Category Archives: MCU

WandaVision’s Critical Questions

 

We are now five episodes and on the eve of the sixth into Marvel Studios’ television project WandaVision and in my mind there a few essential mysterious questions propelling the plot. Naturally to even pose the questions is a bit of a spoiler so consider this lede your warning.

In No particular Order.

1) Who is Agnes? Other recurring and important residents of Westview NJ have been identified but on the big board Agnes still has no real-world identification. This coupled with her knowledge and acceptance of Wanda’s powers along with her ‘coincidental’ arrival at key plot points indicates she is a principally important piece of the puzzle.

2) Who or What are Wanda’s Children” It’s been established Wanda or the ‘Hex’ doesn’t created matter but rearranges it and the twins are real but like Agnes without real counterparts. Connecting question; Why are they immune to Wanda’s abilities?

3) What is the purpose of the broadcast’s commercials? In the four commercials all present elements key to Wanda’s backstory before the series. Stark Industries whose weapons killed her parents, Strucker who led the experiment that enhanced her and her twin brother, Hydra the organization that Struker served, and Lagos the site of her mishap that resulted in the death of Wakandans and helped initiate the Sokovian Accords regulating super powered individuals.

4) When ‘Norm’ temporarily freed of the Hex’s influence begs Vision to stop ‘her’ who is ‘her?’ A casual interpretation would be Wanda but the using only a pronoun is a classic way to mask the actual identity.

5) What was SWORD doing with Vision’s corpse? In episode five security records show Wanda stealing Vision’s corpse from a SWORD facility but it was clear that the corpse was not merely in storage but being subjecting to study and or tests. In the comics SWORD stands for Sentient World Observation Response Division but in the Cinematic Universe World has been replaced with Weapon and I can think of only three such ‘items’ in the MCU, AIDA from season 4 of Agents of Shield, Ultron from Avengers: Age of Ultron, and Vision. Of that list all have been destroyed but one has been in some matter returned to functionality, Vision.

6) Why is SWORD Director Hayward so intent of presenting Wanda as a terrorist and willing to move to lethal force so quickly?

So, these are the questions I think are essential elements to the final resolution of the series and the answers will determine if the story works or fails.

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My Favorite Season: Agents of Shield

 

I’m old enough to remember when having a favorite season of a television program would have been quite strange. Before the advent of long form story telling season may have been good or bad but that rarely became favorites.

I watched all seven seasons of ABC’s Agents of SHIELD(henceforth known as AoS) during its original broadcast run and now as an unwinding before bed I am re-watching them in order from Netflix. There is no doubt in my mind, Season 4 is my favorite of the seven.

Split between two storylines, the front half centered on the Ghost Rider with the second half focused on rogue Life Model Decoys (LMDs) and the virtual world of the ‘framework’ the two halves are united by the ancient, magical, and corrupting book The Darkhold.

The Ghost Rider is fun, told well, and takes a different spin on the character than the original source but without violating the spirit of the Ghost Rider. The twist revealing the eventual ‘big bad’ was a well-played but for me the season really exploded with the ‘Framework’, the twists and turns of the artificial Intelligence ADIA and the sheer fun of watching actors and characters we had known for three and half season suddenly get to play vastly different colors and personalities.

While Mallory Jansen has been brought in during season four to play ADIA she was hands down the MVP for playing a wide range of characters during the season. She played ADIA, the LMB and rogue artificial intelligence with an evil and yet tragic motivation, Agnes the artistic human that ADIA was modeled upon, Madame Hydra, the supreme leader of Hydra in the virtual world of the Framework, and various shadings of all of these characters from the flat affectation of ADIA when she was little more than a robot to Agnes a frightened woman facing her own mortality.

Continuing storylines can make it difficult to jump into a series these days if you haven’t watched from the start but I do think season four of AoS can be enjoyed without having the watch the previous three, though of course it works much better if you have.

 

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On Killing Your Darlings

 

There’s an adage on writing that says you must ‘kill your darlings.’ What it means it that you must be ruthless in your editing. That scene, that sub-plot, that turn of phrase that you can’t believe you wrote, that you love to read and admire, if it doesn’t belong, if it leads the reader astray, if the spoils the pacing, then it must be excised out.

While I have had a brushing encounter with this concept, I can’t say it has ever really hit me hard emotionally.

My novel Vulcan’s Forge was adapted from a novella version of the story. (A novella was far too short for what I wanted hence the book that is now out in the wild.) The novella ended on a particular line, a turn of phrase I thought perfectly summed up the character’s emotional arc. ‘I still dream of Pamela.’ But when I was doing the edit on the novel about half a page from that final line the story ended.

Yes, I really liked that line it was the point and objective of the novella but it no longer fit. That last half page vanished from the manuscript and I did not hesitate or look back.

The entire post credit scene thing that Marvel Movies love to do came about from a similar situation. The Original Iron Man was supposed to end with Star going home and have that encounter with Fury but in the editing the filmmakers instinctively understood that ‘I Am Iron Man’ was the end of the story. Under normal condition that extra scene would have been discarded much like the deleted scenes of Lewis in hopsital that would have ended the film Robocop but Marvel Studios need to promise and tease The Avengersand so the post credit scene tradition was born. Before that these scenes often called buttons did occasionally exist but held no plot meaning but were mere bits of fun such as the ‘cursed monkey’ after the credits of Pirates of the Caribbean: Curse of the Black Pearl.

The real lesson of kill your darlings is understand your story, know what fits, what is essential and what is not.

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First Thoughts on WandaVision

 

I’m a little late to the game but here are my first impressions of the Disney + new MCU series WandaVision.

‘It’s okay.’

Admittedly this is a nine-episode storyline and trying to judge it from the first one or two is unfair but that’s all we have so far. I have been an MCU fan from the first Iron Man feature film though I was never a collector of comics themselves so things like ‘Is this an adaptation of The House of M storyline go right over my head. However, as a fan I have thoroughly enjoyed the MCU and think overall it has been a spectacular success.

The first episode of WandaVision didn’t really strike me as a solid entry. They did a very good job recreating a classic late-50s sitcom but it suffered from the ‘it’s all a dream’ trope. We know what is happening isn’t reality, and to be fair the show never expects you to accept it as reality but rather part of the mystery, so the ‘impress the boss or lose your job’ stakes are meaningless filler. The first episode doesn’t give us enough stakes or even hints of stakes outside of the illusionary sitcom to create meaningful tension.

The second episode with more unmistakable intrusions by other realities and with an ending that questions who is pulling the strings does a much better job of creating the tension that the first episode lacked and is probably the reason the pair were dropped together with the rest of the series being released one the week-by-week format favored by the streaming service. Though it was nice seeing one of my Buffy the Vampire Slayer favorites, Emma Caufield now credited as Emma Caufield Ford, back on my screen even if the role is likely to remain quite small.

I will stick with WandaVision as I intrigued by the plot but at this time I have not been wooed by the series.

 

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Thinking About Stakes

When crating fiction a common bit of advice to ‘raise the stakes.’ This is a suggestion of magnify the penalty for failure for the protagonist making the eventual success or failure that much more impactful for the reader or audience. However, this is usually or at least often interpreted as threaten more lives, make the potential explosions larger, the potential death toll higher but that is too simplistic a way to think about stakes.

In franchise material there is what I call the ‘Bond Effect’ where each adventure has to have more on the line than the previous adventure. Very quickly the writers find themselves in the situation where Bond has to save the entire world, from nuclear annihilation, a murderous madman with a secret orbiting space station of death, what have you, and once he has saved the world saving it again has less entertainment value We know there is never going to be a Bond film where the world dies, not even the 70s got that bleak so the combination of an assured outcome and devalued victory makes each world save less thrilling until they become boring. For this effect magnified beyond look to the UK program Doctor Who where the stakes have been repeatedly raised to the entire universe sometimes destroying and recreating the universe as their climatic conclusions.

What all this misses is that stakes are most potent when we are emotionally invested in them. Setting aside the ‘save the world or universe’ trope the protagonist is they fail should suffer deep emotional coast and or loss. This is a lesson well learned in dramatic fiction and too often not in genre stories. Marvel studios did this particularly well in a couple of films, notably Captain America: The Winter Soldier where after saving the world we got to the real stakes for Steve Rogers, saving his friend Bucky Barnes from Hydra’s mind control and Captain America: Civil War where the world was never in danger but rather at its heart it is the friendship between Steve and Tony Stark that is in danger and in that story ultimately lost. The cost of failure is the emotional damage to the characters, these are very high stakes that are intimately personal and emotionally compelling for the audience.

It’s easy to craft plots with larger and larger death star threatening planets and entire star systems it is harder but more satisfying into dive deep into character and find the thing that matters most to them as a person and make us the readers and the audience share in the terror of losing that thing. Then you will have stakes that really matter.

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The Marvel Show That Sailed Away

The Marvel Cinematic Universe had run a fairly tight ship continuity-wise. There have been a few misstep and clues dropped that led to nowhere, such as The Ten Rings reference in Iron Man that never paid off but overall the studio has done a good job presenting its properties as taking place in the same share setting.

And then there’s Marvels’ Agent of S.H.I.E.L.D. which ran on ABC from 2013 thru 2020 for 136 episodes and followed the turbulent lives of a few SHIELD agents as they navigated personal, professional, and powered challenges in a world suddenly infused with enhanced beings and aliens.

For the first season the program hewed close to the events of the MCU, the agents were dispatched to the UK as part of the clean-up and follow-up crew in the wake of the destruction unleased by the conflicts of Thor: The Dark Worldand the agency was toppled by the events of Captain America: The Winter Soldier. But as the series progressed the connections between the feature films and the events the television characters encounter weakened until finally the most massive event of the MCU, Thanos’ eradication of half of all life in the universe, is never referenced and for all practical purposes never happens.

Agents of SHIELD did play with a number of concepts and characters from Marvel mythology with the introduction of Life Model Decoy, android replicas of characters, the best onscreen portrayal of the Ghost Rider character, and the introduction of the Inhumans as a stand in for mutant powered individuals as that ‘term’ for enhanced superpowered character was tied up with the right to the X-Men franchise with Fox studios.

All seven season of Agents of Shield are available for streaming on Netflixand I am currently doing a front to back re-watch of the series.

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Captain America and Magneto: Marvel’s Original Anti-Fascists

It is interesting to contrast Marvel’s best-known Anti-Fascists, one nearly the Platonic Ideal of a modern comic book hero, Captain America, the other a genocidal villain driven by trauma and terror, Magnet. Both gained their anti-fascism during fascism’s original run, World War II but reacted in diametrically different manners. In discussing these two characters I will be referring to their cinematic presentations, Caps’ from the very successful Marvel Cinematic Universe and Magento from Fox’s more erratic X-Men franchise and associated films.

Steve Rogers was an underweight, under-sized, unhealthy man when American entered the war but driven by his intense sense of justice he desperately wanted to serve in the US Armed Forces despite being categorized as ‘4-F.’ After coming to the attention of Dr. Erskine Rogers was recruited into an experimental program to enhance human ability and attempt to create a ‘Super Solider.’ It’s important to note that in his interview with Erskine when asked if he ‘wanted to kill Nazis’ Rogers replied that he didn’t want to kill anyone but that he doesn’t like bullies. With an ideology that was already solidly anti-fascist Rogers also already possessed his most heroic qualities. The Super Soldier Serum may have granted him transhuman capabilities, but it was his moral code that defines his anti-fascism and also governed it limits.

Erik Lehnsherr a Polish Jew who would eventually take up the alias Magento was subjected to the horrors the Holocaust by Germany’s genocidal Nazi regime and while his mutant ability to manipulate all forms of metal was already present its development and his control were insufficient to protect either himself or his parents. Surviving the mass murder of Jews only because the attention of Dr. Klaus Schmidt aka Sabastian Shaw, Erik comes to his anti-fascism as a reaction to the brutal treatment of himself, his family, and his fellow Jews rather than from an innate moral code, despite as a younger man being a man of faith. Following World War II Erik adapts a personal mission as a NAZI hunter particularly interested in finding and taking revenge on Dr Schmidt. After successfully preventing nuclear war in an alternate history version of the Cuban Missile Crisis and targeting for destruction by the government that fear his and other mutant’s powers Erik adapts the name Magneto and identifies more as a mutant than with his Jewish ancestry. Taking the lesson he learned at the hands of Nazi brutality that humanity’s prejudice will lead it to always destroy those who are different he makes mutant survival and dominance his objective. Eventually Magneto attempts a massive attack to transform many of the world’s leaders into mutant regardless of the danger and death his machine will unleash because his objectives have transformed in obsessions.

Here we can compared critical moments between the two characters and how character plays into the importance of these moments.

Rogers, still a scrawny specimen without the benefits of Erskine’s serum, is suddenly confronted with a grenade during training, unaware that is a practice dummy round and while the rest of the trainees run for safety, he throws himself on the device attempting to shield everyone from the blast. He understands on an intuitive level self-sacrifice.

Magento’s mutant creation machine requires his unique abilities as a power source and the power levels needed are likely to kill him. Rather than subject himself to that risk and danger he kidnaps a teenage girl with the ability to steal his power and forces her to bear that risk. Erik’s terror and trauma has transformed him into his own version of fascism sacrificing others for his own goals.

And therein is the critical difference between the character and the moral difference in ways to combat fascism. You cannot adopt fascist ways without becoming a fascist yourself. It is noble to offer yourself up for the cause it is evil to offer up others.

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Quick Hits Aug 20, 2020

Just a few quick thoughts and observations for today.

Democratic Convention: Despite being a former poli-sci major and minor political junkie I have not been watching the convention. However, from analysis and coverage from both the right and the left it seems that they’ve found a way to do their messaging in these strange terrible times. They are keeping their aim fixed on the prize, defeating Trump, and are showing a level of unity quite unusual for this party. I understand the frustration from progressive that Republicans have highly placed speaking slots at the convention but this election is unlike any other in our nation’s history and the first problem, removing Trump from office, takes priority over everything else at the moment. More than ever, policy must come after victory.

Agents of SHIELD: The series, with all its ups and down, completed its seventh and final season swinging for the fences and engaging in some seriously epic storylines. Overall, I really enjoyed the series and I have started a re-watch from season one. The hints and rumors of a tie-in with the next phase of the MCU are intriguing and we’ll see where they go.

Writing my Next Novel: I’m almost ready for the prose outline of the new and still untitled novel. I’m currently working on a bullet point outline, just the most critical points for each of the five acts but as I go each act has more bullet points than the previous indicating that the story is taking off on its own. For this murder mystery aboard a generations starship I plan to incorporate some of the story structure ideas advocated my screenplays writer and Chernobylseries creator Craig Mazin.

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YouTube Discovery

So, with movie theaters closed along with everything else I have been spending quite a bit of time streaming various channels on YouTube. In addition to my history and technology viewing there’s a lot of cinema YouTube and the algorithm recently suggested something that turned out to be quite interesting, The Russo’s Pizza Film School.

The Russo Brothers, Joe and Anthony, are responsible for my favorite Marvel Cinematic Universe films, The Winter Soldier, Civil War, Infinity War, and End Game. During this enforced lockdown they have been holding a virtual film school, focused on screenplay and structure, exploring films that influence their tastes and craft. The films are a diverse lot ranging from Blue Velvet and No Country for Old Men to genre and cult favorites such as The Evil Dead and 1980’s Flash Gordon.

They also bring on guests to help them discuss the movies ranging from film critics to actors and directors. It’s named the Pizza Film School because they suggest ordering a pie from a local shop, to support small local businesses, and enjoying a slice or two as they explore what makes these films tick and work.

If you have an interest in story structure and how these films influenced a pair of truly talented film makers check out the Pizza Film School, I’ll link to the Flash Gordon episode as a starter. The episodes mostly run about an hour long, mostly.

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Quick Hits

I’ve started outlining a new novel proposal. I have already stepped through the five acts and bullet pointed all the major beats, Now it is time to produce a prose document synopsizing the story and show that to my editor. It’s another dark cynical SF story.

Also, I am working my way, finally, through Netflix’s Marvel Limited series The Defenders but so far, and I have watched six out of eight episodes, I am far from impressed. The writing on this one fails to lock into the voice for the various characters and they instead feel like that they have the shape of the personalities but lack the depth. There has been a tendency, possibly created by time pressures, to go for the most obvious plot turn or bit of dialog. Several times I have mentally delivered the upcoming dialog before the character on screen actually utters it.

San Diego has recieve3d the go ahead from the State Government to move forward into loosening social distancing restrictions and Saturday I will be at Mysterious Galaxy Bookstore to sign stock of my novel Vulcan’s Forge.

 

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