2025 – A Good Year For Capes & Screams

Two types of movies that I have always loved are horror films and superhero films, and 2025 has been a really good year for both so far.

My favorite horror movies this year are sort of more hybrids than straight-up horror.
Sinners is a really well-mixes action-horror with inspirational ties to a couple of my favorite horror flicks from the ’90’s: From Dusk Til Dawn and Tales From The Crypt Presents Demon Knight. Another old movie that seemed to be reflected here was the mid-80’s Italian horror cult classic: Demons.
Ryan Coogler is one of the most accomplished directors working today, so him delivering the good here was less of a surprise than the several full-blown and catchy musical numbers in the film.

Danny Boyle and Alex Garland coming back for – what I suppose would be considered a legacy sequel (legasequel) at this point – 28 Year Later was probably less of a sure thing than Sinners, but they made a movie worthy of following up one of the tightest and most influential horror movies of all-time: 28 Days Later.
In some ways it’s very different than the original but, considering it’s set nearly thirty years into England being quarantined from the rest of the world, it had to be in order to make any sense.
The fact that all the folk horror and zombie action are window dressing for a young man’s coming-of-age story is an intriguing Trojan Horse job that is much better than it really had to be in order to be considered a success.

Weapons goes even younger with its mysteriously missing kids plot, though only one of the children actually plays a part in the story – at least until its very cathartic ending. It also takes a stronger mystery and humor angle than Sinners or 28 Years Later.
The filmmaker – Zach Cregger – doesn’t have nearly the same resume as Coogler, Boyle, or Garland, but between Weapons and Barbarian he’s well on his way to finding a similar niche as someone like Jordan Peele as someone who can consistently be counted on to putting out horror flicks with widespread appeal

Thunderbolts* (aka New Avengers) and Fantastic Four were the two most enjoyable MCU films since Spider-Man: No Way Home. That Spidey flick was more of a stunt to pull in an avalanche of nostaglia cred – and worked wonderfully as such. But Thunderbolts* is probably a better as a start-to-finish movie, and was a solid effort to make a smaller (by MCU standards) film. It also handles very real mental health struggles with a far more deft hand than one might expect from the MCU. I was very happy when they handed its director – Jake Schreier – the keys to X-Men.

Fantastic Four works for similar reasons – making us actually care about the characters – but also because it is able to truly stand alone as a movie, without needing to have any prior knowledge of the 15+ years of MCU history. In fact, that’s why I was able to bring my kids (9 years-old and 6 years-old) to the movie, and they were able to completely enjoy it on its own merits.

We also took the kids to see Superman – which they loved nearly as much as I did – and they were able to get in on the ground floor for the new DC Universe, which will be shepherded in by James Gunn.
I’ve always liked Gunn’s films, and his TV shows, dating all the way back to movies like Slither and Super.
As someone who grew up on the Christopher Reeve Superman movies, I am not afraid to say that I felt like the new Superman was the best Superman movie. It had all the heart of those first two Reeves films, but it was able to deliver action sequences that simply were not possible 40+ years ago.
Superman, the character, has always been he platonic ideal of non-toxic masculinity.
This is a man with incredible powers who cares deeply for people, respects people, fights for all the people who face enemies and dangers that they could not hope to stand against alone.
But he’s also flawed, and he makes mistakes – but he recognizes and accepts those flaws and mistakes, and does what he can to become the best version of himself.
That’s something that the world really needs to see now more than it has in a long time, and I was so happy to take my boys to experience that on the big screen.

Defending Wanda Maximoff (And Her Characterization In Doctor Strange In The Multiverse Of Madness)

I’ll put the spoiler warning for Doctor Strange In The Multiverse Of Madness right up here (as if the title of this article wasn’t enough of a giveaway).

First, my succinct review of the film: It was exactly what I expected an MCU movie directed by Sam Raimi would be, and I very much enjoyed it. I hope it inspires Kevin Feige, and the powers-that-be, to let other filmmakers imprint their style on future MCU films. The movies that James Gunn and Taika Waititi directed showed a little of this, and Chloe Zhao got some of her stuff in. But, if the MCU is to truly evolve and last into the future, letting the directors make their individual movies stand out is the way to go.

Now, onto the hot topic that has grown from many people who have seen the film over the course of its opening weekend. A number of takes state that Wanda Maximoff AKA The Scarlet Witch fell into one of two problematic story tropes: The “hysterical woman” or “women can’t be trusted with power” tropes. I do not believe that Wanda falls into either of these tropes, rather, she’s more in-line with two different, much less reductive tropes: “The desperate parent” and “The overpowered character.”

Some Context: When last we saw Wanda in the finale of WandaVision, she had taken down her “Hex” that had unintentionally (more or less) imprisoned the citizens of Westview, New Jersey. The spell she had cast was really just her way of resolving the existing trauma stemming from the deaths of her parents, her brother, and Vision. However, taking down her Hex created an even more devastating new trauma. She had created children while in the Hex – twin boys Billy and Tommy. Tragically, this meant that they could only exist within the Hex and were erased (for lack of a better term) when Wanda undid the spell.

In almost every way, Billy and Tommy were living beings. They had their own thoughts, their own personalities, and perhaps even their own souls. But being created by Wanda’s magic, and her love, tied them to the Hex. In the actual last scene we saw Wanda in prior to the new film, she had fully embraced her title of Scarlet Witch in an isolated cabin, where she was studying an ancient book of dark magic called the Darkhold. The last thing we heard in that scene were Billy’s and Tommy’s voicing calling out for help. Anyone who thought Wanda was studying the Darkhold for reasons other than to get her children back was sorely mistaken.

In Doctor Strange In The Multiverse Of Madness, Wanda is hunting America Chavez, a teenage girl with the power to travel through the multiverse (the multiverse itself, having been created during the events of the Loki season finale). But, since Chavez cannot willingly control this power, Wanda’s plan involved stripping it from her – likely killing her in the process. Wanda does kill a lot of people in the film, but it’s not exactly like she’s punching below her weight class (besides the fact that everyone is below her weight class, which we’ll get to in a bit).

She attacks Kamar Taj, resulting in the deaths of numerous sorcerers. Later, she dreamwalks (controls the mind of a different universe’s Wanda) to kill the Illuminati. That universe’s Illuminati is not the primary MCU’s (finally officially labeled 616) and consists of Mr. Fantastic, Captain Marvel, Black Bolt, Captain Peggy (super soldier) Carter, and Professor X – some true heavyweights of superherodom. Wanda makes fairly quick (and grisly) work of them while barefoot, and wearing pajamas in someone else’s body. It’s honestly about the most bad ass thing anyone has ever done in the MCU to date.

Since we’re already here, I’ll get into the first of the tropes I mentioned earlier “the overpowered character.” This one simply states that the most powerful character at the beginning of the story cannot be the true hero of the story. The reason is simply that there is very little drama to be had if it’s already established that the hero can defeat the villain. Wanda unlocked the powers of The Scarlet Witch at the end of WandaVision, so if she was on fighting alongside the heroes this likely would have been a much shorter movie. As such, she either had to be sidelined somehow early on, or she had to be the villain of the story. Since the filmmakers wanted her to play a major role in the film (and justifiably so, because Elizabeth Olsen is great, and some of Wanda’s flexes are truly awesome) they chose the latter.

Now, onto Wanda’s motivations. I have two kids of my own (aged 6 and 3) and there is absolutely nothing I wouldn’t do to protect them, or to save them if (god forbid) the need ever arose. So, I totally get where Wanda is coming from. The trope of a mother or father doing whatever is possible to save their children – the “desperate parent – is as old as any. If Vision and Wanda had swapped places, the story would be the same. The right choice was made here, as Wanda has always been a more interesting character that Vision. But, my point is that it’s not exclusive to moms (Happy Mothers’ Day to all the mom’s out there, btw, if you’re reading this on it publishing date).

It’s established in the movie that the Darkhold exacts a heavy toll on its user. It’s also said in clear terms that the (again, ancient book of dark magic) is exerting an influence on Wanda. So, that needs to be coupled with her personal motives to understand the whole picture. But I also want to bring the end of Wanda’s arc into the light here. She is ultimately stopped when America Chavez, finally able to control her power, opens a portal to the universe that Wanda had invaded earlier. There, 616 Wanda interacts directly with that universe’s Billy and Tommy. The boys are terrified of her, as they watch her attack their mother. This is what finally begins 616 Wanda’s breakthrough.

The resolution comes when the other Wanda makes use of her (and everyone’s) true superpower: Forgiveness. Despite being possessed, and made to murder people, this Wanda empathizes with 616 Wanda. She understands her pain, and assures her that Billy and Tommy will be loved. It’s only then that 616 Wanda finally accepts that what she was trying to do is wrong. She finally accepts that it’s time to let go. She destroys the Darkhold, and seemingly herself (but, c’mon, we all know better) knowing that she must be stopped. Knowing that she’s the only one who can stop herself.

Dr. Strange almost gets her to this place very early in the movie, asking her to consider how the boys would react to being stolen from their real mother. But, as she’s momentarily distracted, he attacks her with magic hand snakes, and everything goes south for a while. Dr. Stephen Strange’s poor bedside manner strikes again! Anyway, if he had had been able to talk her down, we never would have gotten all the insane multiversal madness that we came for.

Wanda Maximoff had the best part, and was the driving force, in the film. This combination is somewhat rarer than you might think. And Elizabeth Olsen knocks it out of the park. She is the heart of the story, as dark and twisted as that heart might have become before seeing the light. I do hope that performance ends up outlasting the characterization criticisms as the legacy of Doctor Strange In The Multiverse Of Madness.

The Batman May Not Reinvent The Wheel, But It Is The Roundest Bat-Wheel Yet

I’m of the opinion that The Batman is the best live action Batman movie ever made.

To be clear, anytime anyone says something is “the best” it is a purely subjective statement. I’m going to make my case but, if you happen to read this post and disagree, I’ll thank you to not lambaste me about how very wrong I am, and I shall extend you the same courtesy.

One more point to clear is that my take is stating that The Batman is the best, top-to-bottom, live action Batman movie. That does not mean that every part of it is better than every part of previous Batman movies. For example, I still believe that Heath Ledger’s performance as The Joker in The Dark Knight is the best performance in a Batman film, and that Danny Elfman’s score used in Batman – Batman Returns – Batman Forever – Batman & Robin is still the best score.

I’m also, at this point, going to stop referring to them as “live action” Batman movies. While I enjoyed many of the animated films, I like to consider animated films in-general on a different scale than live action films. Neither is better or worse, they’re just different. In this case, I just want to focus on live action. And THAT was the last time I’ll use the adjective in this post.

My relationship to Batman as an intellectual property starts where a lot of people’s does: I was ten-years-old when Batman ’89 came out. My mom waited in line with me on opening night for several hours, so long in fact, that we ended up getting tickets to an 11pm showing. God bless mom for letting me stay up that late in a theater at that age. I memorized every word, and every beat of action. Needless to say, it was my favorite movie for the ensuing five-to-ten-years. That emotional connection that I had during my formative years has made it very difficult for me to view Batman ’89 through anything other than rose-colored nostalgia glasses.

I started reading Batman comics at that point, which led to me reading a great many more comics (DC and Marvel and Image and Valiant). So, I have Batman to thank for preparing me for the Geek Renaissance of the 21st century. But that’s a whole other topic. I also sought out Batman: The Movie from 1966, and the whole run of that TV show. Even as a kid, it seemed “too kiddie” for me and had nothing to do with the Batman I had seen in the theater and was reading about in my monthly comic pulls.

I loved Batman Returns when it came out, it’s still one of my favorite Christmas movies. I didn’t hate Batman Forever at first, but I was sixteen at the time, so it certainly made me wary. Batman & Robin was an absolute disaster, and nineteen-year-old me knew it almost immediately. Then there was a break in Batman movies. A seven-year break. In that time there were a handful of good comic book movies, and a bunch of bad ones. Then, Warner Brothers decided it was time to get back in the Big Screen Bat Business.

Batman Begins presented a much better origin story than Batman ’89 and, while it was much better than the Joel Schumacher films, 26-year-old me still had it neck-and-neck with the Tim Burton films. The Dark Knight came out three years later and – nostalgia glasses or not – I immediately knew this was the best Batman movie. The Dark Knight Rises came out the same year as Marvel’s The Avengers, and couldn’t measure up to the first two movies in Christopher Nolan’s trilogy or what Marvel Studios had been cooking up in their lead up to – and everything since – 2012.

In 2016 we got Batman V Superman: Dawn Of Justice. Even at 37 years-old I was super-psyched to finally see those two characters, not to mentioned Wonder Woman, share the big screen. When I heard it would feature Ben Affleck playing an older Batman, I got my hopes up that we would be playing the same Bruce Wayne/Batman from the Nolan trilogy. I was more-than-ready for a true unified DC Movie Universe. This ended up being the most disappointed I had ever been in a superhero movie due, in large part, to my sky high expectations. In hindsight, BvS was better than the Schumacher films, but not nearly as good as any of the Burton or Nolan films. And I say that as someone who also found The Dark Knight Rises to be something of a disappointment.

Justice League came the year after, in 2017, and was bad. The Justice League Snyder Cut premiered on HBO Max in 2021 was was slightly less bad than the theatrically released Whedon Cut. But this was around the time when we started getting real details on the new film: The Batman.

I’m 43 years-old this year, and I still get pumped when a new MCU Movie comes out as Marvel Studios has proven that they know how to deliver the goods (almost) every time. But, with The Batman, my first instinct was a bit more skeptical. After the Snyder films, I lost faith in DC/WB’s ability to make a good Batman movie. If I’m being honest, some of that doubt started creeping in back in 2012.

I also started feeling those Amazing Spider-Man vibes (2012 was sure a mixed bag when it came to comic book movies), as it seemed a little too soon to reboot the entire franchise. In 2007, Spider-Man 3 ended the Sam Raimi series on a very ambiguous note. But I was ready to see Peter Parker/Spider-Man finally be an adult superhero. At the time, I thought Andrew Garfield would be playing the same version of Spidey as Tobey Maguire had played. Much like with Batman V Superman, I was mistaken. Ever since Spider-Man No Way Home came out in December Andrew Garfield has finally gotten proper credit for playing a good Peter Parker/Spider-Man in a pair of otherwise not good movies. However, this precedent was not an encouraging one when applied to The Batman.

That being said, the details of the movie started to give me some hope. I don’t really have a history with Robert Pattinson. I watched Twilight once on TV about fifteen years ago and only saw him in a few other films (none Twilight-related) since then. So, he was an unknown to me. The rest of the cast looked solid with Zoe Kravitz, Jefferey Wright, Paul Dano, Colin Farrell, John Turturro, and Andy Serkis rounding it out.

The last actor on that list led me to the biggest nugget of hope. Serkis had previously worked with Matt Reeves on two of the new Planet of the Apes movies. Those movies are awesome, and Serkis is awesome in them (even behind all that mo-cap). In addition to Dawn of the the Planet of the Apes and War for the Planet of the Apes Reeves had directed two other movies that I really liked: Cloverfield and Let Me In. When it was revealed that The Batman would take place in year two of the titular character’s caped crusade, I was relieves that at least we wouldn’t get a warmed over Batman Begins re-hash.

Still, I went into the theater with very level expectations. Not necessarily low, but also certainly not high. I found myself shocked by just how much I enjoyed The Batman. As with many others, I came out of the theater considering just how it stacked up against the previous iterations. Imagine my surprise when I found myself thinking that it was, pound-for-pound, the best Batman movie I had ever seen.

Spoiler Warning For The Batman

Here’s how I measured The Batman up against the previous movies.

Batman/Bruce Wayne – There’s not much of a difference between the two in The Batman, but that seems like it was purposefully done to show that he was still learning how to be “Bruce Wayne” in public. But Pattison’s Batman makes a strong case for my personal favorite.

I was a long time Michael Keaton guy, for reasons noted above. And I found Christian Bale’s portrayal riveting in its own way. But Pattinson’s Batman gets to be a character, even when wearing the mask. He actually talks to people, rather than just grunts and growls about how he is vengeance (though he does say that) or he is the night. Unlike in any previous films, this Batman is actually a detective. That being the case, he’s required to actually have conversations with James Gordon, Selina Kyle, and Alfred Pennyworth. This is really much more true to the comic book than any previous movie characterizations.

He also seems like the most human Batman. As much as he’s figuring out how to be “Bruce Wayne”, he’s also not yet perfected being “Batman” and we get to take that journey with him. He has some great moments with James Gordon, Selina Kyle, and Alfred. But he also comes across as an empathetic person, most notably with the wordless exchanges he has with the young son of The Riddler’s first murder victim. This brings us to the next two categories.

Allies – I’m talking about Gordon, Selina, and Alfred primarily here. Gary Oldman was a great James Gordon, but I felt that Jeffrey Wright tackled the role in a way that worked better for me. The spin he put on Gordon as a homicide detective so fed up with corruption and ineptitude that he embraces a masked vigilante whose name he doesn’t even know like his best friend and only reliable partner. Wright and Pattinson have a great interpersonal dynamic that has a sort of old fashioned buddy cop vibe.

I was introduced to Michelle Pfeiffer’s seductive, dangerous, and vaccuum-sealed-in-black-vinyl Catwoman when I was 13-years-old. Needless to say, she left an impression. The Jekyll-And-Hyde act was fun in Batman Returns, but Zoe Kravitz got to play a more fully-formed character. She steals to help her friend, but also to get back at her absentee mafiosa father (who killed her mother). Her chemistry with Pattinson, playing two wounded souls not really looking for a connection but finding one out of necessity, was a home run as well.

Andy Serkis’ Alfred had more in-common with Michael Caine’s exasperated version than Michael Gough’s grandfatherly figure. We never got to spend enough time with Jeremy Iron’s more sardonic interpretation for him to make much of a dent on the public consciousness. But Serkis got to have a better arc than any of those other Alfreds. This was helped by him being the caretaker of a big secret that Thomas and Martha Wayne had, and he felt obligated to protect Bruce from. But Serkis and Pattison have a scene where the revelation of this truth allows them to finally open up to one another, and admit the strong familial bond that was always there under the surface.

Enemies – Here we can talk about The Riddler, Carmine Falcone, The Penguin, and the slew of nameless thugs that get thrown at Batman.

The Riddler takes Bane’s crown (The Dark Knight Rises Bane, not the bloated oaf from Batman & Robin) as the scariest Batman movie villain. Heath Ledger’s Joker could have been in the running, but he had a sort of charismatic magnetism that made it hard to look away. Paul Dano’s Riddler is harder to watch, as he spastically attacks his victims while making Leatherface-style grunt and squeals. He’s not a guy you’d ever want to spend even two minutes with. Ledger’s Joker could probably talk you into hanging out just long enough for him to kill you, while you’d do everything in your power to avoid eye contact with this Riddler – in or out of his mask. He also has a connection to extremist QA’non types on his Dark Web channel, which means his henchmen the scariest to date as well. Riddler is presented in most scenes like a true horror movie villain, which is also a first for Batman movies.

John Turturro plays Falcone like the creepily charming friend-of-your-parents who only lets on what he wants you to know about him while hiding almost everything else behind a dark pair of sunglasses. He’s the lynchpin of the organized crime angle in The Batman, which is similar to The Dark Knight’s take. But it feels little more legitimate here, both in the way the characters are presented and the places they hang out – most notably The Iceberg Lounge feels like a place you’d stumble across in a back alley and be promptly beaten and chased off the premises by the doormen.

Penguin has only a few scenes, but Colin Farrell makes the most of them. He doesn’t steal the show, but he does justify his place in it. He’s got more flair than Falcone, and less psychosis than Riddler. In the end, he’s set-up as the natural next evolution of a Gotham City gangster.

The best place to discuss the slew of nameless thugs is actually in the next section.

Action Sequences – It took less than ten minutes for The Batman to prove that it would have better hand-to-hand combat fight scenes than any of its predecessors. By the end of the movie, it wasn’t even close. Not many fight scenes spring to mind when thinking about Batman movies. Maybe the Batman vs Catwoman flirt fight from Batman Returns? Or the first Batman vs Bane fight from The Dark Knight Rises? One of the only good scenes from Batman V Superman was the brief battle when Batman took out a warehouse full of bad guys to save Martha Kent, but even that was just one scene.

There are several scenes in The Batman where the caped crusader throws down with henchmen and thugs. Every one of them is better choreographed, and better shot than anything from the earlier films. It helps that this Bat-Costume is actually functional, so Batman can actually move the way someone would in a real fight.

Now, granted, there’s not really any spectacular action set piece. But, let’s be honest, a lot of the time those sorts of scenes end up hurting superhero movies more than helping them. The car chase is pretty bad ass, as is the Batmobile. At one point, Batman escapes from police custody by (reluctantly) leaping off the top of the tallest police station you’ll ever see after converting his suit into a glider. The great thing about this scene is that Batman can barely control his flight, and ends up wiping out in a very painful manner when he tried to stick the landing. His embarrassed, post-crash hobble off into a dark alley was the most relatable Batman has ever been.

Even the big finish works, because it feels like the sort of terrorist attack that could happen tomorrow. It involves using explosives to flood the street of Gotham City, forcing people to take shelter in Gotham Square Garden where Riddler’s cult has gathered in the rafters with high-powered assault rifles. Living in a country were mass shooting happen all too frequently made this hit a little too close to home. But I’d be lying if I said watching Batman beat the sh*t out of those guys didn’t feel damn good.

Bat-Tech – The Batman’s world is a grounded one, even by the standard set by Nolan’s trilogy. So, the tech that Batman uses is pretty basic (by Batman’s standards). His suit does seem like the most functional one, and he seems to have a full range of motion. Hell, he can even turn his head. Which explains the high collar, as it hides the flexible neck piece. The suit is armored, but more aesthetically pleasing than Christian Bale’s mishmash of plates.

The bat symbol itself isn’t quite as prevalent as Michael Keaton’s iconic yellow-and-black, but its more pronounced than most other versions. Also, despite rumors that Pattinson’s symbol was made by deconstructing the gun used to kill his parents, it’s actually a double-edged utility knife than comes in very handy a few times in the movie’s third act.

Pattinson’s suit does come with some other very cool amenities. There is a taser build into one of the gloves, and a Bat-Grapnel that pops out from his gauntlets whenever needed. There’s also the aforementioned ability of his cape to transform into a glider.

The Batmobile is a nasty, bat-out-of-hell muscle car. It’s got flashing lights, and growls like a monster in a dark cave before the attack. Not as sleek as Keaton’s, nor as tank-like as Bale’s or Affleck’s, but still a really sweet ride that is put to good use when chasing down The Penguin.

The last, and most high-tech, gadget is a pair of contact lenses that record everything Batman sees while wearing them. It’s a very clever device that explains how Batman can work on a case without having access to police files. I’m kind of surprised that no one thought to use something like them before, but they are the tool of a detective, and make all the sense in the world for the first real Batman-As-Detective movie.

Gotham City – More of a non-descript cityscape in the Nolan mold than Burton’s operatic, Expressionist wonderland, The Batman’s Gotham City was not especially memorable. The advantage it had over most previous versions, though, is that it feels more genuinely lived-in. We see the interiors of different buildings, and each is distinct in its own way. Being able to see the characters move and interact inside these locations does make one feel more immersed in the world.

This is more of a compliment for the cinematography than the setting itself, but the beginning of the movie sets a real shadow world vibe. In Batman’s voiceover, another new touch that made the movie feel more true to the comics, he admits that the city is too big for him to be everywhere. But a short montage of criminals staring with fear at dark corners, dark alleys, and dark stairwells emphasizes Batman’s other point that his the fear he instills comes from the fact that – even though he can’t be everywhere – no one knows where exactly he is either. In some ways, that’s almost as good as being everywhere at once.

End Spoilers For The Batman

I‘m going to wrap things up with my new personal ranking of Batman films. Take it or leave it, as I said in the beginning, these things are always subjective.
But here we go:

The Batman
The Dark Knight
Batman Returns
Batman Begins
Batman ’89
The Dark Knight Rises
Batman V Superman: Dawn Of Justice
Justice League: The Snyder Cut
Batman Forever
Batman: The Movie (1966)
Justice League: The Whedon Cut
Batman & Robin

Where Are We Going In The Marvel Cinematic Universe (Multiverse) Phase (Fantastic) 4

It would appear that Kang (or Kangs) is/are the new Big Bad for MCU Phase 4. So, where do we go from here? Let’s take a look at what has officially been announced and try to piece together how Phase 4 will play out the challenge of Kang The Conqueror.

Disney+ Shows:
Below is the list of Disney+ shows, as it was released by Marvel Studios –

What If…? (Summer 2021)

Ms. Marvel (Fall 2021)

Hawkeye (Winter 2021)

Moon Knight (2022)

She-Hulk (2022)

Secret Invasion (2022)

Loki Season 2 (Late 2022?)

Ironheart (TBA)

Armor Wars (TBA)

Out of that list, Tom Hiddleston has said that What If…? will deal with the multiverse. But, it’s an anthology show, and will likely not be essential viewing for the Kang arc. Should be fun, though.

We can also assume that Loki season 2 will pick up where season 1 left off, which was with Kang’s conquest begun in-earnest. But, it would also just be an assumption that the whole season would be spent on that threat.

I believe the other shows, mainly featuring street-level, Earthbound heroes, will be following a different track than the one laid out by WandaVision and Loki. I think, perhaps, The Falcon And The Winter Soldier has set that other track to a new Avengers team that will culminate with the recently-announced Captain America 4. It makes sense that the MCU, now filling hours in movie theater as well as television, would start building in multiple different directions at the same time.

They may even build in a third direction, if they want to work towards a Young Avengers team. We’ve already seen a new, younger Black Widow in the Black Widow movie, Wiccan and Speed on WandaVision, and Kid Loki on Loki (complete with Gator Loki). Ms. Marvel and the new Hawkeye will be debuting on Disney+ later this year, not to mention they have announced an Ironheart show.

Movies:
Unlike Disney+ shows, I think the threat of Kang will be dealt with primarily in the movies. But there will be some notable exceptions.

Shang-Chi And The Legend Of The Ten Rings (Fall 2021) From what we’ve seen, this likely won’t deal too heavily with Kang. Considering the shuffling of schedules and production that occurred due to the pandemic, Shang-Chi was probably always intended as a standalone movie that now happens to be releasing after the Kang reveal.

Eternals (Fall 2021) – The only trailers we’ve gotten don’t tell us much about the actual plot. Though, it does seem to span hundreds – if not thousands – of years on its own, so I wouldn’t expect there to be too much room for Kang.

Spider-Man: No Way Homes (Winter 2021) – Everything we’ve heard about this one suggests that it deals with the multiverse, and multiple Spider-Men, so Kang will likely factor heavily into this. If not directly, then certainly as a catalyst.

Doctor Strange In The Multiverse Of Madness (Early 2022) – There is a very strong, direct link from WandaVision to Loki to this movie. I expect this will be a place where we see Kang himself raising hell, while poor Stephen Strange tries very hard to clean up everyone else’s metaphysical messes.

Thor: Love And Thunder (Spring 2022) – We don’t know much about this, other than that we’ll see the Guardians Of The Galaxy (Thor’s new running buddies) and Jane Foster will wield Mjolnir. But, since Mjolnir was destroyed by Hela in Thor: Ragnarok, it’s not outside the realm of possibility that we’ll be seeing a different universe’s Mjolnir. And possibly a different universe’s Jane Foster as well. I would say that means we get some of the Kang Thang here.

Black Panther: Wakanda Forever (Summer 2022) – Due to the tragic death of Chadwick Boseman last year, this script has been re-written numerous times according to some cast members. The first Black Panther was mostly standalone, but Wakanda (or Wakandans) did play a big part in Infinity War and Endgame. At the end of the day, I have no idea whether or how this will involve Kang.

The Marvels (Fall 2022) – This is another one we don’t know much about, other than that the title was changed to involve Captain Marvel, Photon (not Monica Rambeau’s official superhero name yet in the MCU) and Ms. Marvel. Considering that Captain Marvel is one of the heaviest hitters they have, a time travelling supervillain may be the most realistic threat to her. I expect we’ll see a good bit of Kang in this one.

Ant-Man And The Wasp: Quantumania (Early 2023) – This is the movie that Jonathan Majors was first announced for as Kang and, considering how much the Quantum Zone factored into the time travel exploits of Avengers: Endgame, this may well be the culmination of Kang’s arc as the primary antagonist. One would assume that, if this ends up being the climax, it will be used as a sort of Trojan Horse Avengers movie, like Captain America: Civil War was. Which would mean we’d be seeing a lot more heroes than just the ones in the title.
However, it might be a stretch to assume that the threat of Kang will wrap up before Loki season 2, and there’s a very good chance that Loki season 2 is not ready to roll out before the release of this film. But they have stated that season 2 starts filming in January 2022, so they might make it under the wire here.

Guardians Of The Galaxy Vol.3 (Spring 2023) – If Kang is finished as the Big Bad of Phase 4 in Quantumania, GOTG V.3 could well be its own thing, with the freedom to have some fun, and potentially send off one or more of the core characters. But, there is one big factor to consider when thinking about the end of Phase 4, and that’s…..

Fantastic 4 (Summer – or later – 2023) – This movie was announced, as was director Jon Watts, as part of Phase 4. But we’ve had no word yet on a script or a cast. Kang was originally introduced as an F4 villain, and Marvel Studios got the rights to him back when they re-acquired the rights to F4. In comics continuity, he is a descendent of Reed Richards and Sue Storm, so that all ties in nicely to whatever the end of Kang’s story arc might be. Also, if they don’t actually have a proper Avengers movie to cap off Phase 4, the next best thing would be to welcome the First Family of Marvel to the MCU, while actually making a good F4 movie for the first time. And, hey, Phase 4 capping with Fantastic 4 just seems poetic.

Blade and Captain America 4 – I believe these two movies will end up falling into the early stages of Phase 5.
I fully expect Kang to be the Big Bad of Phase 4 but, unlike Thanos, I don’t see Marvel Studios carrying over these supervillains for multiple Phases. Especially now that they have the rights back to more of their best bad guys (Mephisto, Dr. Doom, Magneto, Galactus, Annihilus).

I could be wrong about that, but I feel like – at this stage of the MCU’s evolution – they won’t expect their audience to have the same sort of patience. Also, Kang is a immediate and ongoing threat. While Thanos didn’t even really make his presence felt until six years into the MCU’s existence (2014’s Guardians Of The Galaxy). He also didn’t truly become a clear and present danger until 2018’s Avengers: Infinity War.

This is all, of course, 100% speculation on my part. But, I’ve got to say, speculation is way too fun to just be a spectator sport. I guess we’ll see how right, or wrong, I am by 2023. Until then, I’m just going to enjoy watching every single one of these movies and shows.

The Evolution Of Loki

Hello Again. It’s been a while since I’d posted here, but that’s because I was finishing up the fourth novel in my Venator Series (coming soon), and also posting a new story on Kindle Vella (available now).

But I’m back now, and this blog will contain major spoilers from season one of the Loki Disney+ series. I’m not going to go too deep on the show itself, as many writers have already done a better job than I could. But I do want to examine the core arc of the show, and of the titular character.

Before I get into the details, I want to say that I kind of loved Loki season one. I would probably rank the MCU Disney+ shows as Loki, WandaVision, and The Falcon And The Winter Soldier. Before watching any of the shows, I would have thought that list would be the exact opposite. But WandaVision and Loki took fresh, new angles that I had not really seen in the MCU before. I found that to be a much more interesting watch than Falcon & Winter Soldier, which I also liked, but seemed more like business-as-usual.

At any rate, here’s your last spoiler warning for Loki.

On its broadest level, Loki was about getting the character to a point where he would have been had he not gotten killed by Thanos in Infinity War in a very underwhelming fashion. Since this Loki jumped timelines directly from the invasion of New York at the end of the first Avengers movie, that seemed to be a lot to ask. But taking him into custody in the Time Variance Authority (TVA) where his powers did not work, and showing him a greatest hits reel of “his” life after 2012 got Loki to a state where he was ready to move forward.

At its heart, the show was about allowing Loki to attain a level of self-awareness that then, in-turn, inspired him to become a better man (better god?). To the show’s credit, it managed to do just that in a fairly brief six-episode season. Loki was certainly not able to better himself without a lot of help along the way. Sophia Di Martino’s Sylvie was Loki’s primary companion (and I mean that is a very Doctor Who sense, as that was clearly a large influence here). Her Loki variant had been taken by the TVA as a little girl, spent her entire life on the run, and now had vengeance as her only true compass. She never really got to live a life, while Loki lived one for well over a thousand years. Which made him understand just how selfish, and unwarranted his thirst for power at all costs was.

Owen Wilson’s Moebius made no pretensions about being able to see right through Loki’s usual predilections, which helped Loki see them more clearly himself. Nothing makes it easier to embarrassingly smell your own bullshit than someone calling you out on it without a second of doubt. But Loki came to appreciate Moebius’ candor, and he became the only real friend Loki had probably ever made for himself.

In the void at the end of time, after being pruned and attempted to be fed to a ravenous creature named Alioth, Loki ran into a number of other variants of himself. There was Richard E. Grant’s older, Classic Loki, who escaped Thanos’ clutches, and lived in isolation for hundreds of years, wishing only to escape the vicious cycle of his life. Jack Veal’s Kid Loki was a reflection of what Loki may been been like had he actually succeeded in killing his brother, Thor. That this act was committed by a child who demonstrated more sorrow than any sort of sense of accomplishment, was apt for a childish grudge that Loki had long harbored. And there was Gator Loki, who mainly served as a way to chop down the last of Loki’s ego, when he saw that – in another universe – he was literally nothing more than a reptile. An awesome reptile, but a reptile nonetheless.

True rock bottom came for Loki when Boastful Loki betrayed those who seemed to be his friends in order to be given a throne, which was nothing more than a chair in a broken down bowling alley located in a post-apocalyptic dystopian feeding ground for a giant smoke monster. And then Boastful Loki was promptly betrayed by President Loki (perhaps the closest reflection of our Loki as he was at the start of the series), who was then betrayed by all the other Lokis in his posse. The capper coming when Gator Loki bit off President Loki’s hand, the latter of whom emitted a high-pitched shriek as Gator, Classic, Kid, and Primary Loki made their escape.

A reunion with Sylvie and Moebius, who had also been pruned, set off the endgame. Classic Loki, Kid Loki, and Gator Loki made their way off, as Moebius returned to the TVA to bring it down. That left Loki and Sylvie to work together to get past Alioth, and reach the castle beyond him where the true leader of the TVA resided. Classic Loki returned to save Loki and Sylvie by distracting Alioth with a massive illusion of the kingdom of Asgard. His sacrifice gave the others enough time to enchant Alioth, and make it to their final destination.

Their final destination was THE final destination as it was, literally, the end of time. Inside the castle the delightful, if somewhat sinister, living cartoon Miss Minutes offered Loki and Sylvie a deal, which they promptly turned down. Once they were past Miss Minutes, they encountered the half-mad and ancient “He Who Remains” (HWR) who is never referred to by any other name but is played by Jonathan Majors, who was already announced as playing Kang The Conqueror. What followed was an honest description of how the TVA came to be, and what its true purpose is.

HWR, and his variants in countless universes, were scientists who each discovered the multiverse in their own way. Many were interested in understanding how the multiverse, and multiple timelines, came to be. But many others were determined to conquer all the universes. This lead to a massive, multiversal war that – we are told – nearly destroyed every universe. But HWR managed to weaponize Alioth, and defeat all of his variants. He then created the TVA to ensure that another Kang variant (or similar threat) would not again rise to threaten the multiverse. The cost of his chosen method is paid in the sacrifice of free will, and the destruction of countless universes and those living therein.

But HWR is tired. And, while he at-first appeared to have omniscient knowledge of all that ever was, or will be, even he reached a point where he does not know what happens next. It is in this moment that he offered Loki and Sylvie another choice: Kill him, and allow the TVA to crumble, or take over the TVA and run it as they see fit. The catch is that, if they choose to kill HWR, there will be nothing stopping his more malevolent variants from rising to resume their conquest of the multiverse.

Loki, who has been changed by his recent experiences, somehow manages to be the most level head in the room. He suggests taking over the TVA, and figuring the rest out later. Sylvie, who has been unable to move past her need for revenge and her inability to trust others, believes the Loki simply wants another throne. They fight, Loki attempts to explain his true intentions, but he is ultimately lured into a trap with a kiss, and pushed through a portal back to the TVA.

Sylvie then fulfills her lifelong goal, and kills HWR. Though HWR’s dying words of “See you soon” come to fruition almost immediately. Back at the TVA, Loki tried to alert Moebius and some other allies of the impending apocalyptic threat. But they don’t even remember who Loki is, and Loki then turns to see a massive statue of Kang The Conqueror looming over the TVA.

Loki season two was officially announced in a mid-credits tease, and there are some interesting questions to answer, aside from the obvious “How screwed is the multiverse with evil Kang variants unleashed?” We have Sylvie left alone in a castle at the end of time, with no idea of what comes next after claiming her vengeance. I didn’t mention the TVA red tape big wig Ravonna Renslayer (Gugu Mbatha-Raw) fleeing the scene through a portal in search of (what one has to assume) a Kang variant who can get her back high up on the food chain. And we have a desperate Loki and an oblivious Moebius at the TVA, in ground zero of Kang’s kingdom.

But, putting away any future talk for the moment, Tom Hiddleston’s Loki is now the most fully-realized, and complex version of the character we’ve seen since he first appeared in 2011’s Thor. The show looked great, had a great, sci-fi, synthy score, was strongly written, and wonderfully directed. Much like it was with WandaVision and Thor: Ragnarok before it, the Loki series has taken a character who many MCU fans felt had run his or her course, and made that character more interesting than they ever were before. It’s a new trick for the MCU in a bag full of them, and I cannot wait to see what happens next.






What Is WandaVision If Not The MCU Persevering?

“What is grief, if not love persevering?”

That’s a line that Vision says in a flashback from the penultimate episode of WandaVision. It’s also, essentially, the show’s thesis statements. I liked that line of dialogue a lot. Though I’ve always thought of grief being the love that remains once someone you care for is gone, I was never able to put it quite so succinctly. I have heard a number of other people say that line altered their perception of grief, so the impact is definitely real.

The impact of WandaVision is also very real, especially after an entire calendar year where forces beyond our control lead to there not being a Marvel movie released for the first time since 2009. The show was very well done, and I greatly enjoyed it. But I still must wonder whether it would have had such a large footprint on America’s entertainment culture had it been just one of three or four MCU projects that came out shortly after Avengers: Endgame.

Ultimately, it doesn’t matter, because the show very much stands on its own merits. However, due to the extraordinary circumstances surrounding its release, WandaVision was nothing, if not, the MCU persevering. Because, had it not been almost through production already when the pandemic hit, then we would have had to wait several more months before seeing anything or anyone from the MCU again. And, had it been a movie rather than a nine-episode TV series, it would not have satiated the viewers for nearly as long as it did.

By design, the show took an extremely roundabout way to reach its own fairly straightforward conclusion. There were may twists, and feints, and trollings and red herrings. But, in the end, it was about how Wanda Maximoff was finally able to allow herself to properly grieve for her lost loved ones, and also get a proper superhero costume and name. Although, it’s safe to assume that she’ll be seeing Vision again with all his memories but none of his emotional attachments (or fancy colors). So that’ll be another curveball for her, when the time comes.

Emotional attachments are not something I ever had for Wanda or Vision. Even back in my youth when I was more regularly reading comics. I never had much interest in them. This was no different when it came to their cinematic interpretations. I enjoyed Paul Bettany as the voice of J.A.R.V.I.S, but his turns as Vision always left me cold.

He was a bit of a MacGuffin who transformed into a deus ex machina in Avengers: Age Of Ultron. I also rolled my eyes a bit when he became the first character besides Thor to lift Mjolnir. He had a little more to do in Captain America: Civil War, but was still little more than an afterthought to the primarily storyline. When he and Wanda were suddenly a couple in Avengers: Infinity War, it never rang as emotionally true to me. And, because of this, his death(s) at the end of that movie again felt simply like the means to an end.

I was more on-board with Elizabeth Olsen’s Wanda Maximoff when she also debuted in Age Of Ultron. Unlike Vision, at least she had an interesting backstory. But even that was soured for me by the pointless, and underwhelming, death of Pietro in that film. I assumed it was a right issue, considering Fox still had the X-Men film rights at the time. But it was still a lame ending for a character with a great deal of potential. Really, the usage rate for Quicksilver was one of the very few things that Fox’s X-Men cinematic universe did better than the Marvel Cinematic Universe.

Wanda was the main catalyst at the starts of Civil War, due to her mistake on a mission with Captain America’s team leading to the deaths of civilians. By extension, her actions left to the writing of the Sokovia Accords. Her actions sequences – the opening, the fight with Vision, and the battle royal at the airport – were all pretty cool. But, by the end of Civil War, her part in the disassembling of the Avengers took a backseat to the Iron Man vs Captain America & The Winter Soldier fallout and rumble.

As I mentioned earlier, her scenes with Vision as a romantic pairing in Infinity War felt sudden, and unearned to me. Though her arrival on the battlefield in Wakanda was one of the action highlights of the film, alongside Team Cap’s arrival at the train station in Edinburgh, and Thor’s big Wakandan entrance. Wanda’s own return in Avengers: Endgame was better, as I felt her rage as a more realistic motivation than her love in the previous film. And she did nearly break Thanos in-half, which was also an impressive of power.

So, while I always found Wanda more interesting than Vision, she was still near the bottom of my list of characters I cared about. Until WandaVision. Giving Wanda and Vision 7+ hours to develop their relationship, even in as strange a way as they did, finally won me over to their storyline. In short – I never knew I wanted more of Wanda and Vision until I was given more of Wanda and Vision.

It helps when two characters that we are told are in-love actually have time to show us what their love looks like, be it in a domestic situation or otherwise. Also, just having more screen time than either did in the films allowed the actors to fill out the roles in a much more meaningful way. Bettany’s and Olsen’s talent, coupled with the creative team providing them top notch material, allowed this flex to happen.

At the conclusion of the finale, there are primarily three threads left hanging to lead us forward to the next Phase of the MCU: Monica Rambeau’s emergence of superpowers, White Vision’s memory download and escape, and Wanda’s quest to hone her powers for seemingly one very specific reason.

I’m not going to spend much time on Monica, Agent Woo, or Darcy. As much as I enjoyed that part of the show, I’d rather focus on the titular characters. Monica’s introduction, and gaining of powers all pretty much led up to the mid-credits stinger, which involved a Skrull enlisting here to join Nick Fury and Talos on a space station as they venture into the upcoming Secret Invasion Disney+ series.

Woo and Darcy were just a lot of fun, and I very much hope to see more of them both. I figure Darcy will be in Thor: Love & Thunder, and Woo seems like he’ll be moving up in the FBI world, which ought to provide more chances to roll him out in future shows and movies.

White Vision seemed like he’d be a bigger deal in the penultimate episode than he ended up being. I’d be lying if I said I didn’t figure he’d be used as a tool to bring the original Vision back into the real world outside of the Hex that Wanda created. Still, it was a clever way to use a new character to bring back an old character, and then combine the two to be something different. I’ll be interested to see where White Vision next appears, and what his character is now that Vision loaded up his memory file.

That leaves the last thread, and the most tragic piece of the finale: the fate of Billy and Tommy, the children who Wanda created for herself. What was interesting was that, even though they were manufactured whole-cloth by Wanda, they had personalities and, dare I say, souls independent of their “mother.”

At the end of her fight with Agatha Harkness – whom I didn’t mention, but was also pretty great – Wanda realizes that she needs to free the town of Westview from her Hex. This means losing Vision…for a third time…but he’s aware of this, prepared for it, and also knows that White Vision is out there somewhere carrying his life experience into the future.

Billy and Tommy, on the other hand, are put to bed and erased in heart-breaking fashion. Wanda’s response to this tragedy felt strangely underwhelming, considering the extreme way that her grief over her parents, brother, and lover manifested itself. I was confused by this until we got the second stinger at the end of the credits. In a scene that looks very Sam Raimi-esque, we see Wanda far out in the middle of nowhere, using the Doctor Strange pocket dimension learning strategy to train herself in the Chaos Magic found in the Darkhold – the “book of the damned” – recovered from Harkness’ creepy black magic cellar.

Upon first glance, one might assume she is simply learning how to better hone her magic skills to be a better Scarlet Witch. However, at the last moment we hear a little bit of what Wanda is hearing. And what she’s hearing is her children crying for help. If her existing, pent-up grief led an untrained uber-witch to accidentally enslave an entire town in her altered reality, imagine what the loss of her children will lead her to do on-purpose. Especially now that she’s determined to fully harness her power. Sounds to me like the perfect recipe for some multiversal madness. Paging Doctor Strange.

All-in-all WandaVision was a fascinating cocktail for the familiar (quick-witted jokes, bright colors, superpeople bombarding each other with energy blasts) and the different (the internal sitcoms-through-the-decades format, the TV series format in-general). In most cases, a living entity must evolve in order to survive, and this very much felt like the MCU’s evolution. So, I once again ask my own thesis: What is WandaVision, if not the MCU persevering?

Avengers: Endgame – Closing The Circle

Talk about a cliffhanger. I posted a spoilers and speculation blog about Avengers: Infinity War way back in 2018, shortly before I took an unplanned three year break from blogging, and never followed it up. That’s like a Star Wars Original & Prequel Trilogy style gap.

But I still didn’t want to leave anyone, including myself, hanging. So, I’m writing this piece to close my own circle with some general thoughts about Avengers: Endgame, and what’s come in the Marvel Cinematic Universe since then. I made some predictions in that blog, and I’m happy to say that I was more right than wrong in my predictions.

Loki and Heimdall definitely died “for real” even though Loki is getting his own time travel-ly series out of it. All victim of The Snap returned, though that wasn’t exactly a long shot. I was right to assume Hawkeye wasn’t snapped, and that the original Avengers squad all survived for a reason – I was also right about the reason being to give them a proper curtain call. Doctor Strange’s apology to Tony Stark did end up being because Tony had to sacrifice his life to save the universe.

Steve Rogers bowed out with a happier ending than I’d suspected. Bucky Barnes likely isn’t the one carrying the Captain America shield forward, so I was wrong about that part. But he, and Sam Wilson, are working together to fill the void, so I was right about the group effort part. Black Widow died, but still has a solo movie coming out (some day) so I was about 50/50 on that projection. Thor is getting a fourth movie, as expected, and they’re keeping Hulk in their back pocket, likely to drop by on the She Hulk series.

As for the movie itself: I loved Avengers: Endgame, and I think the last hour or so of it is the most rewatchable MCU movie out there. The time travel trip down memory lane worked way better than it had any right to. Just the fact that they introduced time travel out of nowhere, and made it work, is a small miracle. Though my faith never really waivered in Kevin Feige and the MCU brain trust.

The Star Wars crew couldn’t even properly wrap up a trilogy with the disastrous Rise Of Skywalker. Meanwhile, Marvel capped out a 20+ movie arc in the most entertaining and satisfying manner possible. Both of these are under Disney’s banner now, but you can see a stark difference in the way they’ve been handled.

I think Marvel has had a looser leash, which worked out for them Meanwhile, they course-corrected Star Wars on-the-fly, likely with a Bible full of studio notes, which ended up being a problem. But, if The Mandalorian is a sign of things to come, and it appears that it is, then Star Wars may soon be rising to Marvel’s standards. Imagine saying THAT twenty years ago.

Now, for how things are looking in a Post Infinity Saga universe.

Spider-Man: Far From Home was the only post-Endgame MCU release so far, even though Black Widow was scheduled to drop a year ago, before the pandemic effed up everyone’s lives for most of the past twelve months. Far From Home was a lot of fun, and a good demonstration of how well Marvel Studios can get themselves back into the flow of smaller, non-universe destroying crossover films. It was very encouraging.

No one has seen Black Widow yet, as I noted above. But I’ll definitely check it out when – and where – I can.

WandaVision is really interesting. I’ll probably post a review of it once the season concludes, since I don’t want to fully judge it without having seen the entire run. It’s pulled the rug out from under the viewers several times already, so I’ll gather up my thoughts about it when standing on more solid ground.

The Falcon & The Winter Solider is coming later this month, and I’m very much looking forward to more of the love-hate-buddy-cop action that those two characters have only been able to hint at up to this point. I’ll probably write that review up after the season (series?) concludes as well.

Loki is up after that in May. Lots of timey-wimey stuff going on there, starting with Loki being not-dead in the first place. But the character is always fun, and time travel worked out nicely in Endgame, so let it ride!

She-Hulk, Moon Knight, Ms. Marvel, Ironheart, and Secret Invasion have all been announced as Disney+ series, and some interesting casting news has come out already. But, it’s also far too early for me to have any real insights.

I’ll judge The Eternals when I know more about it, but I’m not familiar with the title at all, so I won’t make any assumptions yet. But I did watch Nomadland, which was also directed by recent Golden Globe Winner Chloe Zhao. I didn’t exactly know how to feel about the point-of-view in Nomadland, which I think was the point. It was a beautiful-looking film though, that’s for certain, so that’s hooked my interest in Eternals.

Doctor Strange In The Multiverse Of Madness is next up. It’s being directed by Sam Raimi, which sounds incredible. All we know so far is the title and director. But I’m loving the title and the director. It’s still in the early stages of shooting, but I’m fully on-board already. I can’t wait to further examine the mystical corner of the Marvel Cinematic Universe (Or, Marvel Cinematic Multiverse, I suppose). I really enjoyed the back-half of Doctor Strange’s solo movie, and loved his few scenes in Thor: Ragnarok. Picking up where those left off seems pretty awesome to me.

Spider-Man: No Way Home appears set to tackle the multiverse as well, which should be fun. Into The Spider-Verse may have already done this about as well as you possibly can. But the MCU has the bonus draw of bringing in actors and characters from the previous iterations of the Spider-Man film franchise. If nothing else, that should be good to pop the crowd a few times.

Thor: Love & Thunder is deep into shooting, with Taika Waititi again at the helm. Much like Doctor Strange’s new movie, the title and director are more-than-enough to get me into a theater. Plus, Thor: Ragnarok was probably the most fun MCU movie to date, so I’m all-in for more of that vibe.

Captain Marvel 2 and Black Panther 2 are also on-deck. But the former has just started casting, and the latter is trying to figure out how best to address the tragic loss of Chadwick Boseman. Either way, it’s far too early to make any assumptions about either.

I’m happy to finally put a bow on my Infinity War cliffhanger, and can’t wait to share my thoughts about all the interesting stuff that’s coming up in the future.

Superman Returns: The Biggest Missed Opportunity In Comic Book Movie History

I understand that the title of this post is quite lofty, but I do want to clarify one big thing regarding this statement before we begin. ‘Biggest Missed Opportunity’ is not the same as ‘Worst.’ In fact, in my own ranking of DC Movies Superman Returns landed right around the middle-of-the-pack. Also, strictly speaking, we’re not just talking about the film itself. Though that’s as good a place to start as any.

I do not hate Superman Returns, in fact I don’t really have any strong feelings about it at all. Which is part of the problem. I’ll actually start things off by discussing a few positives about the film. Brandon Routh & Kevin Spacey were both well-cast as Superman/Clark Kent and Lex Luthor. And, while Routh was a newcomer, and a pleasant surprise, Spacey’s name had been bandied about for Luthor probably dating back the 1994/95 after he scored big-time bad guy credentials with The Usual Suspects and Seven.

The film looks great, and is shot like a post-modernistic Norman Rockwell cityscape. Which works quite well for any Superman property. And there are two scenes I can think of that really captured some of what we want in a Superman movie. The first was the space shuttle rescue, where Superman made his first appearance since disappearing five years ago (in movie continuity). The other is at the start of the third act, when the earthquake triggered by Luthor’s master plan hits Metropolis, and the Man of Steel flies through the city saving lives, and stopping catastrophes.

The unfortunate thing is that there’s not much else in the movie that gets the blood pumping. By 2006 they had all the technology they needed to give Superman a worthy physical adversary. I mean, even the disastrous Superman IV: The Quest For Peace at least tried to show the audience a superfight with the Nuclear Man. The only thing that even remotely qualifies as a fight scene in Superman Returns is when a Kryptonite-weakened Superman get kicked around by Luthor and his generic goon squad.

There were some major story problems as well; some stemming from Bryan Singer wanting to make a direct sequel to Superman II. The Super Amnesia Kiss was pretty indefensible in 1980, and was only made worse 15 (actual) years later when we learned this resulted in the birth of a child. The super son story also never moved the needle for me, in and of itself.

It was very lazy to make Lex Luthor’s grand scheme a simple remix of his scheme from Superman: The Movie. Property Fetishist Lex Luthor is pretty far from the most interesting Luthor you can give us. While we’re talking about character problems, I had a big one with Superman himself.

Leaving Earth unprotected for 5 years to go see the remains of Krypton is not something I could ever imagine Superman doing. Especially since this was, once again, a direct sequel to Superman II, where three other supervillains basically conquered the Earth while Superman was hanging out in his Fortress of Solitude with his girlfriend for a week.

While on the subject of Lois Lane, I should mention that I feel it was a bad call to cast fairly blank slate Kate Bosworth in the role, especially when Kristen Bell had been out there doing a fantastic Lois for a few years already with Veronica Mars. I don’t think Bell would have saved the movie, but I feel she could have at least gotten me invested in the Superman – Lois relationship.

Again, a lot of these problems come from Singer’s irrational desire to make a sequel to a 15 year-old movie. They cast young for Superman and Lois, so why not just make this a full reboot? The smarter move would have been to essentially make Man Of Steel 7 years earlier. I have some issues that that film as well, but I feel like the instincts were right at least. Hell, they even could have used General Zod, so Singer – or whomever else they would have gotten to make the movie – could have paid homage to the old films.

But all of these issues really just resulted in a thoroughly mediocre movie. To understand the reason why I call this the biggest missed opportunity in comic book movie history, we need to look at this film’s place in history itself.

Superman as a franchise was killed in 1987 by the cheaply-made, and altogether terrible Superman IV: The Quest For Peace. Two years later Batman staked his claim as the go-to cash cow of comic book intellectual properties. It had a pair of highly successful, and fairly well-received, sequels in 1992 and 1995. But then Batman & Robin subsequently cratered out superhero movies as a whole in 1997.

One might call 1997 rock bottom for superhero movies, but it actually triggered something significantly more interesting. That something would be a full reevaluation of how to make a superhero movie. This would lead to absolutely huge things a few years later, but it all started pretty small.

In 1998, Blade showed Hollywood how to make comic book characters more appealing to a wider audience. And it did so without having to break the budget bank. It brought a darker, and more adult approach to the material.

In 2000, X-Men took that template, built it out, and gave the people an adaptation that they’d been waiting decades for. It kept the dark tones, and dark wardrobes (for better or worse). But X-Men ironed out the subject matter to bring it down from an R rating to PG-13, which opened the door for these movies to become bonafide blockbusters. I’d be remiss to not mention that Bryan Singer directed this as well, and it no doubt put him on Warner Bros’ radar.

In 2002, Spider-Man literally brightened things up, by not shying away from red and blue spandex. It smashed box office records, and is well-reviewed by critics and audiences across-the-board. This truly was the closest thing we’d ever seen to a comic book brought to live action.

In 2003 and 2004, X2: X-Men United and Spider-Man 2 show sustainability, and improvement over their respectivce predecessors. At this point, more comic book movies start hitting theaters to varying results. But, suffice to say, the revolution had begun in-earnest. I’ll note that Singer was pretty much hired directly off X2, and onto WB’s first Superman project in nearly 20 years.

In 2005, Batman Begins got DC back in the game in a big way. Blade, X-Men, Spider-Man, and even some less stellar outings such as Fantastic Four, and Ang Lee’s Hulk were Marvel properties. WB decided to hold off on jumping back into the fray until they had what they believed to be a home run. This young Batman origin story was incredibly well reviewed, and was also a box office beast. Warner Bros and DC now had a fully blank slate to carve out their new movie legacy.

This brings us to 2006. Superman Returns comes out one year after Batman Begins, and cast a young actor as Superman. This was the golden ticket, the lost city of El Dorado, the chance to set a new course for the future of filmmaking, and a shared universe 3 years before Marvel would even start planting those seeds. The two most recognizable superheroes on the planet could finally share a movie screen together, and break fandom wide open.

Here’s the thing, WB/DC didn’t even have the same obstacles that Marvel Studios did. Warner Media owned the film rights to every single DC character. Unlike Marvel who had sold the film rights for their most popular characters: Spider-Man, the X-Men, and the Fantastic Four.

And with the WB Studio backing them, they didn’t even have to take the same sort of massive financial gamble that Marvel did to bankroll Iron Man and The Incredible Hulk in 2008. They could have easily given us the first ever truly shared cinematic universe filled with some of the most popular characters in pop culture history.

Instead, they made a sequel to a 15 year-old movie, and made no attempt to tie it to any other characters. Not even a wink, or a shout-out. The first time we saw multiple Marvel heroes together on-screen was Iron Man, War Machine, and Black Widow in Iron Man 2 in 2010. But, we could have seen Superman and Batman together on-film before then. And it wouldn’t have been too hard to roll out Wonder Woman, Flash, Green Lantern, and any other character they so pleased before the Avengers ever assembled in 2012.

This was most likely due to a lack of foresight, or even straight-up creativity, by the suits running WB. But, had a filmmaker come to them with a stronger pitch to start working toward a universe shared by Superman, Batman, and countless other superheroes and supervillains, then maybe he or she could have opened some minds.

2008 brought us The Dark Knight, which is a great movie. But it’s not like we couldn’t have had that, along with a Superman / Batman movie in 2007 or 2009. Don’t get me wrong, I love the MCU. And, regardless of what WB/DC did, I would not want to see Disney and Marvel do anything different with their shared universe. I’m not looking for a replacement, I’m just looking for more of a good thing.

It was 2016 before we ever saw Batman and Superman in a live action movie together. If Superman Returns is my choice for biggest missed opportunity in comic book movie history, Batman V Superman: Dawn Of Justice is my choice for most disappointing film in comic book movie history.

Warner Bros and DC seem to have found their groove a bit more with recent releases like Wonder Woman, Aquaman, and SHAZAM after a rocky period stemming from the fallout of BvS. I’m personally hoping they can stay the course this time, and finally give us the connected DC movie universe (or multiverse, I suppose) that we’ve been waiting nearly 20 years for. But that doesn’t mean I’ll stop wondering what it could have looked like if they’d taken that big swing when they had their first shot at glory.

Ranking The Films Of The DC Multiverse

Since Warner Bros and DC have decided to officially open up the multiverse, I figured now was as good a time as any to list my personal ranking.

This list is primarily based on how much I enjoy each film. Some I’ve seen more recently than others, but I’ve seen every one more than once, so I feel like I’ve got a pretty solid base to work with.

The qualifying criteria to make the list is that it needs to be live action, and a film. Believe me, I know very well that there are a number of awesome animated shows and movies, but this list would be insanely long and complicated if I’d included them.

I debated whether or not to include the Watchmen HBO miniseries, but it is technically a TV show, so I opted not to. The list does, however, include the Watchmen movie from 2009 that brought us (is to blame for?) the Snyderverse vision of the DCEU.

The Dark Knight – Some choices are obvious ones, even if we’d like to shake things up a little bit. But this is best live action versions of Batman, and the Joker, and is directed by Chris Nolan at the top of his game. I do knock it a bit for the somewhat rushed, and abbreviated, Two-Face origin and resolution. But that’s not quite enough to knock it out of the #1 spot.

Batman (1989) – This one came out when I was 10 years-old and, to this day, I can still quote it nearly verbatim. My mom took me to see the movie, and we waited in-line for hours while showing after showing sold out. Then, in a ballin’ mom moment, she decided to let me stay up for a midnight show. That left a huge impression on me, and so did this movie. It’s iconic in many ways, and so it finds itself at #2 with a bullet.

SHAZAM! – This one being ranked so high frankly shocked even me. But I’ve seen it a few times, so the rewatchability factor is strong, and I’ve even shown it to my 5 year-old son. I just really love its Gremlins/Goonies sort-of-horror vibe. The fact that it is clearly based in a world where our favorite superheroes exist, and the characters respond to those heroes exactly like you’d imagine people would, makes me feel pretty good about placing it this high.

Batman Begins – A true turning point in the superhero movie genre. Coming out in 2005, it took what worked in the Tim Burton films, as well as in more recent comic flicks like Blade and X-Men, and took things to the next level. A much needed course correction after Batman Forever and Batman & Robin sent the Bat franchise flying off the rails.

Wonder Woman – Just a super-solid film, top-to-bottom (barring a slightly miscalculated CGI smackdown in the climax). But everything about the movie worked: From its characterizations, to its humor, and its heart. The No Man’s Land reveal and scene, leading directly into the liberation of the small village is one of the most rousing 15 minutes you’ll ever see in a superhero film. I’m not sure you’ll ever see a more perfectly cast Wonder Woman than Gal Gadot.

Batman Returns – I like Christmas, and find carnivals slightly unnerving, so this was right up my alley. Definitely had more Tim Burton DNA than the 1989 movie, but that’s not necessarily a bad thing. Still a highly watchable film.

Aquaman – I never had much interest in the guy who can talk to fish, but this movie turned me around almost entirely by itself. By tapping into the Arthurian Legend side of Aquaman’s story, it was able to transform the underwater world into an eye-popping extravaganza. A charismatic lead performance by Jason Momoa also helped get me onboard for the ride.

Man Of Steel – This one took a bit of a pounding in the years after its release for the mass destruction of Metropolis, but I don’t think the casualty rate was intentional when it was being made. I did re-watch it recently and, while I still don’t care at all for Kevin Costner and Zack Snyder’s characterization of Jonathan Kent, there is still a lot I like. Henry Cavill is a fine Superman, Amy Adam is always reliable, and I somehow forgot that Russell Crowe was in this movie. But the superfights, for all their (presumably) unintended consequences, were the sort I’d wanted to see ever since I first saw our next entry.

Superman II – Lots of problem with this one, especially with an uneven tone that likely was spawned by passing through several different screenplays, and directors. But Christopher Reeve will always epitomize the big screen Superman in a way that no one else can. Terence Stamp is a lot of fun, and don’t think “Kneel before Zod” hasn’t been kicking around in my lexicon for 35 years. But there was another great line that sometimes doesn’t get its due for boiling down the greatness of the Man of Steel into one question “General, would you care to step outside?”

The Dark Knight Rises – I think this one suffered greatly from the loss of Heath Ledger, as having the Joker play a sort of Hannibal Lector monster-in-a-glass-cage role would have been a real treat. Some of the twists seem obvious and unneeded, and the natural upping of the sequel’s scale got a little unwieldy. But Tom Hardy is legitimately frightening as Bane, Anne Hathaway is a decent Catwoman, and Christian Bale nails it one last time as Bruce Wayne/Batman.

Zack Snyder’s Justice League – You can find my deep dive right here.

Superman: The Movie – Yes, this is the one that started it all, but it doesn’t really hold up all that well to a modern eye. The pacing is a bit too methodical once you’ve seen literally dozens of these films razzle and dazzle you from start-to-finish in the proceeding years. Lex Luthor & company are too jokey for my taste, Lois Lane’s “Can you read my mind” inner monologue/poem is hokey as hell, and Superman spinning the world backwards will never not get an eye-roll from me. Still, I’ve got to respect what it was able to do by kicking door open for all the comic book adaptations that would later come.

Superman Returns – I could (and likely will) write a whole separate blog about how this was the single biggest missed opportunity in the history of comic book films. But, for now, I’ll just focus on why it appears in this spot on my list. There are things I like: The costume looks great, Brandon Routh is a good Man of Steel, and Kevin Spacey delivers as Lex Luthor (and that’s all I’ll say about Spacey at this time), and its overall vibe feels about right. But its devotion to the first two Superman films from another era is a problem. I mean, one of the main plotlines stems from Superman II’s bizarre, and morally-disturbing-in-hindsight Super Amnesia Kiss. Also, the fact they chose not to have Superman face off with a physical threat in 2006 – when they had the technology to make it work- was a really questionable choice.

Wonder Woman 1984 – I feel like history will be kinder to WW84 than the immediate backlash was. Kristen Wiig is fine as the friend-turned-super-enemy, and Pedro Pascal is clearly having a ball. But they probably should have chosen one villain or the other, rather than trying to cram them both into a single film. Still, unlike the movies lower on the list, I wouldn’t really call WW84 a bad film. Though, it certainly could have been better.

Justice League (The Whedon Cut)- This felt like a 2 or 3 episode arc of the animated Justice League cartoon. And I say that as both a compliment, and a complaint. It was as quick, and to-the-point as the animated series, which would have worked just fine it if wasn’t also was chopped-up, reshot, undercooked, and overbaked. But I’d be lying if I said that Superman showing up just in the nick of time (weird CGI’d upper lip and all) and throwing a full-on beatdown on the heretofore unbeatable big bad Steppenwolf, doesn’t still make me smile.

Birds Of Prey – I was glad that Margot Robbie had a chance to do a little more justice to Harley Quinn than she was given in Suicide Squad. But the other protagonists of Black Canary and Huntress simply didn’t make any impression on me. Maybe, if they’d had them in cooler, more comics-accurate costumes, it would have been a bit more striking. Who knows? Maybe their lack of screen time together would have been a deal-breaker regardless. But Ewan McGregor and Chris Messina are fascinatingly unsettling, and that keeps this movie ranked about the bottom tier.

Joker – A very mediocre movie buoyed by a great lead performance by Joaquin Phoenix. I don’t have a lot more to say about this movie as-a-whole since, like I said, I felt everything other than the lead role was pretty “meh”. I will say that, when Phoenix finally dons the make-up, and blasts the punchline into Robert DeNiro’s face, I had to nod in-approval. Too bad they waited until the last 15 minutes of the movie to actually get to the “Joker” part.

Batman V Superman: Dawn Of Justice – I wanted to love this movie from the time I saw the first teaser trailer, all the way up until the final frame. But it failed on virtually every level. If they had re-written the Bruce Wayne part to be Lex Luthor, and completely dropped the Riddler-esque version of Luthor Jesse Eisenberg deposited on-screen, this movie may well have been near the top of my list. But grim-and-gritty doesn’t work for Superman, and we really didn’t need to get to Doomsday so quickly. The fact that Snyder felt the need to kill Superman three different times in this movie probably tells you all you need to know about how he feels about the character. Batman simply drops too many bodies to ignore, though the warehouse fight may have been the best Batman fight captured on film. Wonder Woman was a nice surprise, but not nearly enough to save BvS from itself.

Batman Forever – Sort of caught between the goth world of Batman Returns and the pinball machine aesthetic of Batman & Robin, this one had a few redeeming qualities. Val Kilmer is pretty decent as both Bruce Wayne and Batman, for example. The movie is amusing enough to sit through without being aggressively terrible. But Tommy Lee Jones plays Two-Face completely wrong. He really shouldn’t have tried to out Jim Carrey Jim Carrey (who is, somehow, more nuanced in his role as The Riddler than Jones is). I normally like Chris O’Donnell, but they really should have gone for a younger Dick Grayson/Robin.

Watchmen – The movie looks great, so I can understand why WB liked Snyder enough to usher in their next wave of movies. But, thematically, he’s much too comfortable with Objectivism and mankind’s moral failings to be the right man for bring DC’s most prominently hope-inspiring characters to life. But, those leanings worked well for Watchmen. I almost had this one higher on my list due to a handful of scenes and moments that were really cool. But, ultimately, they never should have tried to adapt this with anything less than 10 hours or so to work with.

Green Lantern – Full disclosure: I totally forgot to add this to my initially published list. But, really, can you blame me? I don’t have a whole lot to say about it. Ryan Reynolds had the completely wrong vibe for Hal Jordan, though he found a superhero sweet spot just a few years later with Deadpool. Presenting Parallax as a giant fart cloud, and Hector Hammond as a walking scrotum probably weren’t great creative choices. But the Lantern costume effects were not terrible. All-in-all, a very forgettable entry in the comic book movie canon.

Movie poster, Superman III, 1983. 1987.0213.032.

Superman III – Weirdly, this was the closest they’ve ever come to unleashing a live action Brainiac. If they ever get around to making a proper Man Of Steel sequel, he needs to be at the top of their villain list. The movie is just not good, and there’s not a whole lot to say about it. The one cool Evil Superman vs Clark Kent junkyard fight that may-or-may-not have been a delusion brought on by a Kryptonite-induced psychotic break is really the only thing keeping this ranked above the bottom-feeders below.

Batman: The Movie (1966) – I mean, they clearly made exactly what they wanted to make here. It just so happens that it doesn’t work for me at all. This silly movie, and the silly show that followed, are the reason why no one tried to make a remotely serious superhero movie until 1978. But, again, they did all that on-purpose. Which is the only thing that separates Batman: The movie from the remaining films on the list.

Superman IV: The Quest For Peace – My dad took my to see this on when I was 8 years-old, and I’m pretty sure the Nuclear Man scratching Superman’s neck with his radioactive fingernail thus somehow transforming the Man of Steel into a cardigan-wearing elderly man made me cry. But, anyone older than 8 years-old, can see just how cheaply this was made. And just how minimal the effort was to throw the character’s name on a poster, and try to cash in. It’s pretty much unwatchable.

Batman & Robin – The movie that killed Batman movies for almost a decade. I suppose this gaudy piece of eyeball puke was the rock bottom that superhero movies needed in order to reset. So, in that respect, I suppose we owe it a weird debt of gratitude. Just not enough of a debt to ever sit through it again.

Suicide Squad – Just a complete mess, pure and simple. Like Justice League, this one was all chopped up, and then Frankensteined back together two or three times, and it shows. The difference is that Justice League at least had iconic characters that I wanted to see on-screen. Suicide Squad did not, to say the least. Characters are introduced multiple times, and extremely lazy song needle drops pervade the entire first act. The story itself makes zero sense starting right from Viola Davis’ (as Amanda Waller) question “What if Superman had decided to grab the President of the United States right out of the Oval Office? Who would’ve stopped him?” The answer is the same as my answer regarding who I want to watch a movie about: “Absolutely not any of these guys.”

Archangel’s Descent

NOW

I

Another dark night. Another abandoned warehouse. Another crew of drug dealers who need to be dealt with. In some ways it’s like a recurring nightmare, or an infinite loop that I’m caught in.

Sometimes I wish I could break free, move on to another city, another country, another world. Someplace where I can leave the weight of Stonebridge City far behind, no longer hoisting it up on my shoulders until it feels like my spine is compressing. Crushing each vertebra into powder until only dust remains beneath my flesh.

But Stonebridge City is my city. That was a decision I made long ago. My carrying of this city is the only thing that keeps it from falling into the abyss, and crashing at the bottom of the fathomless pit below.

That is why I find myself once again speeding through the void of this never-ending night on a motorcycle custom-built for silence and stealth.

Some believe me to be a ghost cloaked in blackness, invisible as it rides amongst the other shadows. But those who contemplate me with fear do so with good reason. The criminal element will always fear the unknown, since those who feed on the fear of others are the ones more likely to be devoured by their own.

And so, they anticipate that whomever, or whatever, lurks in the ether hunts them with the same ruthless intentions that drive their own actions. I may be out here seeking the worst of humanity, but my reason for being out here is not these dregs.

It is the others that I am out here for. The victims. The innocents. The people trying their best to find a glimmer of hope and kindness in an otherwise cruel and hopeless world.

They don’t see me as a ghost, but as a guardian angel. A warrior who is willing to fight an unending war to keep them safe, because he is the only one who can. That’s why those people long ago named me Archangel.

But, if these people knew exactly why I was on this pier going to this warehouse tonight, they might call me by a different name.

“Mr. Angel,” I’m greeted by Chaz as I enter the warehouse. The shaking in his voice is already prevalent, though he’s trying to hide it. “We weren’t expecting you tonight.”

“I can tell,” I say to him, looking past his shoulder and into the office where I see who I’m looking for.

Chaz is trying to get a read on my expression, which isn’t easy to do since only my mouth and chin are exposed from beneath the helmet. He’s trying to look into my eyes just as hard as he’s trying not to. But the lenses are white-tinted, so he can’t see anything other than his own fearful reflection in them – which is exactly the point of their design.

“What I mean is…we can explain,” Chaz continued, now clearly rattled.

“We?” I ask, still looking through the window to the office.

“Well,” he backtracks, “Donnie can explain.”

“Good,” I tilt my head away from the children in the office, and at Chaz. “Because he’s going to have to.”

There are eight kids in all. The oldest among them is no more than twelve years old, the youngest looks to be nine or ten. Some are trying to make their best grown-up poses as they speak, no doubt emulating the dealers who recruited them. What they’re actually discussing is not important, so I don’t bother enhancing the volume in my earpieces.

The younger ones aren’t even trying to posture. They just look confused, and nervous about what they may be asked to do once they’re trained to run the products, and the cash drops from corner to corner. Two of them are even wearing sweaters with a picture of some cartoon dogs from a kids’ show.

They went from watching cartoons this morning to being coerced into the drug trade this evening. I’ll bet their parents think each of them are playing at a different one’s house right now. Pretend adventurers, real life drug couriers.

I take a moment to compose myself before addressing Chaz again.

“Where’s Donnie?” I ask.

“Out on the dock, Mr. Angel, sir,” he quickly replies.

“Is he alone?” I continue.

“No, sir. He’s got five or six of the boys with them.”

“Packing?”

“Automatics.”

I offer no more than a grunt, before running my thumb over the handle of one of the throwing knives in the crisscrossing bandoliers strapped across my chest. I then nod towards the table at the center of the room that’s littered with narcotics, and high stacks of money.

“Give each of those kids a brick of cash, and send them home,” I tell Chaz. “And make sure they know that, if they if they end up on the street slingin’ this shit, they’re going to have to deal with me. You got all that?”

“Yes sir, Mr. Angel, sir!” he blurts.

“When they’re gone, come and meet us on the dock.”

He scrambles over to the table, and starts gathering up cash in his arms. I walk past him, through the length of the warehouse, and emerge at the docks on the other side.

I can see the lights of the city across the river sparkling through the clear night sky. The skyline is beautiful from afar, but its murky reflection in the inky black water of the river presents a more accurate likeness of Stonebridge City’s true self: Superficially beautiful and outwardly thriving, but with a dark, beating heart beneath the black mirror surface.

Still, that’s a damn sight better than it was before I returned.

Chaz’ count was right, Donnie is standing at the center of five of his most trusted soldiers. Each one has a machine gun strapped across his chest except for the man himself. He invested in a chrome-plated .357 revolver to serve as a badge flaunting his rank.

Of course, you can only see the pearl handle grip, and the shining hammer sticking up from the front of his jeans. I should have known better than to place a man who wears his authority so poorly in a position of power.

Whatever happens here in the next three minutes tonight is on my shoulders. But why should this be any different than anything else in this city?

“Mr. Angel,” Donnie greets me with a self-satisfied smile. “What brings you here tonight?”

“I heard a rumor about you involving some kids, that couldn’t possibly be true. Not after the last conversation we had on the topic,” I reply.  “There’s no way Donnie could be that stupid, I thought. That careless. But then I dropped by to check it out anyway, and imagine my surprise.”

I finally stop walking towards the group when I’m no more than two feet away from the nearest gunman. It doesn’t take more than a shift in my posture for the lackeys to all clear out the space between myself and Donnie.

“To say nothing of the new gear for your boys,” I make a show of looking at each machine gun. “I thought you understood the rules, Donnie. My rules.”

“Of course I understand the rules, Mr. A,” he offers casually, I offer a frown in-response, and he changes his tone “Mr. Angel, I mean. But we were starting to catch some serious heat. Riley’s got the pigs all tuned up, and looking to rock.”

“If the police are closing in on you, then you simply need to be smarter,” I state.

“That why I brought in the youth movement,” he says, as if he feels that was the obvious answer. “The kids transport the merchandise, and the cash, from our buyers and clients. If they get caught, no one does any time other than in juvie, and my crew stays intact.”

“Yes, I know how it works,” I say with a smile that blocks my snarl. “That’s beside the point. The point is that this is my city. We’re in agreement about that, aren’t we?” Donnie nods. “Good. And in my city you follow my rules. Is that equally as clear?”

“Mr. A…” the crew can see my jaw muscles tighten, causing them each to take another step back. “Mr. Angel…”

Without another word I move in closer to him. He doesn’t flinch, which is a bad sign for how I was hoping this would play out.

“I’m trying to make you some money here,” he disputes, his fingers almost subconsciously moving towards the handle of his pistol. “I’m trying to make us all some money!”

“I run the entire drug trade in this city. You work for the man who runs the entire drug trade in this city. Do you think we’re hurting for money?” I growl.

“Man, there’s always more money to make,” Donnie argues.

“We make as much money as my rules allow us to,” I tell him.

“And what about my boys getting busted?” he asks, his fingers twitching around his waistband.

“If you, or your boys, are incapable of doing this job the right way, then you need to find another line of work,” I explain.

He starts to talk again before I cut him off: “But you don’t need to worry about getting arrested anymore, Donnie. See, I gave you a choice last time you tried to bring kids into my business. Leave town, or follow my rules. You chose the latter, and I gave you a second chance. I don’t do third chances.”

“You sayin’ there’s no choice this time?” Donnie says with as much swagger as he can muster.

“There’s always a choice,” I correct him. “But there are different options this time. Option one: You walk down to the nearest precinct, turn yourself in, offer a full confession, and do your time.”

“What’s option two?” he asks, now opening and closing his hand over the .357.

“You don’t want to choose option two,” I tell him straight.

“I ain’t going back to jail, Mr. A,” he says, making a show of not correcting himself this time.

“This isn’t a negotiation, Donnie,” I offer him one last out. “Take the walk, do the time. It’s the only time you’re going to get tonight.”

His breathing has picked up, and his eyes are bulging slightly. He’s scared, but still thinks he has a chance. I wish he was smarter than this, but I’m not surprised that he isn’t.

The throwing knife is out of my hand before he even fully pulls the cannon out of his waistband. I spin it with enough velocity to punch deep through his eye socket, and into his brain.

He’s falling backwards even as he fires his round so far off the mark that I don’t even need to shift my stance to avoid it.

I take note of the gunmen on either side of me. None of them have moved, so I guess they’re all wiser than Donnie. From the corner of my eye I see Chaz standing next to the last goon in line.

“Guns on the ground,” I say, without moving.

Each man in-turn lifts the strap over his head, and places the heavy artillery on the ground.

“Chaz,” I say, turning towards him. “What are my rules?”

“No victims, no violence,” he recites automatically.

“And using children as couriers?” I ask.

“Makes them victims,” Chaz says.

“And carrying machine guns?”

“Invites violence, and risks creating more victims.”

“Congratulations, Chaz,” I say, walking closer to him. “You’re now the boss of this crew.”

“Thank you Mr. Angel, I promise I won’t let you down!”

“Gentlemen,” I say to the rest of the crew as I walk over to Donnie’s body.

The back of his head is lifted off the pavement as I pull at the knife blade. Once the blade is fully removed, his head drops again with a thud. I make a show of wiping the blood off the blade, and onto Donnie’s clothes, making sure the others notice.

 “Take care of this,” I nod towards Donnie’s body, and then gesture for Chaz to follow me back towards the warehouse as the others move in on Donnie. “Donnie’s only family was his mother, right?”

“Yes, sir,” he says. “She’s an invalid, can’t really support herself.”

“Bring her half of Donnie’s share every month,” I tell him. “Keep the other half for yourself. Consider it a raise to go along with your promotion.”

“That’s too generous, sir,” Chaz says.

“That’s just business,” I reply, as my stealth cycle is now in-sight.

“Mr. Angel, what do I tell Donnie’s mom if she asks about him?”

“Tell her the truth,” I say, mounting the bike. “The heat got to him, so he had to go. Anything else?”

“No, sir. I can take it from here.”

“Good. Once Donnie is recycled, tell the crew to take the rest of the night off.”

With that, I ride silently back into the city, for it cannot survive without its dark, beating heart.

Besides, I’ve still got a busy night ahead of me.

FIVE YEARS AGO

I

Off to a pretty damn good start, if I may say so myself.

Good thing too, I’d hate to think I’d wasted half my life training for this, only to blow it right out of the gate. Thus far, that has not been a problem.

After getting back to Stonebridge City a few weeks ago, I was able to find my way back to that decommissioned subway station I’d stumbled upon before I’d left.

Jesus, was that really a dozen years ago? I can’t tell if it feels like a lot more, or a lot less. I suppose it really feels more like returning to a world that I’d left that now feels both alien, and familiar.

Familiar in that everything is the same as when I left. Every street turns into the same corner, and every person moves with the same casual cautiousness that comes with knowing you’re not exactly safe but believing that – since you understand the fear – you can protect yourself from the looming danger.

Yet it’s alien in that I feel like I’m viewing this city with different eyes. All that time I spent with South American paramilitary groups, bleeding edge weapons designers in Europe, and that ninja clan in Japan provided me with new filters through which to see the world.

Looking out at Stonebridge City now, I can see dangerous situations unfurl before they even begin. I can tell the difference between the predators and the prey just by the way they carry themselves. I understand what movements are coming, and which counter-moves I’ll need to make in order to resolve the situation before the first strike is even attempted.

Although, that last belief needed to be tested before I would truly buy-in. I got my first opportunity on Saturday night. It was as good a night as any, since people were out and about late at night, while the wolves in the shadows waited for the calves to wander from the herd.

I moved with the flow of humanity from rooftop- to-rooftop. The architecture in this city was constructed with many building in such close proximity so they could squeeze every last drop of real estate from it. As such, a simple leap is usually enough to cover the space between roofs over a majority of downtown, and midtown.

I found more uses for the grapnel hook gun when I got uptown. Small enough to fit in a holster on my right thigh, but loaded with a tightly coiled, high tension wire that could carry more than twice my weight if the need should arise.

The firing mechanism is designed to be silent, but can easily launch the hook across the width of any of Stonebridge’s main avenues, and embed itself into a brick building on the other side.

Admittedly, I was nervous to try it in the field for the first time, but I knew I had to be able to trust my gear as much as I trust my own skills if I’m going to survive in this life long enough to make a difference.

That being said, it was still exhilarating to swing across those canyons of the city. I imagine the sensation I felt was much the same as a Post-Human feels when first taking flight.

But I quickly moved past that thrill, because I didn’t come back here seeking thrills. I came back here to help people, and to bring justice to those who’ve escaped it. I came back here to save lives. To save this city.

The dark streets below, lightly traversed, made this feel like the place to start. I always remembered hearing horror stories about the careless souls who wandered uptown, walked down the wrong street, and were devoured by the night.

So, I knelt on the ledge, switched the lenses in my helmet to night vision, and adjusted the levels in my earpieces to minimize ambient noise and maximize human voices.

I pick up bits and pieces from conversations happening on the top four floors of the building. Couples arguing about bills, and drunks blabbering about how the world screwed them over are the loudest, and the first that I hear.

I also hear the laughter between friends or family members enjoying the evening together. They’re sharing stories, and memories, and stories that they try to pass off as memories since the truth has been lost to the past.

But this is not what I’m listening for tonight. I adjust the balance levels further with the touchpad controls under the gauntlet on my left forearm.

There’s a different quality, a different vibration that comes from a voice echoing off the walls of the alleys below. These are what I’m listening for. The people in the labyrinth below who are unexpectedly nearing the Minotaur in the center of it.

“Leave her alone!” echoes from below.

“Naw, we’re gonna show her what it’s like to have real men givin’ it to her.”

I can hear the impact of the butt of a pistol cracked on the back of a head. And then a woman’s screams.

I’m across the rooftop, and making a few quick configuration changes to my grapnel gun in a heartbeat. I hook it onto the inside of the ledge, click it into place on the harness at my belt buckle, and then rappel down the side of the building.

The descent feels like a freefall, but I never lose control of it. The two attackers are standing over another man, who’s curled up in a fetal position. The girl is trapped with a ten-foot-high fence behind her, and two thugs standing between her and the entrance to the alley.

I touch down on the ground silently, and release the harness. The men haven’t seen me yet, but the girl has. She looks past them, between them, and views me with a mixture of uncertainty, hope, and fear.

“That’s alright, mama,” one of the men says leeringly. “You don’t have to look at us, as long as you feel us.”

“Feel this,” I say, now within arm’s reach of them.

“Who the f…” the one with the gun turns toward me enough for me to grab, and twist his wrist; wrenching the pistol from his grip.

While his mouth is still open in mid-scream, I crack him across the cheekbone with a pistol whip. He drops to his knees from that blow, giving me room to swing a forward roundhouse kick over his head, blasting his partner’s nose into five pieces with it.

Both are bleeding on the ground, but not yet unconscious. That’s easily corrected with a pair of quick elbows into the base of their skulls. I break out a pair of zip-ties from a pouch on my left thigh, and bind their hands behind their backs.

The girl’s kneeling beside the beaten man and asking him if he’s alright, while I fasten myself once again to the grapnel gun.

“Who are you?” she asks me from the ground. “Are you one of them? A superhero?”

“I’m just someone who wants to help. Call 9-1-1 and find a safe place nearby to wait for the police to arrive,” I say, before triggering the recoil, and ascending back to the rooftop.

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