had plenty more going for it and not just in terms of quality 3D animation at a time when “Avatar” finally made that gimmick viable.

The movie boasted an amazing voice cast that included Brad Pitt, Will Ferrell, Jonah Hill, Tina Fey, and David Cross. It also did plenty to leverage that star power. Will Ferrell even famously dressed up as the titular character at the San Diego Comic Con to promote the movie. I’m not saying that, alone, would’ve made that movie a success, but Will Ferrell is one of those rare talents who can make anything more appealing.

You can’t argue with THAT kind of appeal.

In addition, the movie told a compelling story in a way that was concise, enjoyable, and appealing for adults and children alike. It showed in the favorable reviews it received from critics and the high scores it earned from audiences. Unfortunately, it didn’t quite show in the box office totals. The movie did well, but it fell short of the high bar that both Pixar and “Shrek” have set for animated features.

The reason for the movie’s shortcomings are numerous and varied. It came out in 2010, just in time for titles like “Toy Story 3,” “How To Train Your Dragon,” and “Tangled” to steal the show. It also came out at a time when superhero movies were just starting to ascend. “Iron Man” had just come out and the scars from “X-men Origins: Wolverine” were finally starting to heal.

However, “Megamind” really jumped the gun in terms of timing. We were still a few years before “The Avengers” cemented superhero movies as ultimate box office gold encased in vibranium. As a result, the remarkable concept that “Megamind” introduced went forgotten, but I believe it’s worth remembering.

The plot of “Megamind” is simple on paper, but complex in its implications. It tells the story of a self-proclaimed super-villain named Megamind, who was voiced by Will Ferrell. His persona is essentially a comedic parody of every super-villain trope that ever existed. He’s a mad genius bent on conquest and domination, but is constantly thwarted by an overly-powerful, overly-handsome hero.

That hero, appropriately voiced by Brad Pitt, is Metro Man. Like Megamind, he’s also a parody of every superhero trope. He’s part Superman and part Captain America, grossly overpowered and so morally pure that it’s laughable. As such, the movie never attempts to frame Metro Man’s heroism or Megamind’s villainy in a serious sort of way.

That approach is key because the way the story plays out essentially flips the script on the standard narrative surrounding superheroes, super-villains, and what motivates both of them. It conveys a message that didn’t really have much impact in 2010, but if it came out just five years later, its themes would’ve been much more relevant.

At its core, “Megamind” asks what would happen if an over-the-top villain like Megamind actually defeated an over-the-top hero like Metro Man. How would he react? How would the society around them react? These are questions that often have simple answers in other superhero movies. “Megamind” dares to add an extra layer of complexity.

Early on in the movie, Megamind achieves what Lex Luthor, Dr. Doom, and every other mustache-twirling villain failed to achieve. He defeats his heroic nemesis. He takes over the city he seeks to rule. There is no longer anyone or anything to stand in his way. He is, for all intents and purposes, the most powerful being in Metro City.

That’s not the end of the story, though. That’s just the beginning. Shortly after this achievement, which caught Megamind himself by surprise, he has an existential crisis of sorts. Suddenly, there are no more plots left to hatch. There are no more battles left to fight. He has everything he ever wanted, but it still leaves him feeling empty inside.

It leads him on a path that reveals some unexpected insights into the whole hero/villain dynamic. At first, Megamind doesn’t know how to handle his new situation. It’s so unfamiliar and so jarring that it causes serious distress. Even for a super-genius, sudden change and unfamiliarity can be very difficult to handle.

Megamind’s first instinct, which is usually the same instinct most ordinary people act on in such distressed states, is to return to something familiar. He attempts to recreate the status quo as he knew it, which led him to create a new hero in Titan, who is voiced by Jonah Hill. He says outright that without a hero to fight, he has no purpose. Since he happens to be a super-genius, he just decides to create one.

In doing so, he learns as well as everyone else in Metro City that creating a hero is not as easy as just giving someone heroic abilities. On top of that, he also learns that it’s not always possible to go back to that comfortable status quo. In fact, attempting to do so could only make things worse.

Without giving away the entire movie, which I encourage everyone to see, “Megamind” presents some pretty insights into what it means to be a hero and a villain. At a time when more complex villains like Walter White and Erik Killmonger are gaining greater appeal, I believe these insights are more critical now than they were in 2010.

A great deal of what drove Megamind early on was his assumption that he’s the villain and Metro Man is the hero. As such, they’re destined to fight each other with the hero always triumphing. He never stops to question that assumption, nor does he contemplate his goals for after he succeeds. It’s not until he actually succeeds that he realizes how flawed those assumptions were.

Metro Man realizes that even sooner. In one of the main twists of the story, “Megamind” shows that even idealized heroes aren’t immune to this inescapable dynamic. Like Megamind, Metro Man does what he does because he assumes that’s his role. He doesn’t question it until it becomes untenable.

By breaking that classic hero/villain dynamic, both Metro Man and Megamind reveal that the nature of the struggle between a superhero and a super-villain is often incomplete. They may think they know what they want. Heroes want to save the day. Villains want to conquer and rule. Beyond that, though, there’s no other vision. It’s just an endlessly repeating cycle that eventually goes nowhere in the long run.

In a sense, the entire story of “Megamind” is a reflection of the paradox of superheroes. Heroes may save the day and defeat the villains at every turn, but they never go beyond that struggle. They never attempt to change the conditions that allow the villains to instigate conflict, nor do they do anything to prevent new villains from emerging. They save the world, but don’t do anything to change it.

This shortcoming is a big part of “Megamind” from the beginning. No matter how many times Metro Man defeated Megamind, he always ended up back in jail. From there, he always escaped. He never changed or reconsidered his actions until he actually succeeded. To some extent, Metro Man does exactly what keeps Spider-Man and Batman from effectively achieving their heroic goals.

Ultimately, the resolution that “Megamind” offers in the end is something that undercuts the hero/villain dynamic completely. In the end, both Megamind and Metro Man stop making assumptions about their roles and actually make choices of their own, for once. In Megamind’s case, his choice conveys something that no other superhero movie has dared to attempt.

He takes the same traits and abilities that make him a villain and uses them to become a hero. More importantly, though, he doesn’t do so because of a role based on an assumption. He does it because that’s what he chooses. When finally given a choice to do something with his abilities, he chooses to do good. That’s not just uplifting, even for an animated movie. It speaks heavily to the forces that shape our identity.

In the context of modern superhero movies, “Megamind” both parodies and subverts the foundation of the genre. It doesn’t just ask the question as to what would happen if a villain actually beat the hero. It asks whether those who identify as villains are capable of doing heroic things, if given a choice.

Even with more complex villains like Walter White, most superhero movies and superhero media, in general, still follow the same dynamic that trapped Megamind. They have a villain, put them in a particular role, and keep them in that role by locking them into a cycle.

For some inherently villainous individuals, like Lex Luthor, that cycle isn’t necessary. For others, though, it poses interesting questions that rarely get answered. The villains have their roles. The heroes have theirs. The story plays out and the heroes triumph, but does that have to be the end of the story?

Megamind” dared to expand on that story and while it may have been ahead of its time, those themes are still relevant. As superhero movies continue to set new box office records, they will likely become even more relevant and “Megamind” will get the appreciation it was just too premature to achieve.

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Filed under Comic Books, Jack Fisher, Superheroes, movies, philosophy, psychology, superhero movies

How Captain Marvel Can Be The Future Of The MCU (And How It Can Go Horribly Wrong)

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When a team is on an epic winning streak, it creates the perception that they have some supernatural ability to defy the law of averages and bend reality to their will. It happened to the 2007 New England Patriots. It happened to the 2016 Golden State Warriors. They had this aura of invincibility that made it seem as though they could never lose.

That made their eventual loss, both in championship games no less, that much more painful. However, I would argue that the winning aura of those teams pales in comparison to that of the Marvel Cinematic Universe. If the MCU were a sports team, it would include the likes of Michael Jordan, Tom Brady, LeBron James, Wayne Gretzky, Tiger Woods, and Muhammad Ali in their primes and on crack.

To say that Marvel’s movie franchises are on a winning streak would be like saying a hungry lion has a slight edge over a wounded squirrel. The Marvel Cinematic Universe hasn’t just made superhero movies the gold standard of the box office by raking in $16.8 billion worldwide to date. It has set the bar so high that even close rivals have essentially given up.

Disney, Marvel Studios, and Kevin Feige are riding higher than anyone thought possible, especially for those who still have nightmares about “Batman and Robin.” With both “Black Panther” and “Avengers: Infinity War” breaking a fresh round of records this year, it seems as though that winning streak is only accelerating.

I say all this not just to belabor how much the MCU has accomplished over the past ten years. I say it as a fan who loves Marvel comics and wants to see it keep winning. However, even with “Avengers 4” set to come out next year and make another couple billion, I believe this streak of superhero movie excellence is vulnerable.

It’s no secret that “Avengers 4” will likely mark the end of an era. Kevin Feige has gone on record as saying that this movie will act as an endgame, of sorts. While makes clear that the MCU will continue, with movies planned out until 2025, he also indicates that there will be major upheavals.

That’s somewhat necessary because with the conclusion of “Avengers 4,” many of the contracts for MCU stalwarts like Robert Downy Jr., Chris Evans, and Chris Hemsworth are set to expire. While it’s possible that some may find a way to keep going, others like Chris Evans have made clear that their time in the MCU is almost over.

That means for the MCU to continue its winning streak, it needs to move forward with new characters, new actors, and new ideas. It has to find a way to keep this world moving forward, potentially without the likes of Captain America, Iron Man, and Thor. That’s a huge challenge, even for a franchise on an unprecedented winning streak, and the comics have already failed to fill those voids.

That’s where Carol “Captain Marvel” Danvers comes in. If you saw the post-credits scene for “Avengers: Infinity War,” you know why she’s about to become very relevant to the MCU. I’ve talked about her before and established how things could easily go wrong with her upcoming movie. I imagine I’ll have a lot more to talk about in the coming months.

I don’t think it’s unreasonable to say that Carol Danvers and her upcoming movie, which is slated for release in March 2018, is the most important movie in the history of the genre. I believe this movie may very well determine whether the winning streak of the Marvel Cinematic Universe continues or finally falters.

I say that as someone who loves Carol Danvers as Captain Marvel. Back in 2012, Kelly Sue DeConnick effectively reinvented the character in a way that convinced me that she deserves a prominent role in any Marvel universe. In my opinion, she’s essentially Marvel’s version Wonder Woman.

Her movie has so much going for it. “Wonder Woman” established that female superhero movies could be a hit at the box office and garner critical acclaim, despite the scars left by “Catwoman.” On some levels, “Captain Marvel” is facing a lot less pressure and it has the momentum of “Avengers: Infinity War” behind it.

However, the stakes are actually higher for this movie compared to everything “Wonder Woman” faced. Recently, Kevin Feige stated that Carol Danvers will be the new face of the MCU. From a purely logistical standpoint, that makes sense. The MCU needs a new unifying force if Chris Evans’ Captain America is to make his final stand in “Avengers 4.”

I believe Carol can pull it off, as well. She has taken on more leadership roles in the comics and has become a central member of the Avengers’ main team. Combine that with Brie Larson’s charisma and Carol Danvers has all the tools she needs to keep the MCU’s winning streak going.

I believe she can do this simply by being the kind of character that Kelly Sue DeConnick molded six years ago. That version of Carol Danvers emerged from years of being a secondary character in Ms. Marvel who rarely got a chance to achieve the same recognition as her peers. She’s a classic case of a character who elevated themselves by embracing a new identity, a new purpose, and greater ambition.

DeConnick established Carol as someone who achieves so much in one field, but dares to seek greater challenges beyond. She contributed to the Avengers for years, but never pursued a greater vision until she became Captain Marvel. That idea of someone looking to the stars, seeking to achieve more, and pursuing it with unmatched drive is what will help her succeed in ways on par with Wonder Woman.

At the same time, though, there are potential risks and Captain Marvel may be more vulnerable to them than Wonder Woman. While Kelly Sue DeConnick did a lot to reinvent Carol Danvers for a new era, she has faltered somewhat. Recent events in the comics have put her heroic merits into question for all the wrong reasons. Some of Brie Larson’s politically-charged rhetoric hasn’t helped either.

To some extent, Carol’s reputation has faltered because in elevating her status in the comics, she has been hit with the dreaded Galbrush Paradox. The quirks that DeConnick introduced, such as Carol being a Star Wars fan and having a love interest in James Rhodes, have eroded in recent years. In addition, even her artistic depictions have devolved by reducing her feminine features for no apparent reason.

In wake of the vitriol that Star Wars received for its portrayal of female characters, I worry that “Captain Marvel” runs the risk of inviting a similar backlash. If Carol Danvers is not sufficiently compelling, she runs the risk of getting hit with the Mary Sue label that has plagued Rey since “Star Wars: The Force Awakens.”

The worse case scenario, in my opinion, involves turning Carol Danvers into a Captain America or Iron Man stand-in. In the absence of these iconic characters, and their top name actors, Feige and those at Marvel Studios may be tempted to make her too much like them. That would be a huge mistake, especially for an organization on such a huge winning streak.

Carol Danvers is not Steve Rogers, nor is she Tony Stark. She’s not just a woman who takes on a man’s role either. She’s still a woman and, especially under DeConnick, her womanly traits were on display alongside her more badass features. It’s not groundbreaking because Wonder Woman struck just the right balance, having her fight alongside men while still acting like a woman.

In the best case scenario, Carol Danvers follows Wonder Woman’s example and establishes herself as someone worthy of carrying the MCU forward. Unlike Rey, she’s a character with plenty of compelling lore to work with. The key is finding the right blend that’ll help her fit into the Marvel Cinematic Universe.

At this point, without a trailer and only a few teases to go on, it could go either way for “Captain Marvel.” It could be the next in a long line of successes or it could be the MCU’s first failure. To date, Kevin Feige and those at Marvel Studios have shown time and again that they know what they’re doing.

Hell, they took an obscure series involving a talking raccoon and made it a global brand. Until they show they’re capable of screwing up, I’ll continue to give them the benefit of the doubt. At the same time, though, I think it’s worth bracing for that inevitable setback. All winning streaks come to an end. I just hope “Captain Marvel” isn’t the one that ends it.

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How To Denigrate Multiple Iconic Romances In A Single Comic

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I love romance. I also love comics. I’ve made my fondness clear for both on numerous occasions. When they’re combined, I’m twice as thrilled. It has proven to be a very potent combination before. Like real life, comic book romance isn’t always done right, but when it works, it’s a beautiful thing.

That’s what I had hoped to see with the release of X-men Gold #30, which was billed as the overdue wedding between Kitty Pryde and Colossus. They’re one of the X-men’s most prominent romances, having a history that spans decades and includes death, resurrection, and being trapped in a giant bullet. I swear I’m not making that last part up.

Earlier this year, I detailed why the Kitty/Colossus romance was so special in annuls of X-men lore. It’s one of those romances that isn’t assumed like Superman and Lois Lane. They have to actually work to make their relationship strong, which makes it feel more real than most superhero couples.

It’s why I had such high hopes for X-men Gold #30. It promised to reward these characters for their love and the work they put into it. Being the romance fans I am, I’m a strong believer in having that kind of effort pay off for a couple.

Sadly, and this was spoiled before the comic even came out, that’s not how things played out for Kitty and Colossus. I don’t mind spoiling it, either. Kitty and Colossus don’t get married. Kitty, for reasons that are more asinine than I can put into words, gets cold feet at the last possible second and calls it off.

She doesn’t even wait until she and Colossus are alone so she doesn’t create this mass spectacle that is sure to humiliate and hurt someone she loves in a very public way. She actually gets to the point where Colossus is about to put the ring on her finger and that’s where she stops it. Short of punching his jaw after being told he can kiss the bride, it’s one of the worst things she could’ve done to this man.

On top of that, Kitty was the one who proposed to him. This isn’t a case where a man pressures a woman into marrying someone or a woman feels pressure from her family and peers. The idea, request, and desire to get married came from Kitty and her being the one to call it off like that, after her friends and family did so much to help her, just makes her look more callous than an entire army of Lex Luthors.

I wish I could provide some context to her decision. I really do. I just can’t find a believable way to make her decision anything other than an act of heartlessness, cruelty, and cowardice. There were no hints, whatsoever, in the events that led up to the wedding that would imply Kitty was having second thoughts. In fact, the events of X-men Gold #29 doubled down on her love for this man.

Then, in just one scene that played out early in X-men Gold #30, it all comes apart thanks to a short, unspectacular conversation with Colossus’ sister, Illyana “Magik” Rasputin. It’s not dramatic. It’s not that revealing, either. Again, I don’t mind spoiling it.

Magik just reminds Kitty that she and Colossus had to overcome a lot in order to get to this point. She also throws in that, if they were meant to be, it would’ve happened already. Bear in mind, Magik is considered one of Kitty Pryde’s closest friends on top of being Colossus’ sister. Even if that remark could be attributed to her alcohol intake, it’s still a terrible thing to say to someone who is about to get married.

It’s one of those comments that shouldn’t have derailed a couple that has worked so hard to be together, but it did. Seriously, that’s all it took to convince Kitty that she had to stop the wedding, in the middle of the ceremony, and in front of all her friends and family. Considering she’s supposed to be a leader of the X-men and one of the toughest female X-men of all time, it’s pretty pathetic.

Her decision and terrible timing, alone, could’ve made X-men Gold #30 one of the least romantic stories in the history of the comics. I still wouldn’t have put it on par with some very disturbing romantic sub-plots that played out in some Spider-Man comics. If breaking off a wedding was all this comic did, I would still appreciate it for how it imparted so much heartbreak into a story.

However, it gets even worse than that. It wasn’t enough for X-men Gold #30 to undermine one of the X-men’s most likable romances. It actually succeeded in denigrating the entire concept of romance in superhero comics. I know that sounds like an exaggeration on my part, but I’m dead serious.

Yes, Kitty and Colossus don’t get married in this issue. However, a marriage does occur and it is between another iconic X-men couple that I’m actually really fond of. The lucky couple here is Rogue and Gambit. If you watched the old X-men 90s animated series, you understand why that’s a big deal.

Now, I could write several articles on the quirks of the Rogue/Gambit relationship. It’s another one of those romances that has become iconic in its own right. I would even go so far as to put it slightly above the Kitty/Colossus relationship, if only because both characters have had to deal with some pretty unique obstacles, the least of which involves Mystique being Rogue’s adopted mother.

In the context of X-men Gold #30, though, those various quirks don’t really play into the moment. They haven’t even played into any of the events throughout X-men Gold that led up to this wedding. In fact, they only recently rekindled their relationship in a mini-series called “Rogue and Gambit” by Kelly Thompson, which I highly recommend.

Even with that development, though, them getting married at this point would’ve been rushed, forced, and downright inappropriate, given what just happened to Kitty and Colossus. It would’ve given the impression that someone had to get married in this comic. It didn’t matter who, why, or for what reason. It just had to happen to salvage the issue.

To hell with crafting a story that documents the emotional journey two characters make to get to that point. Never mind the fact that other iconic couples have gone on that journey and made for some of the most memorable moments in the history of comics. Just having Rogue and Gambit randomly decide, on the spot, to get married should carry the same weight. If I could write that with more sarcasm, I could.

Again, I want to make clear that I like the Rogue/Gambit relationship. I’m glad their romance is evolving, once more, especially after some of the other characters they’ve been stuck with. The way it was handled, though, and at Kitty and Colossus’ expense, no less, was just downright demeaning to the very concept of meaningful romance.

It sends the message that romance is as interchangeable as a box of frozen burritos. If one doesn’t heat up right, then another one works just as well. It’s not like they’re unique, having unique emotional dynamics and personal journeys specific to multiple characters. One is no more special or meaningful than the other. Again, if I could write that with more sarcasm, I would.

What happened to Kitty and Colossus in X-men Gold #30 was tragic, but it didn’t undercut romance in superhero comics, as a whole. As soon as Rogue and Gambit were randomly thrust into the moment, doing on a whim what took other couples so much time and effort, the whole issue undercut any deeper meaning that both romances had going for them.

Great romance, especially those that go onto become iconic, can’t be the kind of exchangeable gimmicks that can be sold as easily as plastic cups at Costco. Great romance is like the cookies you bake with your grandmother from scratch. There’s work, patience, and a deeper personal touch to the effort.

I get the appeal of throwing in a major twist. Comics, movies, and everything associated with M. Knight Shyamalan have been doing that for years. That appeal isn’t there in X-men Gold #30 because it comes at the cost of treating romance with the same recklessness as super-villains treat their henchmen.

On it’s own, I thought X-men Gold #30 was just really disappointing for how it handled Kitty and Colossus. However, it’s the precedent and the implications that leave me concerned for the future of romance in comics, particularly Marvel. If this is how love is treated, as something easily cut and pasted into a plot, then I worry for other comic book couples that may face similar denigration.

Here’s to hoping that the upcoming wedding between Batman and Catwoman sets a better precedent.

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Filed under Comic Books, Jack Fisher, Superheroes, Love Or Obsession, Marriage and Relationships, romance, X-men

How Negative Expectations May Ruin “X-men: Dark Phoenix” (For The Wrong Reasons)

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There’s an important, but understated difference between negative expectations and a self-fulfilling prophecy. Expectations are like reflexes. They’re somewhat involuntary, reflecting our assumptions and understanding of a situation. A self-fulfilling prophecy involves actual effort. Whether intentional or not, it guides our perceptions in a particular direction, one often associated with a particular bias.

To some extent, a self-fulfilling prophecy is akin to self-hypnosis. We convince ourselves so thoroughly of a particular outcome that to consider otherwise would be downright shocking, if not distressing. That’s why it’s so difficult, at times, to escape a particular expectation, especially if it’s negative.

I bring up expectations and self-fulfilling prophecies because they do plenty to shape our reactions and attitudes, especially in the media we consume. For better or for worse, often varying from person to person, we tend to determine how much we enjoy something before we even experience it.

Sometimes, it works to the benefit of a particular movie, video game, or TV show. The powerful brand of the Marvel Cinematic Universe is built heavily on the expectations that a long list of quality, well-received movies have established. Conversely, the DCEU struggles with negative expectations, thanks largely to a catalog of movies that have failed to consistently deliver.

Then, there’s “X-men: Dark Phoenix.” It’s a movie for which I’ve made my passion and my excitement very clear over the past year. It’s also a movie that is in the midst of an emerging crisis. It’s not the kind that involves negative press, actors melting down on set, or sordid sex scandals, for once. Instead, it’s an issue that involves negative expectations that may very well become a self-fulfilling prophecy.

As big an X-men fan as I am, I don’t deny that the X-men franchise is not on the same level it was in the early 2000s when it dominated the box office alongside Spider-Man. Even though I loved “X-men: Apocalypse,” I can’t deny it under-performed and underwhelmed.

Despite that, “X-men: Dark Phoenix” has more going for it. It’s attempting to tell the Dark Phoenix Saga, the most iconic X-men story ever told. Moreover, it’s attempting to tell that story after it botched it horribly in “X-men: The Last Stand.” Even the director, Simon Kinberg, has gone on record as saying that he wants to “X-men: Dark Phoenix” to succeed where the last one failed.

Given how rare that kind of humility is in Hollywood these days, X-men fans and fans of superhero movies in general have every reason to expect better things from this movie. Given how low the bar is after “X-men: The Last Stand,” I’m more optimistic than I dare to be when it comes to comic book movies.

Unfortunately, that sense of optimism seems to beg getting less and less prevalent. Whether due to the underwhelming performance of “X-men: Apocalypse” or a growing impatience to see the X-men join the MCU after the Disney/Fox merger is complete, there’s a general sentiment that this movie is going to be bad.

I see it on popular YouTube channels. I see in the many comic book message boards I frequent. The overall consensus is that this is a Marvel movie that isn’t part of the MCU. Therefore, it’s going to be terrible. That is, by every measure, a terrible excuse to dismiss a movie, especially when we haven’t even seen a trailer.

To make matters worse, a recent string of leaks from an alleged test screening revealed details that have only fueled those negative expectations. For reasons that I’ll make clear in a moment, I won’t list the details of those links. I will, however, offer a direct quote that aptly sums up the prevailing attitude for this movie.

“I do believe some things won’t change. What can’t change is the movie being really underwhelming. Really lower your expectations because this one is not good.”

This news, if accurate, is not encouraging to anyone hoping to see a well-done Dark Phoenix Saga on the big screen. To make matters worse, those who already had negative expectations about this movie have even more excuses to resent it.

As I’ve noted before, people tend to cling to excuses that justify their preconceived notions. It doesn’t even matter if the excuse is true. Once they have it, they cling to it. It’s usually not done out of malice. It’s just a lot easier to keep thinking what you’ve already thought rather than adjust your expectations.

In this case those, the story surrounding the leaks has already confirmed to be untrue. That leak came from a Reddit post, of all things, which is akin to getting your news from 4chan. On top of that, and this is a testament to Reddit’s users, the mods have stated outright that the user was not credible. This is an exact quote.

Apparently test screen guy is Atlanta Filming, created an account and sent fake spoilers/leaks. Trying to discredit other bloggers because he wants to be “the only legit source”.

If that weren’t telling enough, it was already announced back in March that the movie was going to undergo reshoots in August. Now thanks to “Justice League,” reshoots have gotten a bad name, but they’re a fairly common practice. Even the heavily-hyped, positively-perceived “Avengers 4” is scheduled for reshoots.

Even if those leaks were accurate, chances are the cut of the movie shown at test screenings isn’t the final cut. Kinberg himself has said that the reshoots are intended to shore up the final product, as one would expect of any piece of art. It sounds so reasonable and logical.

That still doesn’t matter, though. It doesn’t change the expectations. This movie still isn’t meeting the impossible set of criteria that fans spoiled by the MCU have so unreasonably set. It’s not in the MCU, nor is it being guided by Kevin Feige. Therefore, it must be terrible.

It’s unfair, unreasonable, and just plain asinine to judge “X-men: Dark Phoenix” by those standards, especially with reshoots to come and no official trailer. At this point, the negative expectations are so heavy that they’re starting to sound more and more like a self-fulfilling prophecy.

With that being the case, I feel like I can predict the reactions from people once the trailer drops. Sure, there will be some like me who are eager to give this movie a chance after what happened with “X-men: The Last Stand,” but I think there will be more comments like this.

“It’s not the MCU. I’ll pass.”

“X-men Apocalypse sucked! I’m not even giving this one a chance.”

“To hell with this movie! Just let Marvel have the rights back already! Fox can’t do anything right!”

Now, far be it from me to defend Fox, the same company that gave us “Wolverine: Origins,” but these are all intensely petty reasons to judge a movie. I say that as someone who is guilty of setting low expectations for movies, cartoons, comics, and TV shows. Hindsight has done plenty to reveal which of those were the result of self-fulfilling prophecies. That still doesn’t make the expectations any less absurd.

Even for those who aren’t just ardently opposed to any superhero movie that isn’t a product of the MCU, I think I can predict the criticisms they’ll probably levy against this movie even after it comes out. Chances are, they’ll be every bit as petty and include comments like this.

“It’s too dark and not cosmic enough!”

“It’s too cosmic and not grounded enough!’

“It’s too much like the comics!”

“It’s not enough like the comics!”

“It doesn’t have enough [Insert Favorite Character Here]!”

“It has too much [Insert Intensely Hated Character Here]!”

There will probably be plenty more excuses for hating this movie, far more than I can list. It doesn’t even matter how subjective they are or how empty they may be. People who are determined to hate something will find an excuse that satisfies their psyche and vindicates their feelings. Anything else would require that someone actually re-evaluate their expectations and that’s just untenable.

It’s frustrating and tragic that a movie or any piece of media would be subject to this kind of debasement before it’s even completed. It’s one thing for a movie to face skepticism because of production troubles, “Solo: A Star Wars Story” being the most recent example. For a movie whose primary crime is not being in the MCU, that’s just plain absurd.

In terms of the bigger picture, it’s good for superhero movies, as a whole, if “X-men: Dark Phoenix” succeeds. It’s unhealthy for the genre if the MCU is the only acceptable avenue for quality superhero movies. We’ve seen with “Wonder Woman” that it is possible for a superhero movie to succeed in a world that doesn’t have Robert Downy Jr. or Chris Pratt.

X-men: Dark Phoenix” deserves the same chance. That’s why I intend to keep my expectations high, but cautious for this movie. Even if it turns out to be good, though, I worry that it’ll be undercut by too many people who are too eager to hate it. It would be both a tragedy for the movie and all those involved, as well as a bad omen for the genre as a whole.

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A (Welcome) Message Of Forgiveness And Compassion In X-men Red Annual #1

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Who doesn’t enjoy a good revenge story? That’s not a rhetorical question. I’m dead serious. Is there anyone out there who isn’t enamored with a story about sweet, bloody revenge? I know the success of movies like “John Wick” and the iconic status of Batman do plenty to answer that question.

The question is still worth asking because the answer says just as much about the appeal of stories about forgiveness. To some extent, it shows that forgiveness isn’t as sexy as revenge. A revenge story can be bloody, action-packed, exciting, and cathartic. Almost every moment in “John Wick” and every issue of the Punisher is like that. It’s not hard to see why that is the basis of so many movies, TV shows, comics, and video games.

That’s not to say that a story about forgiveness can’t have appeal as well. It most certainly can. Forgiveness may not offer the same spectacle as revenge, but it can incur a uniquely powerful emotional impact. There’s a reason why forgiveness has been shown to have therapeutic effects and was the basis of a major religion.

This brings me to a very special comic book entitled “X-men Red Annual #1.” Yes, I am going to tie this powerful human experience to a comic book. No, I’m not going to apologize for it. If you’ve had a chance to read this comic, you’ll understand why.

It’s been a while since I singled out a specific comic that I believe conveys a much larger message, but sometimes a comic comes along at just the right time and strikes just the right emotional chords. This one does all that and so much more, especially for a die-hard X-men fan like me. However, it’s the forgiveness themes I want to focus on here.

Without spoiling too much about the comic itself, which I encourage everyone to go out and buy, it’s important to establish the circumstances that make those themes work here. Those circumstances revolve around Jean Grey, a character who is no stranger to death, resurrection, love triangles, and clones. Even by superhero standards, she deals with a lot of emotional baggage.

Until recently, though, she didn’t have to deal with any, largely because she was dead. From 2004 until earlier this year, Jean was among the numerous superheroes who were “officially dead.” I put that in quotes because “dead” in the world of comics tends to have a pretty loose meaning, well past the point of absurdity. The fact that Jean Grey stayed dead for that long is, in and of itself, pretty remarkable.

However, it was never a matter of if she would return from the dead or even whether Marvel would resort to time travel to replace her. It was only ever a matter of when. Her return was bound to have a huge impact on the X-men and the entire world of Marvel comics. “X-men Red Annual #1” simply built a story around it and it’s a damn good one.

It unfolds mere moments after Jean officially comes back to life again on the final page of “Phoenix Resurrection #5.” That moment, in and of itself, is full of emotions that writer, Tom Taylor, captures beautifully. It provides insights into Jean’s thoughts, feelings, and emotions at that moment. It’s a lot to take in, but in addition to the joy, there’s also a heavy bit of sorrow thrown in.

In a sense, Jean Grey picked a lousy time to come back to life. She’s coming into a world where her mentor, Charles Xavier, is dead. Her best friend and occasional love interest, Wolverine, is also dead, although that’s already changing. Most painful, though, is that her husband, Cyclops, is dead due to the events that unfolded in a series aptly named Death of X.

These are people near and dear to Jean Grey. She’s not the kind of character who just brushes off that kind of loss, hardens her heart, and moves forward. She’s someone who wears her emotions on her sleeve and does it with pride. It’s part of what makes her such a lovable, endearing character. Sure, those passions attract destructive cosmic forces every now and then, but she makes it one of her strengths.

As she reconnects with those who’ve sorely missed her, she has an opportunity to confront the one most responsible for her husband’s death, namely Black Bolt of the Inhuman royal family. While Cyclops’ death was largely an accident, he’s still the one whose decisions ended up killing him and many other innocent mutants. For that, Jean has many reasons to hunt Black Bolt down and make him pay.

Had she gone that route, I don’t think anyone would’ve blamed her. Hell, some within the X-men would’ve gladly fought by her side, including a few who hate her guts. Accident or not, Black Bolt killed her husband by doing what he did. There’s no way around that. She has every possible excuse to channel her inner John Wick.

However, that’s not what happens. Yes, she still assembles a team of X-men to confront Black Bolt and the Inhumans. Yes, she has a very tense exchange with Black Bolt. What she doesn’t do, though, is seek vengeance for her husband’s death. Instead, she seeks forgiveness and that ends up being far more powerful.

Think about the mentality it takes to forgive someone like that. Imagine you knew there was someone responsible for the death of a loved one. Even if it was an accident or unintentional, chances are your first inclination wouldn’t be to forgive them. More than likely, you would rather see them suffer and pay for their crime.

Even if that person ends up going to jail or is held legally liable for your loved one’s death, you’re still going to resent them. They took the life of someone you loved and, assuming you’re not in a world where people regularly come back from the dead, you can never get back what you’ve lost.

That feeling would be even more intense if the person responsible never faces consequences for what they did. In the case of Black Blot, he didn’t face any repercussions for killing Cyclops. He wasn’t charged with murder or even for involuntary manslaughter. In fact, Cyclops becomes vilified for a while.

If anyone would be motivated to pursue retributive justice, it’s Jean Grey. She even has the perfect opportunity to do so when she fights her way towards Black Blot. At one point, she uses her telepathy to show him just how much she loved Cyclops and how much losing him hurt. She even admits she could make him feel some of that pain, if only to let him know why he deserves punishment.

She doesn’t do that, though. She doesn’t attempt to impart her pain onto him. What she ends up doing is much more heartfelt and meaningful. She gives Black Bolt a chance to offer genuine, sincere remorse for his role in Cyclops’ death. He ends up taking that chance. He apologizes for what he did and, more importantly, Jean accepts it.

For a woman confronting a man responsible for her husband’s death, even if she is a comic book character, it’s a pretty powerful moment. It’s one that carries a unique emotional weight that you wouldn’t otherwise get if Jean had just shot him in the head with a 44 magnum. It very much reflects the power of forgiveness.

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It’s the kind of heart that is exceedingly rare outside of Superman comics. At a time when we expect our superheroes to be edgy and tough, Jean Grey offers a very different approach in “X-men Red Annual #1.” It’s one that Tom Taylor uses to full effect, reaffirming Jean’s incredible capacity for love and compassion. It’s an approach that feels refreshing in an era of superhero civil wars.

It also reminds us that while vengeance may still be more appealing to our most basic instincts, it’s also incomplete at times. No matter how many criminals the Punisher kills or how many villains that Batman beats up, their loved ones are still dead. The pain continues and so too does the struggle. Forgiveness, on the other hand, offers a way forward.

Jean Grey feels the pain of loss like anyone else. She also has the choice to seek retribution or forgiveness. Forgiveness is, by far, a much harder recourse because it means accepting painful circumstances and even a certain level of injustice. Given how most of us are wired with an innate sense of justice, such acceptance seems untenable.

That’s what makes forgiveness so hard, but that’s also what makes it more impactful. Rather than focus on making Black Bolt pay for her husband’s death, Jean chooses to channel that pain into something positive. The very end of “X-men Red Annual #1” has her acknowledging how much it hurts losing her husband, but it also shows how this pain has inspired her.

Jean Grey is, essentially, doing the most heroic thing a superhero can do and it doesn’t even involve her powers. She decides to forgive the transgression that killed her husband and chooses to use that pain as motivation to make the world around her better. It’s still not as big a spectacle as watching John Wick kill 77 people over a dog, but it’s more dramatic for all the right reasons.

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Overpopulation, The Black Death, And Why Thanos Is WRONG

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We’re living in a golden age, of sorts. If you’re fan of comic books, superhero movies, and complex villains, you’ve got a lot to appreciate. Between the emergence of complex villains like Walter White and the dominance of superhero movies at the box office, “Black Panther” and “Avengers: Infinity War” being the latest, these are amazing times indeed.

It wasn’t that long ago that villains were barely distinguishable from a well-designed speed bump. Sure, there were memorable villains, but unless they came from the mind of George Lucas or Francis Ford Coppola, they weren’t that memorable. They only ever existed to make the hero more heroic.

That all changed when Health Ledger raised the bar as the Joker in “The Dark Knight.” That Oscar-winning performance, more than anything, proved that villains could be both compelling and have motivations that go beyond pissing off the hero. More recently, Thanos in “Avengers: Infinity War” has set a new standard that would make the Joker’s grin even wider.

As wonderful a time this is for fans of heroes and villains, alike, that added complexity comes with a few uncomfortable side-effects. In order for a villain to be compelling, they have to have some kind of motivation beyond just wanting to kill the hero. They have to have a goal or desire that ordinary, non-villainous people can understand and empathize with.

Heath Ledger’s Joker was an agent of death and chaos, but he found a way to make that seem right in the twisted, crime-ridden world of Batman. Thanos did the same with “Avengers: Infinity War.” What he did was on a much bigger scale than the Joker, but why he did it is actually part of what made him so menacing.

He didn’t want to wipe out half of all life in the universe out of sadism, hatred, or vengeance either. He didn’t even do it for the same reason he did it in the comics, which involved him falling in love with the female personification of death. I swear I’m not making that up. It’s one of those rare occasions that it’s good that the movie didn’t follow the comics too closely.

As the action-packed spectacle plays out in “Avengers: Infinity War,” Thanos goes out of his way to justify what he’s doing. It’s monstrous, brutal, and outright genocidal. At the same time, however, he really thinks he’s doing the right thing. He genuinely believes that the universe will benefit more than it loses by killing half of all life.

The way he goes about justifying such an atrocity is part of what makes “Avengers: Infinity War” such an incredible movie, as I made abundantly clear in my review. His motivations are presented so well that it’s hard not to ask the disturbing, yet pertinent question. Is Thanos right? Even if it’s only in part, is there some twisted merit to culling an entire population at that scale?

They’re deplorable questions with even more deplorable answers. Nobody who isn’t openly pro-genocide can condone Thanos’ methods. Even so, it’s a question that’s hard to leave unanswered. Even if that question itself disgusts us, it’s still one worth asking.

With that in mind, I’m going to make a concerted effort to answer it. Moreover, I’m going to try and answer in a way that doesn’t skew too heavily towards heroic or villainous biases. I’m just going to try and assess the merits of Thanos’ idea that culling life on a massive scale is necessary to save it in the long run.

The answer for such a daunting question is not simple, but it’s not as complex as those posed by other villains like the Joker, Baron Zemo, or Erik Killmonger. There’s a short and a long answer. To start, here’s the short answer to that daunting question.

Thanos is wrong, even if his intentions are right.

I think most sane people would agree with that. “Avengers: Infinity War” did an excellent job of giving context to Thanos’ action. He believed overpopulation on his home world, Titan, would destroy it. He turned out to be right. He saw, with his own eyes, his entire world destroy itself. In terms of raw numbers, he’s not wrong. Half a world is still better than no world.

There’s even some real-world parallels. Granted, they rely on immense amounts of suffering, but the implications are hard to ignore. It didn’t happen with the aid of infinity gems or talking raccoons though. It happened through an aptly named period called the Black Death, a period in history that I’m sure would fill Thanos with glee.

Most people with a passing familiarity of history know what happened during the Black Death. A wave of disease, mostly in the form of Bubonic Plague, ravaged Eurasia. It was so devastating that it’s estimated to have killed between 50 and 200 million people. In some cities, more than half the population died over a five-year span. Even by Thanos standards, that’s pretty brutal.

At the same time, though, the consequences of the Black Death had a few silver linings. Those lucky enough to survive inherited a world in which the flaws of the previous order had been shattered. Thanks to the Black Death, the old feudal order ended. A new middle class emerged. Old traditions and dogmas that helped spread the disease collapsed. From the ashes of that destruction, a stronger, healthier society emerged.

Thanos himself pointed that out in “Avengers: Infinity War” at one point. A massive onslaught of random, chaotic death has a way of getting society to reorganize itself. That kind of devastation makes it much harder to cling to the old order, especially if it relies on a mass of disease-prone peasants to do hard-labor for subsistence resources at best.

That’s the benefit Thanos sees. That’s also the danger that influential scholars like Thomas Malthus saw when he noted the dangers of overpopulation. Unlike Thanos, though, Malthus didn’t favor unleashing waves of death. He simply favored encouraging people to restrain themselves from having too many children that they couldn’t sustain. There was no need for an Infinity Gauntlet.

Both Thanos and Malthus saw overpopulation and strained resources as a problem, one that has to be solved by either restraint or mass death. However, the crux of their philosophy still relies on a series of key assumptions that are inherently flawed. This leads directly to the longer answer to that distressing question I posed earlier.

Thanos is wrong because his sample size is too small and justifying his actions requires assumptions that are demonstrably false.

I don’t think the answer needs to be that long, but it’s worth further elaboration. Not long ago, I cited a man named Dr. Norman Borlaug, a man who is basically the anti-Thanos. Rather than using death to fight hunger, he channeled the power of science, compassion, and good old grit to create new tools to improve food production, thereby feeding a growing population.

It’s worth noting that while Dr. Borlaug was hard at work, there were a lot of doomsayers out there like Thanos, warning that a growing population would lead to war, starvation, and conflict. Paul R. Ehrlich was probably the most famous with his book, “The Population Bomb,” which might as well have been written by Thanos.

Unlike Thanos, though, Dr. Borlaug and men like him helped prove that idea dead wrong. Ehrlich, Malthus, and Thanos all worked under the same flawed assumption. The carrying capacity of the world was finite. Once life approached that finite limit, it would lead to conflict that included starvation and war.

In the case of a species that could make weapons, like humans, that conflict could potentially destroy the entire world. That’s what happened to Thanos’ world. It almost happened to humanity on more than one occasion. However, there’s a fundamental flaw in that assumption. It’s the idea that humanity, or some other advanced species, is incapable of finding ways to transcending natural limits.

Part of what sets humans apart from other animals, who are very much at the mercy of a land’s carrying capacity, is their ability to make tools and modify the environment to improve survival and enhance resource management. As flawed as humans are, that’s still one of humanity’s greatest strengths. It’s part of what has helped us become the dominant species on this planet.

The human race, especially with the rise of modern civilization, has created amazing new tools that have helped us transcend the limits that once ravaged our species. Old limits like famine, disease, and even large-scale war have either been eliminated or mitigated. Even as our population increases, thereby straining our resources, we keep creating new tools that help us progress.

For Thanos to be right, humans and other alien species have to be incapable of making such tools. To some extent, Dr. Norman Borlaug proved Thanos wrong before Thanos was even created by Jim Starlin in 1973 . By then, Dr. Borlaug had already received a Nobel Prize for his work in helping to increase food production in places vulnerable to famine.

Maybe Thanos’ people never had a Dr. Borlaug to help improve their ability to prosper. From his perspective, someone like that is impossible. He goes onto assume that if it’s impossible on his world, then it’s impossible on every other world in the universe. It’s a flawed assumption, a sample size fallacy mixed with a faulty generalization fallacy.

Like a true villain, though, Thanos also works under the assumption that his world, Titan, is somehow representative of all worlds. It’s inherently egotistical, something that a lot of villains deal with. From Thanos’ perspective, though, he’s still doing what he thinks is right. He can’t possibly imagine that any other world could escape the fate of his.

There’s one more element he and other doomsayers like him have to assume that’s impossible to know. It’s also an element that undercuts many of the benefits that devastating events like The Black Death might foster. Even if killing half a population results in short-term benefits, those benefits are only justified if those killed weren’t going to aid in the progress of a society.

Think back to all those who died in The Black Death. Think back to those who’ve died in other terrible atrocities. How many of those dead might have gone onto become a Leonardo Di Vinci, a Martin Luthor King Jr., or a Nikola Tesla? Sure, there might have been a few nasty personalities mixed in, but they’re far less common than those with ideas, ambitions, and dreams.

It’s another significant assumption, believing that some of those lost in the atrocity might have gone onto solve the problems that Thanos foresaw. However, the fact that it’s every bit as possible as the contrary is further proof that Thanos’ logic, and that of other population doomsayers, is inherently flawed.

While I doubt these arguments would convince Thanos he’s wrong, seeing how he is still a villain and has a reputation for being mad, they’re still worth scrutinizing. Even if it’s possible to understand and even sympathize with Thanos to some extent, it’s refreshing to remind ourselves how flawed his assumptions are and how wrong he is in the grand scheme of things.

If nothing else, it reminds us why we should keep cheering the Avengers on when they take on Thanos again in “Avengers 4.” It’ll make that moment when they finally triumph that much more satisfying.

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The (Not So) Hidden Philosophical Insights In “Avengers: Infinity War”

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The past few weeks have been exciting, shocking, and downright cathartic for fans of superhero movies. The success of “Avengers: Infinity War” is beyond dispute. Between critical praise and a record-setting box office haul, it has entered uncharted territory in terms of success, both as a movie and as a cultural phenomenon.

As a lifelong comic book fan who hasn’t forgotten the dark days “X-men Origins: Wolverine” and “Batman and Robin,” the impact of this movie puts a big smile on my face. Even those who doubted a movie this ambitious could be made or keep hoping for superhero fatigue can’t deny the breadth of what “Avengers: Infinity War” has achieved.

Those achievements are worth celebrating, at least until the first trailer of “Avengers 4” comes out. As part of that celebration, I also think it’s worth taking a step back and looking at the bigger messages that “Avengers: Infinity War” conveys. To simply call it a big, flashy spectacle meant to milk movie fans of money would be a gross oversimplification.

Nothing becomes this successful without having meaning beyond the spectacle. No movie can appeal to such a wide audience or get them to pay grossly inflated ticket prices without having that meaning. Movies like “Avatar” and “The Godfather” have that kind of meaning that transcends the content of the movie. Even other superhero movies like “The Dark Knight” dare to explore deeper philosophical insights .

I believe those insights are present in “Avengers: Infinity War.” I also believe that those insights are unique because the entire setup for the movie is so unique. No movie in history has required a decade of build-up, multiple phases, and an over-arching narrative that spans movies that range from gods invading Earth to talking Raccoons teaming up with renegade space pirates .

That puts this movie in uncharted territory. The events of the movie can’t function in a vacuum without losing elements of that larger message. While the nature of that message is debatable, I’m going to make a case that the deeper meaning in “Avengers: Infinity War ” is one that complements those of the previous Avengers movies. I’ll even go so far as to claim it has implications for the real world.

The core of that message, I believe, has to do with a simple truth that probably seems inane, especially to those who read a lot of comics or consume a healthy dose of superhero-themed media. However, it’s a message worth belaboring and it can best be summed up like this.

A united team is stronger than a collection of powerful individuals.

I know that sounds like a snippet from one of Captain America’s inspiring speeches. It’s probably something teachers, coaches, and parents have conveyed to their kids, going all the way back to pre-school. However, I think “Avengers: Infinity War” conveys that message in a way that makes for a much greater spectacle with an equally great impact.

Even if you watch “Avengers: Infinity War” without seeing the last two Avengers movies, there’s one obvious obstacle that all the heroes face in the battle against Thanos. Before the first shot is fired, they’re all deeply divided. They’re not a team. They’re a mess.

Iron Man and Captain America aren’t on friendly terms. Tony Stark said as such at the beginning of the movie. It’s also established that Captain America and those loyal to him are fugitives, a direct result of the events in “Captain America: Civil War.” They are, to some extent, a metaphor for a divided team and a divided society.

That may not sound like a big deal, but to the extent it reflects a core strength of humanity, as both a species and a society, it couldn’t be more vital. I’ve mentioned before how tribal people can be. I’ve even framed it as a flaw, at times. While it certainly can work against us, it’s also one of our greatest strengths.

I don’t think it’s unreasonable to say that the human ability to form groups, work together, and coordinate in the name of a common goals is one of our greatest survival advantages. By forming teams and organizing societies, we’ve become the most dominant species on this planet. The Avengers are, from a philosophical standpoint, the embodiment of that team strength.

As individuals, we all have plenty of shortcomings. Not everyone knows how to fix a car, program a computer, or treat a staph infection. There are also too many of us who die from stupid accidents or treatable infections. As a team within a society, though, we’re able to thrive and overcome obstacles that no individual can overcome, even if they’re a super soldier or a billionaire inventor.

In “Avengers: Infinity War,” the team faces the ultimate obstacle in Thanos. He hits like an unpredictable force of nature. He brings callous, chaotic death and is willing to cross every conceivable line to achieve his goal. He’s not someone that can be dissuaded, talked down, or negotiated with. He must be opposed directly.

In other words, he’s the worst kind of threat the Avengers could’ve faced in their current condition. That’s critical because the first “Avengers” movie and “Avengers: Age of Ultron” do plenty to establish the value of having a unified team against such threats. In both those movies, the Avengers bicker and clash. However, they stay united and eventually defeat the threat.

You don’t need to look that deep into history to see parallels that reflect the strength of unified alliances. The unity of the allied powers in World War II proved overwhelming to the Axis. Contrary to popular belief and even a few popular alternate history stories , the Axis powers were never that close to winning the war. In fact, they were a very poor allegiance and hurt each other much more than they helped.

Even in recent times, greater unity in the form of globalization, free trade, and mass communication has helped unite the world on an unprecedented scale. While globalization gets a bad rap these days, it has helped create one of the most peaceful and prosperous times in human history. Like the Avengers, disparate societies are working together to achieve things they couldn’t achieve on their own.

In “Avengers: Infinity War,” and I know this is somewhat of a spoiler for those who haven’t seen the movie, the divisions within the team kept them from uniting against Thanos. They couldn’t be as effective as they were in “Avengers” and “Avengers: Age of Ultron.”

You could also make the argument that the Avengers weren’t willing to sacrifice as much as him. There were, indeed, opportunities to stop Thanos in his tracks. However, those opportunities required someone to die. The logic was that sacrificing one life would save many, trillions in this case.

That may seem like a failure on the part of the Avengers, but I would argue those difficult decisions are a direct byproduct of disunity. When a team is divided and not coordinating with one another, they have to make these kinds of sacrifices. Even if they did, though, it still doesn’t guarantee that they would beat Thanos.

It’s another consequence of disunity, division, and not coordinating with one another. Everything becomes a reaction. There’s little room to plan or prepare. That worked against the Avengers in a big way because they did have some warning surrounding Thanos. The visions Tony had in “Avengers: Age of Ultron,” at the very least, offered hints as to what might be coming.

Rather than use that opportunity to unite, they ended up divided. In the end, the outcome of “Captain America: Civil War” ensured that “Avengers: Infinity War” was going to end badly for the Avengers. It’s part of what helped give “Avengers: Infinity War” such an enormous impact. It takes those over-arching narratives from other movies and gives them greater weight.

Now, none of this is to say that the Avengers would’ve defeated Thanos easily had they been united from the beginning. Even if every one of them had been present and on the same page, there are no guarantees against a threat like Thanos. Like a supervolcano eruption or a gamma ray burst, it’s impossible to know whether we can survive a powerful threat we’ve never faced before.

Even so, history and nature are ripe with examples that demonstrate how united, cohesive teams are better able to survive major threats than powerful individuals. One human versus one hungry grizzly bear is not a fair fight. An entire team of humans, armed with a desire to survive and the collective know-how of multiple individuals, makes it exceedingly unfair for the grizzly.

Like the Avengers, the best teams are those that maximize an individual’s unique talents while empowering them with a collective drive. In those same teams, the conflict between individualism and collectivism strikes a critical balance. They aren’t so unified that they become prone to drone-like behavior. They also aren’t so divided that they’re too weak to coordinate.

We see that balance in teams that win championships. We also see it in organizations that accomplish great things, from building the pyramids to landing a man on the moon . A lot of what humanity has achieved, as a species, has been done through a collection of brilliant individuals who are able to work within a society to make their ideas happen.

The same effect applies to superheroes, who embody ideals of individual powers and abilities. On their own, Captain America, Iron Man, Thor, and even Ant Man can do great things. As a team, though, they can do much better.

It’s both a lesson and a powerful message, laced within a cinematic marvel. It shows just how weak and vulnerable we are when we’re divided, petty, and disorganized. Hopefully, “Avengers 4” can complete the story by showing just how strong we can be when we’re united, motivated, and driven. It may be an old, overplayed message, but it’s one worth belaboring in a world that’s still very divided.

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