That Grim Reaper Clue In WandaVision Episode Two Could Be Huge

SPOILERS FOR WANDAVISION AHEAD!

The first two episodes of WandaVision, which dropped on Disney+ this morning, certainly gave us plenty to talk about – and potentially theorize about. Although it’s still too early to predict exactly what great big catastrophe Wanda Maximoff and her family are headed towards, we can already begin to see clues coming together and potential story threads emerging from the tangled web that is Wanda’s new reality. The quiet suburban paradise that is Westview is not what it claims to be on the brochure, and there’s reason to believe that multiple powers are at play behind the scenes, manipulating the entire town – and especially the Maximoffs – for their own agendas. But what are these agendas? What do these dark forces want with Wanda, or her husband, or her soon-to-be-born twin sons?

WandaVision
Grim Reaper | gamesradar.com

The most prevalent theory in the fandom – and a very convincing one, at that – is that the prime mover of events in WandaVision is Mephisto, Marvel’s version of the Christian Satan, and the lord of a fiery pocket-dimension he calls Hell (but which isn’t, technically). This theory is backed up by little references scattered throughout the first two episodes of WandaVision: from the name of Agnes’ adorable bunny (Señor Scratchy is a cute and devastatingly clever play on Satan’s real-life nickname, Nick Scratch), to the fact that Agnes basically just comes out and says it in episode two, noting that the devil’s in the details, but “that’s not the only place he is”. Agnes herself has long been believed to be Agatha Harkness, a sorceress from the comics who is Mephisto’s trusted acolyte and partner-in-cosmic-crime.

And as for who Mephisto is in Westview, well, there are good theories about that too: some fans think he’s Agnes’ mysteriously absent husband, “Ralph”, whom she’s only namedropped about a dozen times at this point. Personally, I wouldn’t be surprised if he turns out to be “Ralph”…or if “Ralph” then turned out to be the salesman who routinely interrupts the WandaVision broadcast to advertise painful memories from Wanda’s past, disguised as historically-accurate household appliances and accessories…or if the company behind those vaguely disturbing infomercials turned out to be the same company that Vision is working for in Westview – you know, the company where nobody knows what they produce, market, sell, or even do on any given day. It’s all connected, as they like to say in the MCU.

But as you can probably sense, I don’t think Mephisto is necessarily the main villain of WandaVision. I’m sure he’ll be a villain, and I strongly believe he’s the one who’s secretly in control of Wanda’s dream-world, feeding her wish-fulfilment and fantasies to keep her content until the day when she gives birth to her twins, and Mephisto arrives (or more likely sends Agatha – sorry, Agnes) to kidnap the kids and harness their chaotic power for evil in a ritual sacrifice or something similarly unpleasant. But if that’s not main villain behavior, then what is? Well, I think there’s a few ways this could go, actually, but simply put – my theory is that Ultron (yes, that Ultron) is coming back, and he’s bringing a brand new comic-book villain with him.

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Ultron | editorial.rottentomatoes.com

I know, I know, it sounds ridiculous. But let’s start with the opening credits for WandaVision, episode two – a fun little black-and-white animated montage modeled on the Bewitched opening sequence, that follows Vision as he glides through the walls of the Maximoff family residence. Caught up in the moment, you could easily miss the fact that at one point he passes straight through a wall that is, uh, filled with bones. I know I did, the first time around. But more importantly, you might (and I did) also miss the distinctive four-pronged helmet that is lying amidst all those bones – the helmet which belongs to a Marvel Comics villain named the Grim Reaper.

The Grim Reaper, wearing his helmet and wielding a scythe/buzz-saw/helicopter hybrid weapon has featured prominently in a number of comic storylines over the years, so just having him show up in WandaVision as an antagonist would make sense even if he serves no larger purpose. He’s also a powerful necromancer – and maybe that has something to do with the way in which Vision has been restored to perfect health after having his head bashed in by Thanos. Certainly it could be useful, given the Reaper’s helmet is lying in a small graveyard. But I believe there’s more they can do with the character, and there’s even precedent for it in classic comics. Allow me to explain.

1991’s Reaper And The Robot story arc featured the Grim Reaper and a familiar robotic fiend, the genocidal super-computer known as Ultron. In the MCU, Ultron has only been utilized once as a villain, rising to power in Avengers: Age Of Ultron and briefly enlisting Wanda Maximoff to his cause before betraying her trust and then acting all shocked when she and her brother Pietro betrayed him in turn. Ultron died a couple times, with Wanda ripping the heart out of his main body, and the last of the robot warrior skeletons into which he had uploaded his consciousness being pulverized by Vision at the end of the movie. But Ultron is almost beyond human comprehension – it’s hard to say for certain that he died, especially now that Vision is out here proving that you can literally have your head crushed TWICE and still come back in some shape or form.

In the aforementioned comic storyline, Ultron takes refuge from the Avengers in an underground lair that just so happens to be situated within a sewer system, where the Grim Reaper finds him. WandaVision episode two, meanwhile, ends with an anonymous character (randomly dressed as a bee-keeper) emerging from a manhole cover in the middle of the road, the implication being that people are infiltrating Wanda’s world through the sewers. This character is wearing the logo of S.W.O.R.D. on their bee-keeping uniform, which would seem to suggest they’re not out to harm Wanda but to rescue her from whatever trap she’s landed in, but that being said, the character in question definitely doesn’t appear friendly – especially not with their face strategically kept in the darkness. It’s gotten to the point where theorists are legitimately considering whether this person is the Spider-Man villain Swarm, an obscure character comprised of a humanoid swarm of mutant Nazi bees under the control of a dead German scientist whose skeleton they hold onto for…reasons. As much as I’d love that kind of a bizarre plot twist, I think it’s far more likely this character is either a harmless S.W.O.R.D. agent from the outside world, or the Grim Reaper.

But if the Grim Reaper is around in Westview, and if Ultron is supposedly down in the sewers, what happens next? Well, in the comics storyline, they meet and team up – with Ultron’s primary motive being to design murderous robotic versions of superheroes, including Wanda’s twin brother, Pietro Maximoff. In the MCU, it might not be possible to do this without first obtaining his body from wherever it was buried: and that’s where having a necromancer on your team suddenly makes sense. Without knowing the themes of WandaVision yet, it’s hard to say how this plot-point would or could be integrated: but I imagine there would be some kind of struggle between Wanda and a resurrected Pietro, perhaps more emotional than physical, and we’d finally see Wanda confront all the regrets and mistakes from her past that she’s pushed into the darkest recesses of her mind. Subtly supporting this notion is the existence of those strange infomercial segments interspersed throughout WandaVision, that hint at parts of Wanda’s past she’s tried to forget: including the death of her parents, and her history as a HYDRA lab experiment. And based on how the series is proceeding, episode three’s commercial will likely bring up another painful chapter of her life – her time with Ultron, and her brother’s death.

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Wanda and Pietro Maximoff | popsugar.com

If this storyline is adapted in any way, some elements will surely be altered. Perhaps Mephisto will be involved (in fact, I’d expect him to be), or perhaps Ultron will be radically different from how we last saw him. But with the pieces all falling into place, I can’t not present this as a possibility. We know so little about how WandaVision will play out, this is the perfect time for truly wild speculation.

On that note, what do you think? What are your best guesses about WandaVision, and what villains do you particularly want to see? Share your own thoughts, theories, and opinions, in the comments below!

“WandaVision” Episodes 1 & 2 Review! SPOILERS!

SPOILERS AHEAD FOR WANDAVISION!

A year’s worth of quarantines and COVID-19 delays has changed us all, Marvel Studios’ classic formula and release date calendar included. Thus, WandaVision, originally slated to follow two more traditional Marvel installments (Black Widow and The Falcon And The Winter Soldier) onto the scene, is now kickstarting the MCU’s fourth phase of movies and Disney+ streaming series’. It’s a bold and potentially risky move: WandaVision is the kind of experimental property that Disney was probably afraid to lead with, due to its, shall we say, zanier qualities.

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Vision and Wanda Maximoff | marvel.com

But as the MCU expands across multiple new mediums and genres, WandaVision probably offers the most authentic taste of what’s to come in the near future. Refreshingly unpredictable, quirky, and a bit more mature in tone than what we’ve come to expect from Marvel, the series’ first two episodes released this morning offer up a complex yet intoxicating concoction – blending the charm of retro black-and-white sitcoms with a dash of chilling psychological horror. Ironically, the only ingredient absent from the recipe is superheroes – and I’m okay with that.

With no Avengers running amuck, and with both Wanda Maximoff (Elizabeth Olsen) and Vision (Paul Bettany) trying to hide their supernatural origins from their neighbors, WandaVision‘s quaint suburban utopia is perfectly normal in every way, at least at first: and only hints of the larger cinematic universe are able to bleed through, mostly via brief, jarring, infomercial segments that interrupt each episode about halfway through, advertising some bizarre product with a hidden MCU connection – a Stark Industries toaster, which refers back to Wanda’s own complicated history with Tony Stark, and to Vision’s famous comics nickname; and a classy Swiss wristwatch named for Wanda’s old handler, Baron Von Strucker, and bearing a small, sinister, HYDRA logo.

But for the most part, we’re simply following Wanda and Vision’s day-to-day misadventures in the picturesque town of Westview, as if we were being dropped randomly into the middle of actual sitcoms. The first two episodes span two decades of television history – the first set in the 50’s, with a familiar aesthetic borrowed from The Dick Van Dyke Show and I Love Lucy, and the second in the 60’s, with cute nods to Bewitched: including a near-identical animated opening sequence and some suspiciously witchy behavior. Each episode comes with a new theme song written by Frozen songwriting duo Kristen-Anderson Lopez and Robert Lopez, but the cast of characters remains the same, their ages and appearances largely unchanged even as they advance rapidly through time.

Elizabeth Olsen is at the top of her game, bringing out the best version of Wanda Maximoff yet with the help of extremely well-written dialogue and witty jokes that land well more often than not (the live audience laughter is give-or-take, though it works with the setting). Olsen has great comedic timing, and, crucially, all the charisma and earnestness of the real-life sitcom heroines from this era. She finds opportune moments to subtly channel the sophistication of The Dick Van Dyke Show‘s Mary Tyler Moore, the casual confidence of Bewitched‘s Elizabeth Montgomery, and the unbridled campiness of I Dream Of Jeannie‘s Barbara Eden, depending on what any given scene requires – but her performance is entirely her own, and never crosses the line into parody. Paul Bettany, meanwhile, lends a surprising amount of physical comedy and slapstick humor to the series, as well as his character’s signature brand of sardonic wit. Combined, the duo are more compelling and more naturally romantic (I’d even go so far as to say “adorable”) than we’ve ever seen them to date. With the series jumping into the 50’s setting right off the bat and providing no explanation for why or how two characters last seen in the modern world (one of whom even died – twice) are now living in an oldschool sitcom, Olsen and Bettany’s relatable performances act as necessary anchors for the audience – the couple seem just as unsure and unsettled as we all are, but do their best to ease into Westview’s flow without making a stir because (a) they don’t really have an alternative, and (b) who wouldn’t do the same, placed in a similar situation?

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WandaVision | vox.com

Of course, their actions lead to some hilarious hijinks (a particularly funny one involving a mix-up with a wedding anniversary that neither Wanda nor Vision can remember, because, well, they haven’t actually gotten married yet), but the couple seem to be doing pretty well playing catch-up on everything they’ve missed, while making new friends in town.

In fact, one could argue the neighbors are a little too friendly, and too quick to forgive and forget any of the couple’s oddities in pursuit of some ulterior agenda. Agnes (Kathryn Hahn), Wanda’s next-door neighbor on the right (“my right!,” Agnes unhelpfully elucidates), pops by periodically to check in on Wanda or help her out of a predicament with a well-timed pineapple. In episode two, Agnes also provides Wanda access to the town’s high society cliques, including the event planning committee headed by a woman named Dottie (Emma Caulfield), who goes from hating Wanda’s guts to endlessly praising her. Eventually it becomes creepily clear what prompts this change of heart: Dottie’s motto, which she and her friends recite in a reverent chant, is “For The Children”; a simple message that glosses right over the fact that Westview has few, if any, junior members at all – until Wanda herself suddenly becomes pregnant near the end of episode two.

If you’re familiar with the comics, you’ll know that Wanda’s twins, whom I expect will arrive at some point in episode three, are of great interest to multiple dark powers lurking in the Marvel universe – including the evil sorceress Agatha Harkness, and the devil himself, who typically goes by the name Mephisto. Many fans have already caught onto the fact that Agnes is probably Agatha Harkness in some form or another, but Mephisto is probably already in Westview too. Agnes seems to confirm this in episode two, after Dottie remarks that “the devil’s in the details”, when she whispers to Wanda in an aside that he’s in other places too. Mephisto hasn’t shown up physically yet, at least not that we’re aware: he could be the salesman in the aforemtentioned informercial segments, whose products are all fragments of Wanda’s traumatic memories, and who is accompanied by a tall woman who might be another version of Agatha too. Or he might be Agnes’ mysterious husband, “Ralph”, whom she mentions in passing so many times he has to be significant. Even Agnes’ pet rabbit, Señor Scratchy, has a Mephisto connection: Scratch is a term often applied to the Christian devil, and Nicholas Scratch is the name of Agatha Harkness’ son, an ally of Mephisto.

There’s a distinctly creepy undercurrent to WandaVision – quite literally, as episode two’s cliffhanger reveals that anonymous characters from the outside world have been moving underneath Westview via the sewers, dressed in bee-keeping uniforms for some unbeknownst reason. There are loud noises in the night, a strange voice cuts through radio static to loudly address Wanda by name, and a colorized toy helicopter shows up in Wanda’s black-and-white rosebush. The show’s visual iconography feels straight out of an arthouse horror picture: a crimson splash of blood on Dottie’s hand, constantly flickering TV screens, Mrs. Hart (Debra Jo Rupp) laughing while her husband chokes to death on the floor. The implication is that WandaVision sometimes glitches – but whether that’s because of someone inside manipulating Wanda, or someone outside trying to exert control, or Wanda herself losing control over what she’s created, is unclear.

Certainly it looks like agents from S.W.O.R.D. are trying to break through to her from outside, and that Wanda is unintentionally absorbing them into her world, rebooting them with new identities and forms – in much the same way that, while dreaming, you might still be able to hear noises in the real world, but your brain contextualizes them within the dream’s internal logic. For instance, we the audience know that Teyonah Parris’ character is not who she says she is to Wanda, a cheerful young debutante named “Geraldine”, but is in fact a S.W.O.R.D. agent named Monica Rambeau (whom you may remember from Captain Marvel). But Wanda doesn’t know that, and Monica doesn’t seem to know either – she’s been so deeply absorbed into the fabric of Wanda’s reality that she’s forgotten her own.

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Geraldine and Wanda | elitedaily.com

It’s easy to see why. WandaVision masterfully recreates the world of classic sitcoms, employing practical effects and only the most rudimentary digital effects to convey Wanda’s chaos magic. From the shifting aspect ratio to the cinematography, to the hard work of the hairstyling and costume departments, to the period-accurate slang and mannerisms (for example: Wanda and Vision begrudgingly respect the constraints of unseen network censors until the 60’s, when Wanda converts their two beds into one), everything in this faux reality feels perfectly authentic, and detailed enough that I can’t wait to rewatch it again and again. My only major complaint is that I fear we won’t spend enough time in any decade to feel truly settled in one – though I rather suspect that’s the point, since Wanda and Vision are facing the same struggle: not being able to fit in no matter the era and changing social norms, and despite their best efforts to disguise their differences.

In episode one, Vision promises Wanda that their star-crossed romance will finally have a happy ending in Westview…but, well, considering that he’s actually dead and she’s about to lose everything again, we’ll see how long that lasts.

Episode Rating: 9.5/10

May Calamawy Joins “Moon Knight”!

Although Oscar Isaac has yet to be officially confirmed as the Marvel Cinematic Universe’s Moon Knight (though it’s pretty clear at this point that he will indeed be donning the antihero’s iconic mantle), the series is moving full steam ahead with a production start date already set for March, and has now begun casting other key supporting roles. May Calamawy has become only the second cast member to join the series, playing an as yet unnamed character who will join the Moon Knight on what Marvel president Kevin Feige described as a globe-trotting, “Indiana Jones-type” adventure.

Moon Knight
May Calamawy | refinery29.com

Calamawy, a Bahraini actress with Egyptian heritage, has risen to stardom through her popular role on Hulu’s Ramy, where she portrays Ramy Youssef’s  younger sister, Dena Hassan, and has helped to break barriers for MENA (Middle Eastern and North African) representation in TV. She will have a chance to do so again in the Moon Knight series, where she is likely filling the role of Marlene Alraune: an important figure in Moon Knight’s backstory. A casting call that MCU Direct was able to reveal back in September of last year suggested that Marvel was searching for actresses of any ethnicity, and in the same age-range as Calamawy, to play a character believed to be Marlene.

At the time, Marvel provided only a few details about the character, including that she would be “a manipulative operative working for a secret organization”, possibly hinting at a connection to the MCU’s S.H.I.E.L.D., or even S.W.O.R.D., which is being set up to have a major role going forward: S.W.O.R.D. agents will be tasked with trying to restrain Wanda Maximoff in WandaVision, and will likely show up again in the Secret Invasion series. In the comics, Marlene’s character has never had ties to either of these organizations, but then again, she’s also been little more than a rip-off of Marion Ravenwood from the Indiana Jones franchise – so I don’t mind if her backstory gets rewritten to better suit the modern setting.

Moon Knight
Moon Knight | superheroes.fandom.com

Marlene in the comics is a stereotypical “archaeologist’s daughter” (not to be confused with the very similar “scientist’s daughter”), and is most often utilized as a love interest to Marc Spector, a.k.a. Moon Knight. While accompanying her aging father on his final research trip to Egypt, she accidentally becomes embroiled in a fight between Spector and his nemesis, The Bushman, who kills her father and attempts to kill her too but is stopped by Spector: who is left mortally wounded in the attack. Spector is then revived by the ancient Egyptian moon deity Khonshu, and given a second chance at life in exchange for his services as an assassin and mercenary, carrying out the god’s dirty work on earth. Marlene accompanies Marc Spector occasionally on his crime-fighting missions, and has some fighting skills of her own that she’s able to put to good use, but most comic readers still only know her as Spector’s on-and-off girlfriend, who at one point leaves him for her ex-husband and then reunites with him later. The MCU has never been great at creating truly messy romantic drama, but WandaVision seems like it might finally reflect a widescale shift towards writing more complex romantic relationships – so I guess we’ll have to see what happens.

But regardless, this is still very exciting casting, and bodes well for Calamawy’s career beyond Ramy. I hope that we’ll soon see other MENA actors join Moon Knight in significant roles, making up for the MCU’s earlier, dated, and deeply offensive portrayals of Middle Eastern characters as terrorists. This stereotype continues to be perpetuated in mainstream media – just last month, Wonder Woman 1984 tried to get away with it too: in what may have been an ill-conceived and tasteless attempt to pass it off as just another hallmark of the 1980’s films upon which the DC sequel was based, like troubling depictions of women, dubious consent issues, and queerbaiting.

Moon Knight
Marlene Alraune | comicbookrealm.com

So what do you think about Calamawy’s casting, and how excited are you for Moon Knight? Share your own thoughts, theories, and opinions, in the comments below!

From Winter Soldier To WandaVision: Wanda’s MCU Journey.

I don’t usually write recaps. I mean, in some ways, all movie and TV reviews are just overly-detailed recaps embellished with a lot of flowery prose, but this is still pretty new ground for me. But it’s 2021, WandaVision is on its way to Disney+ in less than two weeks (!), and it’s time to try my hand at writing a comprehensive recap of Wanda Maximoff’s journey in the Marvel Cinematic Universe thus far. The timing of this post is in no way meant to deliberately precede the official Marvel recap that is set to be released shortly before the series premiere…okay, well, maybe it is: but only a little (ask yourself honestly, who would you trust to give you the most detailed information on Wanda Maximoff? The studio responsible with actually overseeing her character arc, or me?).

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WandaVision | deadline.com

The purpose of any good recap is to muster up more hype (as if we could be any more hyped for WandaVision at this point), and to help give audiences – particularly newcomers to any given franchise – an idea of what’s come before, and what to expect. But I’ve realized that a good recap can also be helpful to me as a reviewer, because its existence means I don’t have to put as much exposition and background information into my actual reviews: I can jump straight into the action, while simply linking back to this recap. And now that we’re all up to speed, let’s get into it, shall we?

Wanda Maximoff’s MCU journey began in 2013, in the post-credits scene to Captain America: The Winter Soldier, where she and her twin brother Pietro Maximoff first appeared as haggard, world-weary lab experiments trapped in a frigid Eastern European fortress under the supervision of Baron Von Strucker, a nefarious scientist working with the covert Neo-Nazi organization, HYDRA. Von Strucker and HYDRA are largely unimportant to the story of the Maximoff twins except insofar as they allowed the twins access to the Mind Stone, one of the six Infinity Stones that preserve the integrity of the universe itself, as part of a larger attempt to use the Stone’s power to artificially enhance human beings into superhuman killing machines. What exactly happened during this series of experiments is still unknown: but by the time they left Von Strucker’s fortress, Pietro had super-speed, and Wanda was a dangerously unpredictable sorceress equipped with telekinesis, telepathy, and reality-altering magic. The fact that these aren’t powers one would typically associate with the Mind Stone’s sphere of influence, and the fact that Pietro and Wanda are two of the most notable mutants in the pages of Marvel Comics, has always suggested to fans that there’s something more going on here than Marvel has yet revealed.

This wouldn’t surprise me: even if the MCU wanted to retroactively confirm that Wanda and Pietro are both mutants (and I think they very much want to), they couldn’t have done so until just recently, when Disney bought out 20th Century Fox and thus obtained the rights to the Marvel mutants and Fantastic Four. Mutants are characters born with latent superhuman abilities that typically manifest themselves at the onset of puberty, with catastrophic results. In the comics, Wanda and Pietro are not only prominent mutants, but the children of telekinetic mutant terrorist Erik Lensherr, a.k.a. Magneto, one of the most famous comic-book villains of all time. But what about MCU Wanda and Pietro? The MCU has conveniently left the twins’ backstory vague: their parents supposedly died during a period of civil unrest in their hometown of Sokovia, but we don’t know that for sure, and we still don’t know their parents’ names. Additionally, it appears that Wanda and Pietro were the only test subjects who survived being exposed to the Mind Stone’s raw power: something that immediately suggests they at least had superhuman levels of endurance prior to the experiment. A recent Marvel tie-in book hinted that Wanda’s powers were “unlocked” by the Mind Stone. And footage from the recent WandaVision trailer shows a possible flashback to Wanda’s first encounter with the Stone, so I believe we’ll finally get a conclusive answer to this question that has long divided the fandom.

By 2014, Wanda and Pietro were strong enough to take on the Avengers during the siege of Sokovia. While Pietro wasted his time running rings around Hawkeye of all people, Wanda confronted Tony Stark himself and sent him into a prophetic trance: a neat trick, and one with major consequences – as Tony saw visions of his friends slaughtered by aliens, and became so obsessed with the idea of building “a suit of armor around the world” that he took the Mind Stone and implanted it into a weaponized supercomputer he named Ultron. The Mind Stone caused Ultron to come to life and quickly grow hostile towards his maker, irrationally arriving at the conclusion that to protect the human race, he had to…wipe them out with a meteor. Ultron brought the newly liberated Maximoff twins under his wing, while designing a humanoid synthetic body for himself – which the Avengers stole from him and into which they implanted Tony Stark’s A.I. personal assistant J.A.R.V.I.S., before using the Mind Stone to bring their creation to life. Thus, Vision was born: and his ability to live inextricably tied up with the Mind Stone, and its fate.

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Wanda and Vision – WandaVision | uproxx.com

Wanda and Pietro betrayed Ultron during the second battle of Sokovia, in which Ultron tried to uproot the city from the planet’s surface and use it as his meteor. Pietro, sadly, was killed while protecting Sokovian citizens, and Wanda – sensing his death from afar – unleashed a tidal wave of chaos magic that tore through Ultron’s robot army: saving the day at a terrible personal cost. She herself killed Ultron, tearing out his heart and crumpling it into a tiny ball of shrapnel, just to give him some idea of how she’d felt. It was Vision, however, who put an end to the robot once and for all, laser-beaming him out of existence. Both Wanda and Vision officially joined the Avengers team soon afterwards, and started developing feelings for each other.

When Captain America: Civil War rolled around in 2016, Wanda had dropped her vaguely Eastern European accent and acclimated to life as an Avenger. But not enough, apparently, to know that telekinetically flinging a suicide-bomber into the side of an office building maybe isn’t a great idea. Her actions proved to be the catalyst of civil war, quickly dividing the Avengers into two camps: those led by Tony Stark, who believed that superheroes needed to be regulated to minimize civilian casualties, and those led by Steve Rogers, who believed such regulation would only introduce more risks. Wanda, still traumatized by what she had done and viewed as emotionally unstable, was forced to stay back at headquarters under Vision’s surveillance. The two bonded over their foodie interests, but it wasn’t long before Wanda realized she was being confined and escaped with the help of Hawkeye, battling Vision on her way out.

The film’s third act pitted Wanda and Vision against each other again, but this time Wanda was ultimately arrested and taken to The Raft, a maximum-security submarine prison. From the time Steve Rogers arrived to break her out at the end of the film, to the time we reunited with her and Vision in Avengers: Infinity War, her life is a blur. On the run from most of the world’s governments and still regarded as one of the most dangerous Avengers, she went undercover, made up with Vision, and eloped with him to Glasgow, Scotland, where the two were still enjoying their honeymoon phase when Thanos’ minions arrived to kill them both. She (or possibly Vision himself: it’s hard to say) also discovered a way to disguise the android as a human being, a technique that will be reused for WandaVision, where the duo must pass for an average suburban couple.

But even as they were enjoying their romantic getaway, Thanos was assembling his Infinity Gauntlet, which required all six Infinity Stones to achieve full power. The Mad Titan dispatched his Black Order to retrieve the two Stones that remained on earth: one of which, the Mind Stone, was still embedded in Vision’s skull. Although the Black Order’s efforts were initially repelled, Wanda and the Avengers were forced to head to Wakanda to find scientists capable of separating the Mind Stone from Vision and destroying it without killing Vision in the process. It was hinted that this would have been possible, and Princess Shuri was already well underway with the process when the Black Order attacked again, but we may never know for sure unless this subject is brought up in WandaVision. Vision fled from Shuri’s lab with the Black Order in pursuit before the operation was complete, by this point realizing that the only way to render the Mind Stone unusable by Thanos was to have Wanda herself destroy it – and in so doing, Vision. The most heartbreaking scene in the film saw Wanda holding back Thanos with one hand while using the other to unmake the Mind Stone, all while staring into Vision’s eyes, never once losing sight of the man she loved. She was successful; Vision’s head exploded in a burst of light; and for a moment, audiences could breath a sigh of relief, assured that Thanos’ defeat was imminent.

But Thanos had already recovered the Time Stone from Doctor Strange, millions of light years away. He used that Stone’s powers to resurrect Vision, giving the android a few more moments to live before brutally ripping the Mind Stone out of his forehead, killing him again. Wanda’s pain at losing her lover twice in a span of seconds, at her sacrifice being all in vain, must have been devastating: it’s easy to understand why, when Thanos completed his Gauntlet and snapped his fingers, killing half of all living creatures including Wanda herself, she embraced death willingly.

But five years later, when Bruce Banner used a reconstructed version of the Gauntlet to snap half of all life back into existence, Wanda was one of those most eager to exact her vengeance on Thanos. Out of Avengers: Endgame‘s many highlights, the vicious duel between Wanda and Thanos stands out to me because of how deeply personal it is for Wanda – and because of how satisfying it is to see her go absolutely wild in that moment, caring nothing for mercy, controlled only by bloodlust. In a universe where many heroes are driven by some moral code, Wanda is refreshing in that she doesn’t have any code. She’s witnessed too much pain and human failure to believe in the unconquerable power of good. So when she singles out Thanos, she doesn’t waste a moment trying to rip him limb from limb: and she nearly succeeds, though Thanos is eventually able to catch her off-guard with a barrage of missiles.

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Wanda Maximoff | io9.gizmodo.com

With her part in the battle complete, Wanda quietly disappeared under the radar. Last time we saw her, she was one of many heroes in attendance at Tony Stark’s funeral, and had a brief but touching conversation with Hawkeye on the subject of grief and memory. She seemed to be at peace: but we know from the WandaVision trailers that in the aftermath of Endgame she will be lured into an alternate reality where she and Vision are able to live happily ever after, with a house, friendly neighbors, and twins of their own. Modeled off the classic American sitcoms from which Wanda learned English, this utopian dreamscape is being manipulated by dark supernatural forces, and infiltrated from the real world by S.W.O.R.D. agents trying to rescue Wanda.

Has my recap been helpful? And what are you most excited for in WandaVision? Share your own thoughts, theories, and opinions, in the comments below!

“The Mandalorian” Post-Credits Scene Reveals A Surprise 10th Spinoff!

SPOILERS FOR THE MANDALORIAN AHEAD!

My complete review of The Mandalorian‘s season two finale went up earlier today, and I had plenty to say about my deeply conflicted feelings on the entire episode. As a loving and only slightly passive aggressive nod to the way in which The Mandalorian‘s showrunners and writing team have seemingly structured seasons two and three as a two-parter (because there’s no way the cliffhanger “ending” we got works for the self-contained story that the series liked to claim it was up until this point), I have similarly composed my thoughts into two separate posts, which exist symbiotically. The first dealt with the episode itself: the second, the one you’re reading right now, is all about that shocking post-credits scene.

The Mandalorian
Fennec Shand and Boba Fett | ew.com

A post-credits scene that, to be honest, I would have completely missed if I didn’t have a habit of watching through the credits – partly because, as someone who reviews films and TV, it’s important to know about the talented individuals who pour their heart and soul into making entertainment possible; partly because it’s an instinctive thing, from the days when Marvel movies still existed. I also had a feeling that, even though Star Wars hasn’t (to my knowledge) experimented with post-credits scenes before, there had to be something there, because the finale itself ended without any big stinger – whereas season one concluded with the iconic shot of Moff Gideon standing atop his wrecked TIE-fighter with the Darksaber in hand. No way was season two going to end with any less dramatic reveal.

What season two went for, however, was completely unexpected. The scene takes place back on Tatooine, presumably only a short while after the events of the finale, in a very specific location that Star Wars fans know well: the mountaintop monastery once possessed by Jabba the Hutt and transformed into his personal palace, den of vice, and center of his flourishing crime empire. I’d always just assumed the place was abandoned after Jabba’s death by strangulation and the destruction of his entire court, but apparently not – and even more shockingly, it seems that members of his inner circle outlived the Huttese crime lord: most notably Jabba’s former majordomo, the pale and sickly-looking Twi’lek, Bib Fortuna (voiced by Matthew Wood this time around, and easily one of the top ten most hideous Star Wars characters even before his transformation in this scene), who it seems survived the attack on Jabba’s pleasure-barge and took over for the deceased Hutt, carrying on his vile legacy. This is the first reference to Fortuna’s survival in the new Disney canon, but the outdated Legends canon long ago confirmed that the Twi’lek escaped the barge’s explosion in a sand-skiff and took control of the palace before his death.

The Mandalorian
Bib Fortuna | starwars.com

Fortuna was tall and thin during the events of Return Of The Jedi, but in just the five years since the Empire fell, he has become a pale, bloated shadow of his master’s former glory, perched atop the Hutt’s dais with his massive lekku horns encircling his whole upper body. A few miserable-looking individuals wander around his palace looking bored, while a single Twi’lek slave sits chained to Fortuna’s throne.

And that’s where Boba Fett (Temuera Morrison) and Fennec Shand (Ming-Na Wen) suddenly come in, quickly defeating the slight resistance from Fortuna’s followers. As they come down the stairs, there’s a truly touching and memorable interaction between Fennec Shand and the Twi’lek slave, who struggles to unwind herself from the royal dais – a callback to the Twi’lek dancer who valiantly tried to strangle Jabba in Return Of The Jedi, before being fed to the Rankor beast beneath the palace floor. This time around, Fennec simply shoots the chains, exchanging a sympathetic and understanding look with the escaping Twi’lek before turning to the urgent business at hand.

Bib Fortuna briefly tries to plead his case, putting on an air of excessive friendliness when welcoming Boba Fett, who wastes no time shooting him in the chest and kicking his body off the dais. I imagine we’ve seen the last of this bizarre and truly repulsive character, but I guess it’s always possible we could see another story from Legends adapted: the one in which the ancient monks living below Jabba’s palace harvested Fortuna’s brain and transplanted it into a mobile spider-droid. It’s probably unlikely, but I thought you should know all the options.

What we know for sure is that Boba Fett, who settles comfortably into the throne vacated by both Jabba and Bib, is probably about to take the reins of Jabba’s once mighty empire, with plenty of help from Fennec Shand, who sits on the throne’s armrest, swigging from a flagon. The camera pans out, and a title card helpfully informs us that a new Disney+ series called The Book Of Boba Fett is coming in December, 2021. There are two distinct possibilities for what this means, both for Boba and for the future of The Mandalorian franchise.

The most popular and plausible theory is that The Book Of Boba Fett will be a new spinoff, a tenth new original Disney+ Star Wars series to add to the nine previously announced at the Disney Investors Meeting last week. There have been rumors that a Boba Fett spinoff is either in the works or actually already filming, and its absence from the official Disney lineup surprised many fans who have been following the news closely. Now it seems they may have been concealing its existence to preserve the surprise of this post-credits scene. I would love for this to be its own spinoff, because a Boba Fett miniseries gives us much more time to explore Fett and Shand’s new lair in Jabba’s palace, and for them to interact with all of the galaxy’s most dangerous criminals. The Mandalorian, which most of us originally thought focused on the bounty hunting business, has since become its own thing, freeing up this niche for The Book Of Boba Fett to fill.

The Mandalorian
Jabba’s Palace | starwars.com

The other possibility, and one that I don’t even want to consider, is that this “spinoff” is actually the third season of The Mandalorian, focusing on Fett and Shand rather than Din Djarin and Grogu. The strongest reason to believe this could be the case is the fact that both series’ are set to debut in December of 2021, and Disney+ hasn’t ever pitted two high-profile series’ from the same franchise against each other like that before (though, granted, The Mandalorian has been pretty much their only high-profile series from any franchise they own, so far). It would certainly be unusual if the two debuted against each other. It’s also convenient that Boba Fett, a Mandalorian, would be in a position to take over as the Mandalorian. His storyline is certainly compelling, and I’d watch anything with Ming-Na Wen in it, but I’m definitely not ready to give up Din Djarin and Grogu yet, especially not now that Djarin has just accidentally come into possession of the Darksaber, and Grogu is studying with Luke Skywalker at the newly rebuilt Jedi Academy. There’s still too much story left to tell with (and from the viewpoints of) those two characters. Or at least, I have to hope so.

What do you think? Is The Book Of Boba Fett going to be its own thing, or a continuation of The Mandalorian with a new and improved focus? Which would you prefer? Share your own thoughts, theories, and opinions, in the comments below!

“The Mandalorian” Season 2 Finale!

SPOILERS FOR THE MANDALORIAN AHEAD!

How The Mandalorian‘s second season finale will be judged largely depends on what happens next, in either the sequel season it sets up with a not-so-subtle cliffhanger ending, or the spinoff it teases in an unexpected post-credits scene (or…are they are one and the same?), because what we got is very clearly not the resolution to a self-contained original story, but rather the prologue to a wider saga spanning the Star Wars universe. But right now, for this one blissful moment, my feelings are deeply conflicted yet generally positive…because you simply can’t do what The Mandalorian season two finale did in its closing minutes, and not excite the Star Wars fan in me.

The Mandalorian
The Mandalorian | deadline.com

Just as in season one, when Din Djarin (voiced and played by Pedro Pascal) had to assemble a team to defeat the unnamed Imperial client on Nevarro (the true identity of whom will likely remain one of the series’ many minor, irritating, unsolved mysteries), this season’s finale revolves around assembling a small gang of heavily-armed misfits and saving Baby Yoda – or Grogu, or The Child, or whatever you want to call him. Djarin had already gained the allegiances of Boba Fett (Temuera Morrison), Fennec Shand (Ming-Na Wen), and Cara Dune (Gina Carano). The last piece in the puzzle is the Mandalorian princess Bo-Katan Kryze (Katee Sackhoff), who plays a pivotal role in the events of the finale, even though…well, it’s complicated, in a weird and somewhat unsatisfying way.

It’s nothing, however, compared to the intricacies of Mandalorian societal structures, which continue to grow increasingly messier the more we learn about them – today culminating in a face-off between Bo-Katan and Boba Fett where the two are barely able to resist from killing each other on the spot. The reasoning for that goes back a long way, to the animated Clone Wars series, in which it was revealed that most Mandalorians regard the entire House of Fett as outsiders to their creed and community – and Boba specifically as something entirely alien, due to the bounty hunter having been created inorganically as an identical clone of his father, Jango. Bo-Katan, who cast stones at Din Djarin for unknowingly belonging to a group of religious fanatics, now taunts Boba Fett with questions about his “donor”, and comparing him to other clones she’s known (and yes, that’s extremely hypocritical and uncharacteristic of her, since clone armies were instrumental in putting her in power after the Siege of Mandalore), causing a scuffle between Fett and Bo-Katan’s second-in-command, Koska Reeves (Sasha Banks). Fett, in turn, is utterly dismissive of Bo-Katan’s goal to unite the Mandalorian clans behind her and retake their ancestral home planet of Mandalore, which the Empire supposedly desecrated. In the end, the promise of finally being able to confront Moff Gideon (Giancarlo Esposito) and win back the Darksaber is what convinces Bo-Katan to join: though Din Djarin valiantly tries the “they-took-the-Child” route with her. It’s worked for everyone else, and it seems to be almost be enough for Bo-Katan, but the show is painting her as a low-key antagonist to Djarin for whatever reason, so they can’t have her be too kindhearted.

This is one of two instances in The Mandalorian so far (the other being Ahsoka’s refusal to train Grogu because of attachments) that I would be tempted to classify as character assassination if the term hadn’t been hijacked by trolls who use it broadly to mean anything that ever happened in the sequel trilogy. There’s a difference between character assassination and character development that a lot of people don’t get: and Luke Skywalker’s journey in The Last Jedi, for example, is a textbook example of the latter. Character development is organic and typically serves a thematic purpose; whereas assassination is a shortcut used lazily to rush the story forward (in Ahsoka’s case), or to force a conflict where there was none (in Bo-Katan’s case). What’s particularly frustrating is that audiences who don’t know Bo-Katan from the animated series’ will now remember her best as the borderline ruthless, prejudiced, ambitious-to-a-fault schemer she is here.

Laying out an elaborate strategy for how to infiltrate Gideon’s star-cruiser, the gang sets out in a small Imperial shuttle stolen from its previous pilot (played by Thomas Sullivan, whom I immediately recognized from Agents Of S.H.I.E.L.D.). The Mandalorian somehow has time to flesh out his character, and give him a pointless back-and-forth with Cara Dune, where he manipulates what I guess are supposed to be her traumatic memories of the destruction of Alderaan. The event has now been referenced twice this season, and, leaving aside the fact that Carano’s acting does nothing to convey the trauma of its aftermath (the dialogue literally mentions her shedding a tear, while Carano’s eyes are dry), it’s honestly just weird that people keep bringing it up in-universe.

Omid Abtahi briefly reprises the role of Dr. Pershing, the other occupant of the stolen shuttle, but there’s no time to interrogate him about Grogu’s exact midi-chlorian count. The fact that he was on his way to and not from Gideon’s cruiser bodes well for Grogu, as it implies he may not have had a chance to extract any further samples from the child (Gideon later confirms he’s taken his own samples of the child’s blood, but, well, that will be insignificant in the long run).

Director Peyton Reed is at his best while orchestrating the high-stakes, action-packed break-in – a stark contrast to his Ant-Man movies, which have mostly been low-stakes, filled with comedic action scenes and sight gags. Between this and the exhilarating spider chase he directed earlier in The Mandalorian‘s second season, he’s definitely given himself an upgrade before his next Marvel film, Ant-Man And The Wasp: Quantumania. His exceptional use of each character’s individual strengths makes for a very memorable string of fight scenes, and there’s a real sense of urgency and danger, even though most of our heroes are encased in beskar steel, which is nigh on impossible to shatter, dent, or damage in any way.

The Mandalorian
Din Djarin and Grogu | polygon.com

Din Djarin finds this out the hard way when he singlehandedly takes on Gideon’s elite platoon of robotic dark troopers – even with one of these super-sized metal juggernauts repeatedly hammering his face backwards into a wall with the force of a small battering ram, it’s the wall that gets broken to bits and Djarin who escapes unscathed, thanks to his beskar steel helmet. Hilariously, he’s then able to temporarily eliminate the dark trooper threat by blasting them all out an airlock.

While Bo-Katan and her all-female team storm the ship’s bridge looking for Gideon, Djarin accidentally but predictably encounters the Moff personally guarding his most prized possession, Grogu, with the Darksaber in hand. Finally, we can see why Lucasfilm hired Giancarlo Esposito for this role, as the ex-Imperial sneakily manipulates the conversation, feigning disinterest in the Mandalorian political situation while freely offering the child to Djarin. Although Djarin initially buys into his lies, it takes all of five seconds for Gideon to reveal his true colors and start hacking ferociously at Djarin with the Darksaber. The beskar steel gifted by Ahsoka Tano finally comes in handy, allowing Djarin the means to fight back in one of the series’ most hyped-up duels. The whole sequence is over suspiciously quickly, however, and Gideon is soon captured and dragged up to the bridge after being disarmed by Djarin.

When they reach the bridge, we find out just how cunning Gideon has been – possibly at the expense of established Star Wars canon. It was revealed a while ago in Rebels that, to wield the Darksaber and claim it as one’s own, one must first defeat the previous owner in combat. Or, at least, that was the case until Sabine Wren yielded the Darksaber willingly to Bo-Katan…who soon after lost it to Gideon himself, and spent years hunting him down, trying to make up for her failure and render her claim to the sword irrefutable. Gideon, by intentionally losing to Djarin, has now created a situation where Bo-Katan “can’t” take the sword unless she wins it in combat…from Din Djarin. Except she can. Sabine Wren set the precedent. Djarin offers it to her several times, only for Gideon to interject each time with a gleeful reminder of how Mandalorian law supposedly works. My best guess is that Bo-Katan blames her willingness to defy tradition and take the sword freely for all her failures, and for that reason won’t do so again. This whole thing is weirdly reminiscent of the Elder Wand debacle in Harry Potter.

It’s at this moment that the dark troopers return, flooding back onto the ship and charging towards the bridge, all while Gideon gleefully torments his captors with quips and boasts. His menace is rather undercut, though, by the sheer stupidity that compels him to grab a blaster and aim for Bo-Katan, who, reminder, is wearing beskar steel. He gets knocked unconscious by Cara Dune, and that’s literally the last we hear of him. A humiliating defeat for a villain that had just come into his own.

In the chaos, a single X-Wing fighter appears out of nowhere, heading for the cruiser. At first, I assumed it had to be the New Republic, come to save the day and convince us that a Rangers Of The New Republic spinoff series is actually necessary, but once the ship is confirmed to be flying solo and lands without communicating with the bridge, I figured I knew who its occupant had to be. Reed draws out the big reveal, forcing you to agonize and wrestle with your emotions and your “this can’t be happening” impulses, even as all the visual clues add up. And the brutal, beautiful suspense makes it that much more conflicting when the smoke clears, each and every dark trooper has been obliterated, and the person standing there is indeed Luke Skywalker (Mark Hamill)…but is also very much not.

The CGI replacement for young Luke – which uses Hamill’s digitally de-aged voice and likeness – is perhaps not quite as unnerving as the CGI Princess Leia in Rogue One, but nowhere near the seamless, stately elegance of CGI Tarkin in the same film. CGI Luke’s eyes are haunting and slightly unfocused, and his voice doesn’t quite seem to match the movement of his lips. He is, of course, revealed to be the Jedi that Grogu contacted back on Tython, but when they meet at last, Grogu waddles over immediately – only to spend most of the scene talking to Luke’s sidekick, R2-D2, in an excited chirping language matching the droid’s beeps, boops, and bops, while CGI Luke stands to the side; his ghastly top half purposefully out of frame, his lower half standing too still, like a background character in an animated movie.

The Mandalorian
Luke Skywalker and Grogu | menshealth.com

Disturbing digital effects aside, the Luke reveal is emotional and brilliantly executed, and it makes sense that he’ll be the one to train Grogu in the ways of the Force. But of course saying goodbye is hard: and so Djarin removes his helmet willingly, revealing his face to Grogu for the first (and hopefully not last) time. The puppet’s tiny claw reaches out to touch Djarin’s cheek, wide eyes take in every feature of his face…and yes, those muffled sobs you hear are mine. What can I say? I love character development.

And with that, CGI Luke sweeps Baby Yoda into his Ken doll arms, and takes off, concluding the second season of The Mandalorian. So much is still unresolved! Moff Gideon is defeated, Din Djarin commands the Darksaber and must now either embrace a new destiny or pass it on to Bo-Katan, and Grogu is headed to Ach-To, I guess. Oh yeah, and Boba Fett and Fennec Shand are getting a spinoff (or maybe just taking over The Mandalorian), which we’ll discuss in greater detail, in the second half of my finale review.

Because this show is so frustrating, one just wasn’t enough.

Episode Rating: 7.5/10

Abomination To Return In “She-Hulk” Series!

Even apart from official confirmation that Orphan Black star Tatiana Maslany will indeed be the Marvel Cinematic Universe’s Jennifer Walters (a.k.a. She-Hulk) in the upcoming Disney+ She-Hulk series – despite her insistent, and very convincing, claims to the contrary over the past few months –  there were several other reveals about the series that have me even more excited to see Maslany transform into the lovable, seven-foot tall, bright green bodybuilder: and prove once and for all that she is not simply a gender-swapped version of the Hulk, as some like to claim, but a unique and fascinating character in her own right, with an abundance of new stories to tell.

She-Hulk
She-Hulk | comicbookinvest.com

For one thing, the series will not gloss over Walters’ day job as a lawyer and activist for both societal reform on a widespread level, and individual superheroes. Marvel president Kevin Feige strongly implied that a couple of familiar MCU characters – both heroes and villains – might wind up in court before Walters, and that she might be placed in increasingly more tricky (and potentially dangerous) predicaments depending on who she’s either representing or trying to place behind bars. Heroes who might show up include Falcon, Winter Soldier, Hawkeye, and Kate Bishop, most of whom are already fugitives from the law. But they likely won’t end up in prison, or if they do, it won’t be for long. Villains, on the other hand…that’s where this gets interesting.

The MCU has long had a habit of discarding potentially interesting villains after a single film appearance, without ever actually killing them off – which was just lazy storytelling during Phases 1 through 3, but turns out to be a blessing-in-disguise heading into Phase 4: because now, with the Infinity Saga finally completed, we have time to go back and address all the unresolved storylines of these various antagonists. And there’s long been speculation that, as in the comics, a multitude of these long-forgotten villains will assemble their own version of the Avengers called the Thunderbolts, under the leadership of General Thaddeus “Thunderbolt” Ross, an anti-superhero watchdog (who, ironically, is secretly able to transform into the Red Hulk). With no specific Thunderbolts series or movie announced during the Disney Investors Meeting on Thursday, I believe She-Hulk will act as the Phase 4 set-up to an eventual Thunderbolts series or movie during Phase 5.

Think about it for a moment. Currently, the MCU has dozens of villains whose fates are still unknown, and a few who have yet to show up but probably won’t be killed in the near future: and all of these villains have committed more than enough heinous crimes to deserve high-profile court trials. Let’s go over a few. Justin Hammer, Tony Stark’s wannabe copycat in Iron Man 2, quietly dropped off the grid after unleashing a small army of heavily-armed robots on New York City; Ghost, the quantum-phasing antagonist of Ant-Man And The Wasp, never received the healing particles she was supposed to get from Scott Lang, and has likely regressed back into self-loathing and hyper-aggression; Yelena Belova, who is set to appear in both Hawkeye and The Falcon And The Winter Soldier, probably won’t stop being a violent super-assassin anytime soon; Baron Zemo, the big bad of The Falcon And The Winter Soldier, is far too ingenious to stay locked up for long (he’s already escaped one high-security prison); and Madame Masque, whom Vera Farmiga will likely play in the Hawkeye series, is just a really cool character. There are a bunch of others who could fill out the team roster, but the one that we need to focus on is Abomination.

She-Hulk
Abomination | cinemablend.com

First introduced in The Incredible Hulk in 2008, Emil Blonsky (better known as the horribly mutated, grotesque titan Abomination) has only been referenced in-universe once or twice since his debut: back in 2013, Agents Of S.H.I.E.L.D. revealed that he was being held in S.H.I.E.L.D. custody, in a cryo-cell in Alaska. Since then, S.H.I.E.L.D. has been infiltrated by HYDRA and been almost entirely disassembled from the inside, but there’s been no mention of Abomination since. Until now. She-Hulk will officially feature the return of the old villain, with Tim Roth reprising the role after over a decade – and hopefully getting a new and improved, comics-accurate, design. The fact that Roth’s involvement has already been announced suggests that Abomination plays a key role in She-Hulk…and what do you know, he also has connections to Thaddeus Ross, and thus to the Thunderbolts team.

So what’s my theory? I believe, based on everything we know so far, that Jennifer Walters’ work as a prosecutor will place her directly in Thaddeus Ross’ line of fire, as he tries to secretly unite various villains and keep them out of prison, even while Walters fights to incarcerate them. In the MCU, it may be agents working for Ross who give Walters the gunshot wounds that almost kill her, leading to Bruce Banner having to save her life with an emergency blood transfusion – which in turn leads to her becoming the She-Hulk, and gaining the extra brawn she’ll need to take the fight straight to Ross. And when she comes face to face with him (probably in the season finale, after figuring out how deeply the corruption goes), that’s when Ross will reveal his own alter ego, the Red Hulk, and engage her in an epic duel. Sounds pretty good to me.

She-Hulk
Red She-Hulk | wallpapersafari.com

As an additional bonus, Tim Roth’s MCU return means we could see other characters from The Incredible Hulk pop up in She-Hulk: including Liv Tyler as Betty Ross (herself a Hulk variant in the comics, the fearsome antiheroine Red She-Hulk). Tyler’s return is something that’s been rumored, and that fans have especially been hoping to see – and of course, I’m always up for a Lord Of The Rings star coming into the MCU, even though, in Tyler’s case, she’s been there for a while; just not getting the recognition and screentime she deserves.

So what do you think? What are you looking forward to from She-Hulk, and how do you want Tim Roth’s Abomination to feature in the series? Share your own thoughts, theories, and opinions, in the comments below!

“Ms. Marvel” Debuts New Footage, Will Costar In Captain Marvel 2!

Despite the Ms. Marvel Disney+ series only just beginning filming in Atlanta over the past few weeks, a sizzle reel compiled from behind-the-scenes interviews with the series’ creators and clips of new footage from the show was already completed in time for the Disney Investors Meeting on Thursday night, and gave us our first official look at newcomer Iman Vellani as the MCU’s first Muslim superhero, Pakistani-American teenager Kamala Khan. It’s not much, but it’s worth a shoutout because of the representation showcased in the sizzle reel itself, and the promise made by Marvel President Kevin Feige that Kamala Khan (a.k.a. Ms Marvel) will go on to costar in future Marvel films.

Ms. Marvel
Ms. Marvel | gamesradar.com

The brief video spotlights each of the four main directors working on Ms. Marvel, including Adil El Arbi, Bilall Fallah, Meera Menon, and Sharmeen Obaid-Chinoy. All are experienced filmmakers, and El Arbi and Fallah directed one of the highest-grossing films of this year, Bad Boys For Life: a gritty, action-packed adventure. Kamala Khan is a superheroine with a very distinctive superpower – the ability to redistribute the atoms in her body at will, to change her shape and size, create giant fists, or grow to incredible heights – so I hope all four directors will be able to carry that over from page to screen in a cool way, while keeping it wonderfully weird. Kamala Khan’s creator, G. Willow Wilson, has said she fears Khan will look “really creepy” in live-action because of her powers, but I have faith in Marvel to do her justice.

While the diversity behind the camera (where it matters most, arguably) is excellent, there’s been some recent controversy around the diversity onscreen…or rather, the lack thereof. A few days, #FixMsMarvel trended on Twitter, after it was discovered that two actresses cast in the series as Muslim women of color, Zenobia Shroff and Yasmeen Fletcher, are not Muslim (and Fletcher is half-white and Christian); that actor Matt Lintz, cast as Kamala Khan’s best friend Bruno, is possibly a Trump supporter (although he claimed later he is not political, which itself is a questionable stance, especially during these times); and that a sexual offender was reportedly cast in another supporting role. That last claim is certainly severe, but the actor in question is not confirmed to have joined the cast, unlike Shroff, Fletcher, and Lintz, all of whose names can currently be found on the Marvel website. For a series that is so laser-focused on improving representation of a traditionally marginalized demographic, these castings do represent missteps – and the MCU’s casting director, Sarah Halley Finn, is no stranger to casting controversy, having previously received criticism for picking a Mexican actress, Xochitl Gomez, as the (arguably) Afro-Latina Puerto Rican heroine America Chavez; and (allegedly) Oscar Isaac, a born-and-raised Evangelical Christian, as Jewish hero Matt Spector.

Ms. Marvel
Ms. Marvel | murphysmultiverse.com

How you choose to digest this information and proceed is your own choice, and reactions to the news will vary. It’s especially disappointing, however, because of how perfectly cast Iman Vellani appears as Kamala Khan: and how excited I think we all are for her to succeed. Vellani doesn’t appear in her Ms. Marvel costume in the new footage, but she’s still channeling her in-universe role model, Captain Marvel – as we can see her purchasing the Captain Marvel costume she wore in behind-the-scenes photos (where I thought she was being played by a child actor: my apologies to Vellani); wearing a T-shirt that seems to hint at a Captain Marvel/Valkyrie romantic pairing (which, if that’s the case, I wholeheartedly support); and staring wistfully at the Captain Marvel posters and memorabilia that adorn her bedroom wall. Heartwarming footage was also shown of Vellani’s freak-out reaction to her casting.

I can understand freaking out, because Marvel president Kevin Feige made it very clear that Ms. Marvel isn’t a one-and-done character: she will soon join Brie Larson and Teyonah Parris in a lead role in Captain Marvel 2, fulfilling her fangirl dreams and allowing her a chance to punch bad guys with her supersized fists on the big screen where she belongs. Much was made out of Vellani’s two-star review for the first Captain Marvel review on her alleged Letterboxd account (which, she clarified, was not because of Brie Larson, whom she “would die for”) – hopefully, her appearance in the Nia DaCosta-directed sequel will make it even better than the first. Meanwhile, Ms. Marvel may also help introduce the Inhumans royal family to the MCU, as a possible reference to Maximus the Mad hidden in the new footage hints that they’re on their way.

Ms. Marvel
Maximus | mcuexchange.com

The Inhumans were the subject of a short-lived ABC TV series, but they haven’t ever really caught on with audiences, except on Agents Of S.H.I.E.L.D., which was helped by exceptional writing and great character work. For the Inhumans’ MCU debut, I think Marvel would be foolish not to borrow from the best and transfer popular Inhuman S.H.I.E.L.D. characters like Daisy Johnson and Yo-Yo Rodriguez over to the Disney+ series, with actresses Chloe Bennet and Natalia Cordova-Buckley reprising their roles. We already have confirmation that another Inhuman from the comics, the bioluminescent Kamran, will appear and be played by Rish Shah: the stage is set for more to follow.

So what do you think? How do you feel about Ms. Marvel, and how would you deal with the controversies around casting? Share your own thoughts, theories, and opinions, in the comments below!

“The Mandalorian” Chapter 15 Review!

SPOILERS FOR THE MANDALORIAN AHEAD!

Waking up at three o’-clock in the morning every Friday to watch a new episode of The Mandalorian was a strangely calming experience for me until today, when I already had so much that I still needed to cover from the Disney Investors Meeting last night that I simply didn’t feel the drive to fast-track a Mandalorian review and risk missing the hype train for shows like WandaVision, Loki, and The Falcon And The Winter Soldier, none of which have actually released yet – but all of which somehow feel like they’re moving quicker, and at a more consistent pace, than The Mandalorian. We’re heading into the season two finale next week, and somehow we still seem to be moving at a snail’s pace in terms of plot, spending an entire episode searching for a code to track down Moff Gideon (Giancarlo Esposito).

The Mandalorian
Din Djarin and Boba Fett | electricbento.com

Thankfully, the series is picking up speed with regards to character development – particularly for protagonist Din Djarin (voiced and, today at least, played by Pedro Pascal), who removed his helmet. Such a simple action would have no consequence on pretty much any other series, but on The Mandalorian, where Djarin’s helmet (or, to be more precise, his facelessness) is an integral part of his religion and his personality, it’s a really big deal. And in the few minutes that he’s completely unmasked and vulnerable to the world, Pedro Pascal uses every single moment of screentime he’s got to convince you of why this is such a dramatic and intense milestone in his character arc. As you may recall, I spoke very highly of the episode earlier this season wherein Bo-Katan Kryze gently pointed out that Djarin’s strict rules regarding his helmet are derived from a group of religious zealots who were technically traitors to Mandalorian tradition: the exception to the rule, not the norm. And today, when Djarin took off his helmet because he had to, because his love for Grogu outweighed his commitments to his faith, it was as if we finally got payoff…something that The Mandalorian has been all too eager to tease, and far too unwilling to actually see through to the end.

I firmly believe Pedro Pascal could have handled that entire sequence on his own, and been completely fine: every subtly fearful facial expression he was wearing was clearly telling the story of a person whose entire life had been built on a set of core values that he was now being forced to break, and the anxiety rolling off him in waves was palpable. But I must say, I welcomed the addition of Migs Mayfield (Bill Burr) as a comedic and surprisingly dramatic foil to Djarin. Mayfield started out as an enemy of Djarin’s – no surprise there: Djarin locked him in a New Republic prison cell – but over the course of this single episode built a slow but powerful bond with Djarin, becoming the only living person to have seen his face. And rather than crack a joke about it, Mayfield was startlingly sincere in the aftermath, promising Djarin he would forget he ever saw anything.

The Mandalorian
Migs Mayfield | comicyears.com

Although I suspected last week that the majority of today’s episode would revolve around trying to rescue Mayfield from prison, that portion was blissfully short: turns out, Cara Dune (Gina Carano, once again doing the smirking thing) and her recent promotion to “Marshall of the New Republic” is useful for something, as she was able to fake a New Republic order freeing Mayfield from a life of slave labor. Dune, unfortunately, tags along as Mayfield and Djarin begin staging their operation to break into an ex-Imperial fortress and steal the information about Gideon’s location…though it’s really Boba Fett (Temuera Morrison) and Fennec Shand (Ming-Na Wen) doing most of the heavy lifting when it comes to strategizing, and Boba Fett’s icy stares make it very clear who’s boss on the Slave One. As a fan of The Clone Wars, it made me pretty happy to see how far Boba Fett has come from his childhood, when he used to desperately try and hold entire crews of older, more experienced pirates together under his leadership, only to inevitably have them turn on him.

Once the small crew reaches their target destination, Djarin and Mayfield don the disguises of Imperial stormtroopers (with Djarin swapping one helmet for another offscreen, before Mayfield can catch a glimpse of his face) and unwittingly get caught up in a scuffle with pirates. There’s some great comedy in this sequence, provided by an increasingly frantic Mayfield, while Djarin – and director Rick Famuyiwa – delivers on the action, staving off the pirates in a violent race against the clock. The conclusion to the fight, with Imperial TIE-fighters swooping in to save the day, is unexpected and delightfully ironic. Best of all, it’s the first display of mutual trust between Djarin and Mayfield (who is a lot more likable than he was in season one, thanks to better writing, and a much better performance by Burr).

Inside the Imperial fortress, that bond of trust is tested again as Mayfield comes face to face with his old commanding officer, a cold-hearted elitist by the almost-purposefully-German-sounding name of Valin Hess (Richard Brake). Mayfield still suffers from PTSD due to having witnessed Hess’ intentional slaughter of his own men during Operation: Cinder, a slash-and-burn policy carried out by radical Imperials in an attempt to destabilize the galaxy in the wake of their defeat. Panicking, Mayfield tells Djarin that he has to carry out the rest of the mission – which involves a facial scan at a network terminal. And that’s when it finally happens: Djarin removes his helmet. It’s the emotional and thematic conclusion of the episode, though the story isn’t over.

After recovering the necessary data, Djarin and Mayfield are ambushed by Hess, who insists on buying them both drinks as a reward for their bravery against the pirates. A few minutes and one bone-chilling conversation about “the greater good” later, Mayfield shoots Hess point-blank in the chest and chaos erupts at the fortress. There’s an escape sequence, Fennec Shand and Cara Dune pick off stormtroopers, and the Slave One tears through TIE-fighters like butterflies. All in a day’s work for the Mandalorian.

The Mandalorian
Migs Mayfield | tor.com

The episode concludes with a slightly anticlimactic resolution for Mayfield (who just…walks off into the jungle, as if he’s not a wanted man on this specific planet for killing an Imperial officer), and a suspenseful interaction between Djarin and Gideon, where the Mandalorian calls up his old nemesis via hologram and proceeds to repeat back the same threatening speech that Gideon gave him in the season one finale. Gideon is stunned silent by the offensive gesture, but I doubt it’ll be long before he’s readying his defenses and preparing his elite shadow-troopers for battle. Djarin currently only has the help of Fett, Shand, and maybe Dune if she doesn’t decide to bail on him at the last moment because she’s still technically working for the New Republic. We haven’t heard anything about Bo-Katan or Ahsoka coming back, so for now…Djarin is seriously outnumbered.

Heading into the finale, I’ll admit I’ve had a fun time watching these characters grow more and more messy and complex over the past several episodes. In large part, that’s been due to the incredible performances from Pedro Pascal, Giancarlo Esposito, Temuera Morrison, and Ming-Na Wen, which have kept The Mandalorian lively and entertaining even as it’s ground to a halt in places. With many more seasons sure to come in the next few years, I’m excited to see where the series can go from here, and how it can continue to build on the characters at its core; since its actual story is fairly hit-or-miss.

Episode Rating: 8.5/10

“The Falcon And The Winter Soldier” 1st Trailer Review!

A number of Marvel fans have been worried – understandably, to some extent – that the big budgets for the upcoming slate of Marvel Disney+ series won’t be enough to keep the shows from looking “too TV”, by which I assume they mean cheap and small-scale. The first trailer for WandaVision, which some viewers didn’t understand was intentionally aiming to replicate the low-budget practicality of classic sitcoms, only underscored those fears. But if nothing else, the first trailer for The Falcon And The Winter Soldier should be enough to convince even the most skeptical critic that these series will maintain a high level of quality, and cinematic visuals of which most movies would be lucky to boast.

Falcon And The Winter Soldier
Sam Wilson and Bucky Barnes | variety.com

The Falcon And The Winter Soldier feels the most like a traditional Marvel action movie out of all the Disney+ series we’ve heard about so far, but that’s not a knock on the series by any means. Rather, it feels like a continuation of the very best Marvel movies, specifically the latter two installments in the Captain America trilogy – as it should, since it follows Cap’s sidekicks in the aftermath of his surprise retirement and decision to pass the torch (or, well, the shield) to his longtime friend Sam Wilson. The fight scenes are fast-paced, tightly-edited, and visceral; the tone is that of an atmospheric spy thriller, with some natural buddy cop humor; and the characters are heroes we’ve grown to love – Wilson’s Falcon and Bucky Barnes’ Winter Soldier.

From what we’ve heard, the main conflict of The Falcon And The Winter Soldier revolves around a plot to usurp Wilson, a Black man, as the rightful owner of the shield and the new Captain America, by replacing him with a jingoistic white southern guy named John Walker. However, the trailer is still hiding many details pertaining to that storyline, and instead devotes significant screentime to a completely new supervillain played by Solo actress Erin Kellyman – whom we see sporting a black mask marked with a red handprint, and leading a team of ruffians, believed to be the anarchist militia group known as Flag-Smasher. It’s possible Kellyman’s character is also using the name Flag-Smasher as her supervillain identity: in the comics, this character is male, and a frequent opponent of Captain America, who represents everything he most despises. John Walker, on the other hand, appears just once in the entire trailer: making his debut at a hometown football game, to thunderous applause.

Falcon And The Winter Soldier
John Walker | superherohype.com

That being said, there’s no reason to fear that the series’ extremely political through-line has been watered down to avoid controversy: Falcon’s first line in the trailer addresses how the legacy of Captain America’s shield is “complicated”, an obvious reference to the storyline in the comics – which the show is believed to feature prominently – where an early and dangerous prototype of the Super Soldier serum was tested on Black men during World War II by racist doctors, mirroring the real-life horrors of the infamous Tuskegee “Study”, during which African-American men were subjected to syphilis and denied treatment even after it became available. Just as Loki is venturing into the realm of historical fiction, it seems The Falcon And The Winter Soldier will do the same, including important social commentary on issues of racism, white supremacy, and white privilege.

The trailer’s second biggest reveal has to be our first look at the island of Madripoor, a fictional nation located in the Indian Ocean and home to frequent battles between Marvel’s most notable heroes and villains in the comics. The Falcon And The Winter Soldier makes it looks very futuristic, a bit like Cyberpunk 2077‘s Night City, with a dark and mysterious criminal underworld supporting towering skyscrapers and hotels. Wilson and Barnes’ business in Madripoor is still unknown, but they appear to be undercover – probably hunting an enemy or looking to strike a deal with somebody shady. To fit in with Madripoor’s clubbing scene, it seems Wilson has a brand new outfit, including a bright red jacket with golden tracery that we’ve seen in set photos, but which looks even better under proper lighting. Bucky’s idea of a disguise is a basic haircut (which, to be fair, looks pretty decent now); at least Wilson has some style.

Falcon And The Winter Soldier
Bucky Barnes and Sam Wilson | comingsoon.net

The action set-pieces are to die for (and I assume that, in a series as gritty as this one looks to be, lots of characters will die): we’ve got motorcycle chases, fights on top of trucks, brutal one-on-one duels, and plenty of high-flying stunts thanks to Falcon’s trusty pair of wings, which look more fast and flexible than ever before. To tell the truth, I’ve always thought Falcon’s wings looked cumbersome in past Marvel appearances – so whether he’s actually tinkered with the suit to produce better results, or if the CGI is just better, this is definitely an upgrade. Bucky’s vibranium arm, courtesy of Wakanda, is still…just an arm: I hope we get to see some of its other cool features at some point, because Wakandan tech is usually a lot more reliable.

Suffice it to say, there’s a lot of stuff I think is still being kept from us, and this first look is just the tip of the iceberg. The Falcon And The Winter Soldier will premiere in March, leaving plenty of time for us to get another trailer, presumably while WandaVision is still airing.

Trailer Rating: 8/10

“Loki” Is Lost In Space And Time In 1st Trailer!

I’ve had a great many ideas about how I would love for each of the upcoming Marvel Disney+ shows to look and feel since long before we saw anything official from any of them: and Loki has become my second most hotly-anticipated of the entire batch (just behind WandaVision, which seems like a technical masterpiece as well as a wildly entertaining story) thanks to the elaborate image I had concocted in my head of how it should look, ideally: like a mix of gritty science-fiction, Terry Pratchett absurdity, and fantasy horror. So you can imagine my shock and awe when the first full trailer for Loki revealed that this show is everything I was hoping it would be, and much, much more.

Loki
Loki | denofgeek.com

The last time Loki graced our screens was…well, that’s a complex question. Technically that would be in 2018 when, both in our reality and in the main MCU timeline, he died pitifully attacking Thanos with a knife. But when the Avengers later staged their time heist and returned to the year 2012 to recover several Infinity Stones, they encountered the older, more feral and dangerous Loki that they had just battled and defeated in that year: and that Loki was able to escape with the Tesseract, opening a new rift in the Multiverse and ensuring that Captain America’s best efforts to preserve the sanctity of each timeline wouldn’t be entirely successful. The new series follows that Loki as he wanders throughout the Nine Realms, wreaking havoc and upsetting the natural order of things, while fighting characters and beings from the surreal side of Marvel comics.

That surrealism – already evident in the series – is precisely why I draw a comparison to Terry Pratchett: one of my favorite fantasy authors. By a complete coincidence, a trailer for the new BBC adaptation of Pratchett’s The Watch dropped yesterday before the Loki trailer reveal, and in my opinion did a horrible job of conveying the author’s characteristic brand of quirky, grammatical humor, or of capturing the colorful tone and style of his characters. This trailer (which has absolutely nothing to do with Pratchett) effortlessly achieves what any Pratchett adaptation should be aiming for – and if you don’t believe me, just check out the trailer thumbnail above: Loki, dressed in a ratty old coat and splendid emerald green waistcoat, a self-congratulatory campaign button pinned to his breast, grinning from ear to ear, donning his horned helmet, and gleefully teasing us with the line “Come on? What did you expect?”, all while standing in an abandoned arcade, surrounded by a group of absurdly-dressed misfits pointing spears and knives at him. It’s not just a brilliant adaptation of the Loki comics and a striking visual that will entice audiences: it’s a masterclass in absurd humor.

A large part of that has to do with Tom Hiddleston’s deliciously entertaining performance, which is just the right amount of camp; just the right amount of Shakespearean villain; and more quintessentially British than ever before. Hiddleston is, in fact, channeling a number of iconic characters from around the globe, including James Bond and Good Omens‘ Crowley (a creation of Terry Pratchett and Neil Gaiman, by the way). He’s also stepping into the shoes of real-life historical figures – most notably the legendary “D.B. Cooper”.

Loki
Loki as “D.B. Cooper” | vulture.com

Those who love the thrill of trying to solve decades-old mysteries will enjoy this reference. D.B. Cooper, the unidentified man who somehow pulled off a mid-air robbery in 1971 before parachuting into a storm and disappearing from history makes an appearance in the Loki trailer: and the series finds a delightfully clever way of answering the questions surrounding Cooper’s true identity, by suggesting that Cooper was none other than the God of Mischief. As for how he escaped an FBI manhunt, well, that’s quite simple: he was snatched out of the sky by the Bifrost bridge of Asgard, of course! A few dollars drift out of Loki’s attaché case as he disappears, and are scorched by the heat of the Bifrost – the same dollars, it would seem, that an eight-year old boy would find by a riverbank years after the event, mysteriously burned. The attention to detail here is simply staggering…and honestly, it’s as good an explanation as any. Cooper’s identity is still unknown, and the FBI officially gave up the search in 2016.

It’s not the only unsolved mystery teased in the trailer. Near the end, a Polybius arcade game is also briefly visible in the background: a reference to the arcade game of the same name that sparked an urban legend in the early 2000’s when it supposedly appeared out of the blue, hypnotizing or even brainwashing players, and attracting the attention of men in black. A crucial part of the legend was that the game would sometimes teleport players to other dimensions, and I expect that it will be used in the same way in Loki.

But why all this talk of historical mysteries? Well, the trailer confirms what we’ve long known: which is that the Time Variance Authority (or TVA) will employ Loki as one of their agents during the course of the show, and assign him various missions fixing the timeline and making sure human history proceeds as it’s supposed to do. The TVA serves much the same function as the Commission in The Umbrella Academy, but with a much larger team of characters: including Mobius. M. Mobius, played by comedic actor Owen Wilson, and a severe-looking councilwoman with martial arts skills, played by Gugu Mbatha-Raw. In the case of Loki, it’s unclear whether the TVA actually wanted him on their team, or were forced to recruit him because of the danger he poses as a rogue operative, wielding the Tesseract. The TVA may also need his help against a shadowy enemy we see in the trailer slaughtering their agents: a hooded figure who could be the time-traveler Kang, or an alternate, even more horrible, version of Loki.

Loki
Mobius M. Mobius and Loki | slashfilm.com

On the sidelines for now but sure to feature more prominently in time, there are hints of the Roxxon Energy Corporation – which, in the comics, tries to colonize space and harvest minerals on Mars. Interestingly, many theorists speculated that Roxxon would be the primary antagonist of Thor: Love And Thunder, with Christian Bale rumored to be playing the corporation’s tyrannical minotaur leader, Dario Agger. Bale has now been confirmed to be playing a different villain, Gorr the God-Butcher, but it seems Roxxon will still play a part in the Loki series at least. We see both its inconspicuous façade on earth, as a grocery store, and its more secretive side in the form of a deep quarry on an alien planet. A red-haired woman is clearly visible in one shot, and Twitter immediately started asking if it might be Natasha Romanoff: but although I initially thought the same thing, the different hairstyle and sword at her hip makes me think this is someone else entirely.

If any major MCU characters are going to show up, I would bet on Chris Hemsworth’s Thor and/or Idris Elba as Heimdall, since Loki’s disguise as D.B. Cooper appears to be part of an ingenious plan to get in contact with both of his fellow Asgardians, and the Bifrost bridge that sucked him up has to have been summoned by somebody. Hopefully something happens by the end of the series that will allow this version of Loki to interact with the current version of Thor.

Trailer Rating: 10/10

“What If?” 1st Trailer Review!

Whereas the Star Wars franchise long ago learned how to span multiple mediums, with a strong foothold in the crowded field of animation thanks to series like The Clone Wars and Star Wars: Rebels, the Marvel Cinematic Universe hasn’t ever been quite as successful at that. But that’s all about to change, with the upcoming What If…? series that explores unbelievable alternate realities branching off from the main MCU timeline. What if T’Challa took Peter Quill’s place as Star Lord and traveled the stars? What if Peggy Carter, not Steve Rogers, took the Super Soldier serum and was transformed into Captain Britain? What if Stephen Strange…well, actually, I’m not entirely sure what it is we see Stephen Strange doing in this first trailer for What If…?, or how it’s much different from what he actually did in Doctor Strange, but it’s cool: whatever it is.

What If
T’Challa as Star Lord | comingsoon.net

What If…? will have episodes corresponding to each of the current MCU movies, though so far we’ve really only seen footage from a handful, particularly the Peggy Carter as Captain Britain episode (which, of course, correlates to Captain America: The First Avenger). Linking all the stories in this massive anthology is the mysterious character of The Watcher, voiced by Jeffrey Wright: a cosmic being composed of starlight. It’s unclear if The Watcher only exists in this show, or if he’ll make an appearance in the MCU movies as well. For now, though, he’s just a really cool voice.

What If
Captain America as a zombie | slashfilm.com

Speaking of voices, perhaps the most exciting thing about What If…? – apart from its intriguing premise – is the fact that it’s compiled the voice talents of almost all the actors in the MCU, even those who have since departed the franchise…or, tragically in the case of Chadwick Boseman, passed away. Boseman’s performance as an alternate Star-Lord (in either the Guardians Of The Galaxy or Black Panther episode: it’s still unclear) will quite possibly be the last of his brief but glorious career, and we hear just a snippet of his voice work in this first trailer.

I do hope that we soon find out more about this series, since thus far we still only know the basic premises of two or three episodes. There are quick shots of Iron Man, Hawkeye, Thor, Captain Marvel, and, for some reason, The Collector from Guardians Of The Galaxy – all of them just look like how we remember them from the movie. There’s also that one tantalizing clip of Bucky Barnes fighting a zombie version of Captain America that we’ve seen before, but which still looks very interesting – and which I have to assume comes from an alternate Winter Soldier where it’s Steve Rogers, instead of Bucky, who was brainwashed by HYDRA: though why he got turned into an undead corpse is anyone’s guess.

What If
Peggy Carter as Captain Britain | geektyrant.com

What If…? also seems to have beautiful 2D animation, which is pretty rare these days and gives the series a unique look – nothing like the 3D animated Star Wars shows that we’ve seen before (and which, to be fair, look stunning and are proven successes). Whether What If…? fits into the great big jigsaw puzzle that is the MCU, or whether it’s just an awesome way to explore endless possible outcomes, I can’t wait to watch it, and I would rank this among the most exciting new reveals from the Disney Investors Call.

Trailer Rating: 9/10