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theastrophilearchitect · 3 years

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WandaVision series review part 2.

Last week, I posted part 1 of my WandaVision series review, containing my initial thoughts and breakdown of episodes 1-3 (part 1 can be found here). This post, part 2, will contain my breakdown of episodes 4-6, and part 3, to come next week, will contain episodes 7-9 and my final thoughts.

So, let’s go.

Episode Four: ‘We Interrupt This Program’ This is the episode where everything comes together; where things start to make sense. This episode debuted on January 29th, finally giving us some answers after the first and second episodes were released on the 15th. It has a runtime of 34 minutes, which is fairly on par with the episodes up to here, though this episode doesn’t follow the sitcom format, but feels more like your classic MCU content.

The episode opens with a previously on WandaVision recap, which seems to very much focus on Geraldine, the meaning of which soon becomes clear. And we enter a black screen which slowly fades into the form of Geraldine, with voices from the movie Captain Marvel--the voices of Carol Danvers, Maria Rambeau and Maria’s daughter, Monica, which just confirms fan speculation that Geraldine is, in fact, a grown-up Monica Rambeau, and we must currently be seeing her after the Blip--after Bruce Banner’s snap in Avengers: Endgame returned all those Thanos killed at the end of Avengers: Infinity War.

Monica sits in a hospital room, but the bed beside her is empty, then she leaves the room to panic as people coalesce throughout the hospital. She asks about a patient in room 104, then one of the doctors recognises her, and tells her her mother--Maria Rambeau--who presumably was who she was in the hospital for, is dead, and about the Blip, because it seems to Monica it’s only been a few minutes. And we have the Marvel logo, after an introduction instead of right at the beginning as in the sitcom episodes.

Cut to the headquarters of SWORD, standing for Sentient Weapon Observation and Response Division, which is quite clearly just talking about Vision. Honestly, though, Marvel’s obsession with making their acronyms real words--I’m talking to you, SHIELD and HYDRA--is mildly irritating because of how unrealistic it is. Just a me-gripe.

Monica fails to access the building, her badge apparently outdated, and we’re introduced to Tyler Hayward, acting director of SWORD in Monica’s absence. Hayward brings her into the building and declares Monica grounded, able to only carry out terrestrial missions, on her mother’s order for if the personnel who disappeared in the Blip were to return. He then assigns her to an ‘FBI thing’. Cue the wonderful Jimmy Woo.

Monica is welcomed near the sign for Westview by Jimmy Woo, the FBI agent who dealt with Scott Lang’s house arrest in Ant-Man and the Wasp. Jimmy tells Monica a witness he had in Westview has gone off the radar; that everyone seems to have forgotten the man’s existence. And they approach two policemen stood by the sign, who claim Westview doesn’t exist. Ah, Wanda’s lovely magic. Jimmy also says he can’t contact anyone on the inside.

‘This isn’t a missing person’s case, Captain Rambeau, it’s a missing town. Population 3,892.’

And Jimmy claims the town itself won’t let him in to investigate, but though the town seems empty, it is visible, and there doesn’t appear to be any physical barrier. Monica sends in a helicopter-style drone, and the camera feed glitches like a television screen as it nears the town, then the drone disappears--the toy helicopter Wanda found in episode 2. Monica approaches the town, and a television-barrier becomes apparent. Monica touches it, and is pulled inside, hence becoming Geraldine within Westview in episodes 2 and 3.

Cut to a day later, the glorious Darcy Lewis from the first two Thor movies, Jane Foster’s (Thor’s love interest’s) intern, now graduated and with a PhD in astrophysics, sits in a van with several other scientists of different fields. Outside Westview, SWORD has set up a kind of military base. Darcy takes some readings and gets ‘a colossal amount of CMBR’ (Cosmic Microwave Background Radiation, which is one of the things used to prove the Big Bang Theory), and notices ‘longer wavelengths superimposed over the noise’, and has the idea to set up and link a vintage television to it.

Cut to night, we watch a man in some kind of protective suit crawl through sewers into Westview, the border of which transforms him into the beekeeper from the end of episode 2 which prompted Wanda to rewind and skip to the 1970s.

Darcy’s TV picks up the signal, and plays the previous episodes of WandaVision in their sitcom format, pointing out Vision is meant to be very, very, very dead. We see that the hands the camera zoomed out to reveal watching the show at the end of episode 1 belong to Darcy.

At this point, SWORD starts putting together a wall and whiteboard of their information, and it’s really fun to see them asking all the same questions we as an audience are. Why hexagonal shape? I take it this means the border is hexagonal, not that we’d know that as an audience. Why sitcoms? I know the answer, but only because I watched episode 8 already. Same time and space? and, of course, Is Vision alive?

It’s really fun knowing the answers.

Jimmy and Darcy watch Monica as Geraldine, and question whether she’s playing along or if she’s oblivious. With some science-y Darcy stuff, we also see that the voice in the radio in episode 2 was Jimmy, but we see the episode glitched itself out of that situation, like what SWORD is calling the ‘Westview anomaly’ is righting itself when they interfere.

As they watch Wanda give birth, they expect the anomaly to break, as all the other people are real people brainwashed, but then the babies are born, indicating Wanda has some kind of creational power (foreshadowing). Geraldine mentions Ultron, and as Wanda tells her to leave, the episode again glitches to the credits, not quite as we saw in the actual episode.

It then cuts back to that scene in episode 3, but not through the old TV as Jimmy and Darcy are watching. I didn’t notice whether or not it did this in episode 3, but the aspect ratio has increased, more to that typical of a modern show, in contrast to the smaller ones of the early sitcoms. And we watch Wanda threaten Geraldine with her magic, glowing red as it should--the event episode 3 emitted, instead giving us Vision’s perspective. Wanda tells Geraldine to leave, and blasts her through the walls of the house, and straight out of Westview, hence the end clip of episode 3. Wanda repairs the wall just before Vision returns home.

Something curious though--we know when SWORD sends things, including people, into it, they transform to fit the style, like the drone becoming a helicopter, the man becoming a beekeeper and Monica’s style changing to fit the decade, but when Monica comes out of Westview, she still looks like she did in the 70s episode.

Cut back to Wanda inside Westview, and she sees Vision walking, but apparently dead; skin-tissue-stuff pale, eyes blank and a hole in his head where Thanos took the mind stone, but he acts normal. Then Wanda sees him again looking normal. Vision tells her they don’t have to stay here if they don’t want to, and Wanda replies that they can’t; that this is their home--’Oh, don’t worry darling. I have everything under control.’ Which affirms Geraldine’s claim at the end of episode 3, that it’s all Wanda. (I’m going to refer to her as Geraldine when talking about episodes 1-3 and Monica when talking about 4-9, even though it’s the same character.)

Wanda and Vision sit down to watch TV and the credits begin, though Vision seems a little apprehensive.

And we finally have some answers about what the hell has been happening in Westview, and the vaguest idea how it fits into the MCU timeline as a whole.

Episode Five: ‘On a Very Special Episode...’ This episode was released on February 5th, with a runtime of 41 minutes, longer than any of its predecessors but still not exceptionally long. This is likely so it can follow the 1980s sitcom format with the inclusion of the SWORD parts. Note at this point, when the decade shifts, it occurs as something goes wrong: we shift to the 1960s when Mr and Mrs Hart question Wanda and Vision about how they came to Westview; we shift to the 1970s when they see the beekeeper, and we shift to the 1980s as Wanda forces Monica out of Westview.

So, we have the recap; nothing particularly noteworthy about it or its focus.

Shit, I just realised Tony’s snap at the end of Avengers: Endgame is now part of the Marvel logo sequence. Ouch.

Music plays, and we open to Tommy crying in a 1980s-style house. This episode is mostly formatted off Full House, in which Elizabeth Olsen’s elder sisters, identical twins Ashley and Mary-Kate Olsen, played the youngest daughter, Michelle Tanner. Unrelated to the plot, but a fun aspect.

Billy and Tommy won’t stop crying, so Wanda tries to force them to sleep with her powers, but it doesn’t work, and we still don’t see the red sparks, but, again, that’s an 80s-style special effects thing. Also, aspect ratio in this episode: a little larger than in episodes 1-3, but not quite episode 4′s. Funny thing here is that episodes 1-3 were shot and edited in such a way the episodes registered on Disney+ as having a larger ratio, giving a black border around the frame on the screen, but it doesn’t have that in this episode. Just a technical thing I’m not sure of the cause of, though in retrospect may simply be to convey the size of TV screens in the eras.

Also, can we take a moment to appreciate Wanda’s curly hair and floral waistcoat in this episode?

Agnes shows up to help them with the babies, to which Vision is apprehensive, and after a moment, she says to Wanda: ‘Do you want me to take that again?’ as though they’re following a script. This continues, Agnes asks if they should take it from the top, which confuses Vision, but Wanda just laughs it off. This is interesting, because the only other person we’ve yet seen break character is Geraldine, who entered the anomaly after its initial formation. Then Agnes shifts back into character, and the laugh track picks up again.

Vision questions Agnes’s comments aside with Wanda, but Wanda brushes it off, and acts as though nothing happened, and his suspicion only grows.

Then suddenly the twins are about... five? I’d say five. I don’t know. As Wanda and Vision realise this, Agnes says, ‘Kids. You can’t control ‘em. No matter how hard you try.’ There’s a running theme of children in this show--obviously the children themselves, ‘for the children’ in episode 2, and Mrs Hart’s questioning of when they were going to have children in episode 1. This semantic field fed theories that Wanda was literally doing this ‘for the children’, and this comment from Agnes could suggest the children will be the downfall of the anomaly--Wanda brainwashes the adults, but not the children.

The introduction to this episode is really cute. It has a mellow pop song playing over the top, and the 80s thing of using old photos of the characters; they’ve used actual photos of Elizabeth Olsen and the actors playing the twins, and mildly horrifying photoshopped versions of Paul Bettany as a child, but made into Vision. These photos of Vision were leaked before this episode came out, and it’s just hilarious to me because Vision was born an adult. And, assuming WandaVision takes place in 2024, after Avengers: Endgame and Spider-Man: Far From Home, Vision is literally nine years old as it takes place.

There generally isn’t much to pick apart in the theme songs themselves, but the general idea of this one is ‘we’re making it up as we go along,’ which could be an interesting insight into Wanda’s state of mind--we’ve somewhat villainised her up to this point, creating the anomaly and controlling people, but the stance should be taken that she just doesn’t know what she’s doing, and is trying her best, selfish as her goals may be.

Cut to Hayward questioning Monica about her memories, and she describes a hopeless feeling--grief--controlling her--Wanda’s grief at the loss of Vision in the fight against Thanos. They take some kind of scan of Monica’s body and draw blood, but have to redo them because the results came out blank--foreshadowing.

Hayward describes Wanda as ‘the principal victimiser’ instead of one of the victims of whatever was happening in Westview, jumping straight to villainous conclusions.

A point here: in a recap of the ‘subjects’, Jimmy Woo states Wanda was born in 1989, which is actually a change to canon, because in the events of Avengers: Age of Ultron, set in 2015, she was 16, born in 1999. Questionable. Still not sure why they did this, but this makes her 29 in WandaVision, excluding the years of the Blip, where she would otherwise be only 19.

Hayward asks Jimmy if Wanda has an alias--in the comics, Wanda Maximoff is Scarlet Witch, but this alias has not yet been stated in the MCU--foreshadowing. Hayward focuses on her failures, such as working against the Avengers upon her introduction and the destruction she caused in Nigeria at the beginning of Captain America: Civil War. He then calls Wanda a terrorist based on how Monica described her experience in Westview.

Hayward then reveals to us footage of Wanda entering the SWORD headquarters where Vision’s body was kept, and shattering glass to access it, broken into pieces, as though to steal it, which Jimmy doesn’t believe because it’s a violation of the Sokovia Accords, and Darcy wonders what will happen when Vision learns the truth.

Wanda comes into the kitchen to find Tommy and Billy with a dog they found and want to keep. Wanda is apprehensive about letting them keep him, Agnes shows up with a dog house, and Wanda decides to create a dog collar, right in front of Agnes. Vision calls her out on this, and she says she’s ‘tired of hiding’. They name the dog Sparky, then Wanda sides with Vision that the twins aren’t old enough to care for him until they’re ten years old, to which they just age themselves up again. Agnes jokes that the dog should stay the same size, but still doesn’t question the magic.

A note here: Wanda skips decades when things don’t go her way, and the twins skip ages--Wanda is in control of the things around her, but not herself, as they are in control of themselves.

Meanwhile, Monica tries to figure out how she could re-enter Westview, and Darcy starts to call the anomaly the Hex because of its hexagonal shape. And they discuss that Wanda must be wielding ‘an insane amount of power’ to maintain the Hex and the twins, beyond anything she’s ever displayed before. Monica mentions she could’ve taken down Thanos on her own if he hadn’t used the infinity stones, and Jimmy mentions he thinks Captain Marvel came close, to which Monica stiffens, and dismisses the conversation about her--something has clearly happened between Monica and Carol since the events of Captain Marvel.

They go a lab to run an analysis on the 70s clothes Monica wore when she came out of the Hex, and discover they’re bulletproof, like the vest she wore when she entered, and they establish Wanda isn’t creating anything, but is rewriting reality.

Vision goes to work, where he helps his co-worker Norm with his computer, and they get an email from SWORD about Westview, mentioning Darcy and radiation. Everyone in the office reads it out with Norm, but they laugh at it, while Vision is suspicious. He turns off the computer with his powers, then does the same zap-thing to Norm, who suddenly comes back to his regular consciousness, outside of Wanda’s control, and begs for help. He tells Vision he has to stop ‘her’, that ‘she’s in [his] head’. Vision zaps him again, and he goes back into sitcom-brain.

Wanda tells the twins Vision went to work, which they question because it’s Saturday. Wanda tells them he just needed a distraction because they weren’t ‘on the same page’. She talks about family, and tells them that her on brother is far away.

Sparky the dog barks at something outside, and we cut to a drone’s view. Monica has sent in an 80s drone, something the Hex wouldn’t need to rewrite, and we see that’s what Sparky barked at. Monica tries to speak to Wanda, and through the drone’s view, but not the broadcast’s, her eyes turn red, and Hayward orders an operator to ‘take the shot’, though Monica didn’t know it was armed. They take the shot and the drone’s camera cuts out. Alarms blare, and a worker claims ‘there’s a breach.’

We go outside to the border, and Wanda exits the Hex, wearing what she wore in the climax of the Infinity Saga, dragging the drone behind her. This is confusing to watch back, because I know in retrospect she wore civilian clothes when the Hex was created, and was left in them when it was destroyed. Shooters aim their guns at her, and she throws the drone to Hayward’s feet. As she talks, what she had elft of her accent in Avengers: Infinity War has returned. She tells them to ‘stay out of [her] home,’ that ‘if [they] don’t bother [her], [she], won’t bother [them].’ Monica talks to her, and she prepares her magic. Monica asks what she wants, and she replies ‘[she has] what [she wants]. And no-one will ever take it from [her] again.’

And ‘for the children’ clicks--Wanda clearly created the Hex to have a life and a family with Vision. Wanda uses her magic to turn the guns onto Hayward, but they don’t shoot as she returns to the Hex.

This scene is important, because it shows us for certain that Wanda is aware of what she is doing, and shows for certain that she is in control, where before we had substantial evidence, but nothing this undeniable.

And cue this episode’s advert, for Lagos Brand paper towels--’For when you make a mess you didn’t mean to.’ This is a reference to an event at the beginning of Captain America: Civil War, in which Wanda accidentally killed twenty-six civilians in Lagos, Nigeria.

We cut back to the Hex, where Sparky has disappeared. They cross paths with a mailman, who says ‘Your Mom won’t let him get far,’ another subconscious reference of one of Wanda’s cast to her control. They find the dog dead in Agnes’s yard, who says he ate her azaleas, which poisoned him. The twins are upset, but Wanda stops them aging up, and gives them a lecture about grief. One of the twins tells her she can ‘fix the dead,’ which Agnes does question. This is a reference to her apparent resurrection of Vision, but Wanda tells them death is inevitable and forever; blatant hypocrisy.

Later, Vision asks Wanda how the boys are, and Wanda says ‘life moves pretty fast out in the suburbs’, a reference to the show’s time-jumping. Vision tells Wanda of his conversation with Norm, and tells her he was in pain. Vision says ‘You can’t control me the way you do them,’ to which Wanda replies, ‘Can’t I?’ and the credits roll, but sitcom-style credits, not the WandaVision credits.

Wanda tries to leave, and Vision asks about the ‘Maximoff Anomaly’, but she feigns ignorance. He accuses her of controlling the town, the credits stop, and they rise into the air with their powers. Wanda says she did it for both of them, Vision asks what’s outside of Westview, but she doesn’t answer. Vision says he can’t remember his life before Westview, but Wanda reassures him that he is her husband and a father; he asks why there are no other children in Westview, which she again dismisses. Wanda exaggerates the insanity of what he thinks--gaslighting--and says she doesn’t know how it started in the first place.

The doorbell rings, which she says she didn’t do, and Wanda opens the door to Pietro Maximoff, the brother who she claimed was ‘far away’, but we know to be dead. Except it isn’t Aaron Taylor Johnson’s Pietro, from Avengers: Age of Ultron, and it’s not just a recast. He’s played by Evan Peters, who plays the version of Quicksilver in the X-Men movies, which is clearly intentional.

This led to speculation about the opening of the multiverse, and even though WandaVision doesn’t directly go that route, Wanda’s next appearance is going to be in Doctor Strange in the Multiverse of Madness.

This episode was an excellent one, and we’ve truly begun to build towards the climax.

Episode Six: ‘All-New Halloween Spooktacular!’ Released February 12th, this episode has a still-leaving-a-lot-to-be-desired 37 minute runtime, and is one of the ones primarily featured in the trailers, which showed Wanda and Vision dressed in mock-up costumes of their character design in the comic books, which is especially exciting for Wanda, because, not only has she not yet been officially called ‘Scarlet Witch’, she also hasn’t had an official costume, with most of her other outfits in a darker red, but not the comic Scarlet Witch.

Recap of the relevant information, roll the Marvel logo, and this episode opens with a fast-paced theme song, which shows Wanda for the first time with the red effects of her magic in the Hex through the sitcom camera. This song mentions ‘illusion’ again and again, then moves into a rather elongated verse of repeating ‘let’s keep it going’, implying Wanda is now simply trying to extend the time she has with her family.

The twins introduce the episode in that 1990s break-the-fourth-wall style, they play with Pietro, and Wanda comes downstairs in her costume, claiming to be a Sokovian fortune teller. Pietro says it’s ‘worse than the costumes Mom made us the year we got typhus,’ and we cut to a really brief flashback of Wanda and Pietro trick-or-treating; Wanda has her hair in a braid and Pietro has an eyepatch, which some thought might just be an Easter egg of the two dressing as Black Widow and Nick Fury, but looking at it now, it seems more incidental.

Vision then comes downstairs in his costume, and says he’s only wearing it because Wanda took all his other clothes out of his closet, and that it’s a Mexican wrestler. He tries to leave for the neighbourhood watch, to which Wanda starts, ‘No, that’s not what you’re supposed to--’ as though she’s beginning to lose control over the Hex. Pietro dresses in a mock-Quicksilver costume, and dresses Tommy in something similar, referencing that Tommy, in the comics, also has superspeed.

Wanda tries to test Pietro on a memory of their childhood, which he calls her out on, and she asks why he looks different, but he says ‘you tell me’, again implying this is her doing. Wanda talks to Herb, one of the neighbours and a member of the watch, who tells her Vision isn’t on duty.

Cut to Vision near the edge of town, and he sees people in their yard repeating the same motions over and over, as if Wanda has less control over the outskirts of town.

Cut to this episode’s commercial: this one is animated, of a boy of a deserted island, and a shark jumps out of the water, and gives him a ‘Yo-Magic’ yoghurt to eat, which the boy takes, but is too weak to open. Time passes, and we watch him starve--’Yo-Magic! The snack for survivors!’ This could be referring to Wanda’s inability to save the people around her with her magic--she couldn’t save HYDRA’s other test subjects, then she couldn’t save Pietro, then Vision.

Wanda asks Pietro what happened to his accent, and he asks her the same question, then tells her his memories are fuzzy. Tommy then goes to get candy, and reveals his superspeed powers. He and Billy then go off with a promise not to ‘go past Ellis Avenue.’

Darcy, Jimmy and Monica hack into Hayward’s data, and discover he figured out a way through the boundary, and that he’s tracking Vision and the people in his vicinity. They notice the people at the edge of town are hardly moving. Cut to Vision, who realises the people even further out are completely stagnant. He then morphs from his human costume to his typical Vision-self, flies upward and observes the town, noticing a car at the edge, which he flies down to.

We see Agnes in the car, dressed as a witch and still, but not unresponsive like the others. She tells him she got lost--’In the town you grew up in?--and he zaps her the way he did Norm in the last episode. She recognises him as Vision, an Avenger, but he doesn’t know what an Avenger is. She tells him he’s dead, and explains Wanda’s control, then laughs manically until Vision zaps her again, and she once again becomes the Nosy Neighbour, then turns the car and drives away. We zoom out to the street sign: Ellis Avenue.

Darcy sees Monica’s bloodwork in Hayward’s files, and tells Monica she can’t go back into the Hex as she wishes, because she’s already been through the boundary twice, and had her cells rewritten molecularly--Ms Marvel!! But Monica dismisses it, and tells Darcy she won’t stop until she helps Wanda.

Pietro accuses Wanda laughingly of only avoiding traumatising the town’s children by only bringing them out for a holiday cameo, but praises her, because ‘Families and couples stay together, most personalities aren’t far off from what’s underneath, people got better jobs, better haircuts, for sure,’ and tells her he’s impressed, but asks how she did it, which she doesn’t answer, then tells him she doesn’t know how she did it. She just remembers loneliness, and numbness.

She then looks back to Pietro, and sees him with bullet wounds in his chest; dead the way she saw Vision in episode 4, but she blinks it away.

Darcy watches Hayward’s tracking of Vision, and he approaches the barrier, sees it in all its television glory. Then he pushes through. He strains to make it through, and SWORD agents pull up on the other side. He nearly makes it, cape all that’s left, but it clearly painful, and he falls to the ground. Chunks of him tear off and fly back through the barrier. Meanwhile, Billy realises something is wrong with an echo of Wanda’s power, hearing Vision’s yells, and runs to Wanda.

Hayward handcuffs Darcy to stop her trying to get him to help Vision as he comes apart. Wanda asks Billy where Vision is, to which Pietro says, ‘Hey, don’t sweat it, sis. It’s not like your dead husband can die twice.’ Her eyes turn red and she sends him flying into a haystack. Billy focuses, and sees the SWORD soldiers, says he thinks Vision’s dying, and Wanda freezes everything around her, then sends out a blast of power.

Outside, the boundary of the Hex moves, expanding, and the SWORD agents panic to get away as Vision is re-encapsulated, but Darcy is handcuffed, and t passes over her. The SWORD camp turns into a circus, but Hayward, Monica and Jimmy get away--slightly wondering why Monica tried to when she was trying to get back in.

And the episode ends there. I don’t really have much of a conclusion to this episode--in truth, not too much actually happened aside from Pietro and the twins, but we are so building to the climax. This is also actually furthered by the absence of a laugh track in this episode, though this is also due to the fact they became less common.

And that summarises my breakdown of episodes 4-6. Part 3, with episodes 7-9, will come next week!

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katahnisharma · 5 years

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AND NOW A GOOD OLD MUTUAL APPRECIATION PART BC ILY GUYS

you guys are the best and sweetest people on here, and even if we’ve never talked or haven’t talked in a while, I love you all and wanna shout you out ☀️

@spiderboytotherescue @keepmeholland @kindparker @hollanderheart@loverholland @bvcks @marvellousparkerpeter @pparkerwrites@plushparker @sunsetspidey @pvterpvrker @thotsterfield@peterporkerpete @peterrparkers @parkerpuffwrites @afterglowparker@chalknpolish @fanficparker @gennndry @highroadsteve @retroparkers@hollandsosterfield @peterplanet @natasharomanovs @neverlandparker@peterstrainingwheels @peggycaerter @summernykole @tomhollandeu@hey-its-grey @chinupdarling @h-osterfield @underoos-shield@stuckonspidey @tomshufflepuff @redhoodparker @okaytcny @cosmicdaya@jacobsbatalon @sweetenshawn @hollandsbaby @loverparker @spidey-webbs @mandatheredpanda @sun-flowerparker @mcuspidey@peterparkerscamera @paradoxparker @gab-spidey @spidermanholland@aw-hawkeye @spideypeach @highkey-holland @girlinthe-chair @quaxon-holland @spxderbarnes @stealth-spiderr @hazownsmyass @cutesparker@parkerpetre @hazsterfield @uglypastels @galaxy-parker @nnatasha@screamholland @stephie-senpai @sweethosterfield @spiderman-n@quxntumvandyne @hedwigthelegend @milesgmorales @spdys@bringmethehorizonandpizza @softscottlang @gigglyparker @bucktonys@hollanderwritings @bi-writes @rachramblesstuff @hollandandi @natalia-rushman @parkerstan @lovelyosterfield @lovelyh0lland @thepenisparker@tomhollanders2013 @printedpeterparker @parkeret @kenocbi@saintlavrents @andwhatdostarsdobest @tonystark-mcu @hollandlovely@nobledoritoman @zndcya @marvelous-maddi @starksparker@starsholland @celestialparker @peterparklr @rvmanova @toms-gf@darlingtholland @peachyhollands @sunshinehollandd@sunshineandparker @peachy-plant-p0ts @quitetommy @lilyholland@stormyholland @stardustparker @spideyflicker @hollandroos @ppaarker @nasa-parker @emistrash @stardustpadme @beautiful-holland @underoossss @underoosstark @jupiterparker @spidcyson @spidermanfarfromhcme @stormyparker @penisprkr @spiderboythomas @thwiparkers @thwippeter @toms-order @petersbenjamin @christhayley @blissfulparker @spideykisses @lokiislowkeyhot @grandmascottlang @peeterparkr @darlintom @curlytoms @reysky-walker @cutiehollands @slightlyalwaysconfused @starkravingparker AND EVERYONE I MAY HAVE FORGOTTEN TO TAG THERE ARE SO MANY OF YOU BUT ILY ALL SOOOO MUCH

AND NOW FOR THE LAST PART…….

To my BFF Aub @tommyparkerr,

Oh my god, what would I do without you?? I literally can’t even remember when we met because it feels like we’ve known each other for a lifetime. You are always there for me, in good times and bad, always ready to talk even though you’re super busy. You beta all my writing, even when you’re sick, and give me the best feedback ever. You’re so kind, generous, smart, and beautiful inside out. I wish I could have come to see you this summer, but everything just got in the way cry cry. But I could never see you and still feel like we’re together in spirit, you’re just that amazing! So here’s to almost two years of friendship, I’m so lucky to have you and definitely don’t deserve you. God gave me a good one, so I know I must be doing something right. You’re going to do great things and I can’t wait to watch <3

I LOVE YOU LIKE SO MUCH LIKE 3247 BILLION TIMES OVER

Soph, your twin for life

okay now I’m done haha love you all and thank you for 2k!!!

#tom holland #tom holland x reader #sophs2k celebration

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petcerparker · 6 years

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ft. a super lame banner!

WHAT UP Y’ALL, IT’S YA GIRL, AND SHE HIT 1K

this is actually insane, i can’t believe all of you think i’m worthy enough to have such an huge amount of followers?? it doesn’t feel real. thank you all sososososo much!! anyway i wanted to do a lil celebration to show you all how much i love and appreciate you so here goes!!

r u l e s :

mbf this peter parker stan

reblog this post

blacklist #caseys1k if you don’t want to see these!

please be patient

optional: maybe join my fandom family?

send me an ask with 1-2 of the following:

☀︎ + your favorite season and why for a blograte

☾ + your favorite mcu scene/moment for a marvel aesthetic

♛ + something that makes you happy for a disney aesthetic

♡ + something on your bucket list for a detailed blograte

☆ + a description of yourself for a personal moodboard

(( please do not send a moodboard and detailed blograte together! choose one and something else if you’d like two things. thank you! ))

formats are under the cut!

blograte url: 6 | 7 | 8 | 9 | 10 | peter parker icon: 6 | 7 | 8 | 9 | 10 | tony stark theme: 6 | 7 | 8 | 9 | 10 | thor mobile theme: 6 | 7 | 8 | 9 | 10 | shuri posts: 6 | 7 | 8 | 9 | 10 | peter quill overall: 6 | 7 | 8 | 9 | 10 | gamora following: no but i adore you ♡ | now! | till the end of the line

personal moodboard example casey

#i still can't believe this happened #and i'm close to 1.1k now!#i n s a n e #thank y'all so much #caseys1k

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aion-rsa · 3 years

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Scarlett Johansson Sues Disney Over Black Widow

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And just like that the blockbuster streaming era got a lot more complicated.

Black Widow star and longtime Marvel Cinematic Universe actress Scarlett Johansson filed a lawsuit against Disney on Thursday in Los Angeles Superior Court. The claim alleges that her contract was breached when Disney released Black Widow on Disney+ in addition to its theatrical release.

According to Johansson’s representation, her contract guaranteed an exclusive theatrical release for Black Widow, which would be advantageous to the star given that she was set to receive a certain percentage of the film’s theatrical gross. The suit argues that by making the film available on Disney+, Disney was cutting her out of that opportunity.

“Disney intentionally induced Marvel’s breach of the agreement, without justification, in order to prevent Ms. Johansson from realizing the full benefit of her bargain with Marvel,” the suit reads, in part.

Black Widow is the first Marvel film to receive a simultaneous streaming and theatrical release. The Natasha Romanoff-centered movie was first slated for a May 1, 2020 debut before being delayed to July 9, 2021 due to the coronavirus pandemic. The film’s availability in two different mediums combined with lingering COVID-19 concerns in North America did seem to have an appreciable effect on its box office performance.

While Black Widow opened to a pandemic era record $80 million during its first weekend of release, it quickly sank in its second, dropping a staggering 70%. As of now, it appears to be in line to match the grosses of early Marvel films like Captain America: The First Avenger and Thor rather than the studio’s more recent hits like Spider-Man: Far From Home.

As far as streaming numbers go, most data is provided by the streamer or studios themselves and should therefore be taken with a grain of salt. But per Disney, the film earned around $60 million in Disney+ “Premier Access” purchases. If Johansson’s contract didn’t factor in streaming income, then that is indeed a big chunk of money to miss out on. In fact, a source close to Johansson reportedly told the Wall Street Journal that Disney’s decision to launch the film on streaming cost Johansson more than $50 million. The complaint indicates that Johansson’s representatives reached out to Disney to amend the contract after learning of the dual release strategy, but received no response.

This lawsuit is the first bit of major litigation to arise from studio’s dipping their toes into the streaming waters but it almost certainly won’t be the last. The pandemic hastened a move to dual releases on streaming that was likely on its way anyway. Some studios, however, seem a bit better prepared than others. When WarnerMedia (at the time owned by AT&T, now on its way to combining with Discovery, Inc.) announced its intentions to release Warner Bros. entire 2021 slate of movies on streaming service HBO Max, they re-negotiated deals with its actors to cut them in on the new stream of income. Ultimately, WarnerMedia paid more than $200 million to talent as part of the new deals. While Disney didn’t endeavor to do the same is anyone’s guess.

Currently Disney does not have plans to release future Marvel Phase 4 films on Disney+ at the same time as theatrical. September 3’s Shang-Chi and the Legend of the Ten Rings is slated for 45-day exclusive theatrical access. By the time Eternals rolls around on November 5, however, the Marvel Studios may have to face the decision to launch on Disney+ again if infection rates continue to rise.

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As for Scarlett Johansson’s relationship with the MCU – this is likely the bitter conclusion to it. The actress has been a major part of Marvel’s Avengers team since Iron Man 2 in 2010. Though Natasha Romanoff died in 2019’s Avengers: Endgame, the character was able to return just two films later as part of a prequel. The events of Disney+ series Loki also introduced the multiversal possibilities of Marvel character variants, so no actor is ever truly ruled out for a future film. Until now probably…depending on how the Mouse Empire feels about being sued.

The post Scarlett Johansson Sues Disney Over Black Widow appeared first on Den of Geek.

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biofunmy · 5 years

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‘Avengers: Endgame’ is a thank-you to those who believed in the storytelling power of Marvel Studios

“Avengers: Endgame” is a momentous achievement and a superhero cinema event like no other.

It’s the exclamation point placed at the end of a standard-setting decade of dominance at the box office from Marvel Studios. And it’s an action-packed and emotionally charged thank-you to the fans who have made the Marvel Cinematic Universe the unstoppable force that it is today.

While it seems like everybody is going to see “Endgame” based on pre-sale ticket numbers, not everyone will appreciate the eye-popping comic-book nods, which are so geeky that not even your younger Wizard magazine-reading self would believe it.

Those surprises might fly over the heads of film critics who secretly yearn for the superhero era of movies to end (it’s not going to, by the way), but the moviegoers who screamed when Thanos appeared in a post-credits scene in the first “Avengers” movie in 2012 will shake their heads in joyous disbelief.

[Everything that’s happened leading up to ‘Avengers: Endgame’]

Those moments, so many of them taken straight from the pages of the comic books that Marvel Studios President Kevin Feige has made a mission to respect, serve as winks to an audience that gets it.

Those that get it, of course, are the fans the late, great Stan Lee always referred to as “true believers.” The ones who always had faith in the storytelling prowess of Marvel Comics. Those who knew the Marvel movie brand was on the cusp of something special in 2008 with “Iron Man.” This is for the fans who were invested in multiple superhero movie franchises and rooted for an all-star cinematic team-up — something that had never been done before, and Marvel Studios made look easy 21 times in a row.

Director-brothers Joe and Anthony Russo use a three-hour run time to give every original Avenger their due. Though half the movie is deeply somber, it gives way to a final act worthy of the hype.

Robert Downey Jr. gives an all-time performance as Iron Man, the role he was born to play, and Chris Evans provides the hope and humanity that we’ve come to expect from him as Captain America. These two are proof that Marvel Studios has continuously hit the bull’s eye when it comes to casting its superheroes (Terrence Howard and Edward Norton aside).

[Going to see ‘Avengers: Endgame’? Here are the 5 must-watch movies to binge beforehand.]

Scarlett Johansson’s Black Widow, who should have been the first Marvel Studios heroine to lead her own solo movie franchise, spends much of “Endgame” trying to keep the idea of the Avengers alive post-Thanos. Mark Ruffalo gives his best Bruce Banner performance — even better than “Thor: Ragnarok” — and will make you forget there were two other actors (Eric Bana and Norton) who were once the Incredible Hulk. Chris Hemsworth may go down as the funniest Avenger ever (eat your heart out, Paul Rudd/Ant-Man). Even Hawkeye (Jeremy Renner) makes up for that lackluster brainwashing performance in the first “Avengers” film.

But for all the praise, there’s still plenty of pain, as well.

The stakes are the highest they’ve been in an MCU movie, with a cloudy feeling of permanence hovering over “Endgame” that wasn’t there in last year’s “Infinity War.” We knew this film would involve the Avengers trying to fix what Thanos took from them in the last movie — namely, half the universe. But at what price?

“Endgame” is a roller coaster of fandom emotions that are hard to have a full handle on until the credits begin to roll. The realization that you’ve just seen Marvel Studios arrive at the end of its first Avengers saga, a bold and ambitious master plan that began with “Iron Man,” is just as overwhelming as the movie itself.

Is “Endgame” perfect? No. The best “Avengers” movie? Yes. By a lot. The No. 1 MCU movie of all-time? I remain loyal to “Captain America: The Winter Soldier,” also directed by the Russo brothers and probably the reason (along with “Captain America: Civil War”) they were given the keys to the Avengers mansion. But the final moments in “Endgame” are so stunning you could say it’s no less than 1A — though a Darkhawk or New Warriors movie in the MCU’s upcoming fourth “phase” could have me readdress those rankings.

You’ll laugh. You’ll cry. The glory of this movie is that it will make you believe that this is just the beginning for Marvel Studios, even though it is so clearly the end of something special.

3 actors who played Iron Man’s dad, 2 Captain America sidekicks and $18.6 billion at the box office: Marvel by the numbers

Which major characters are most likely to die in ‘Avengers: Endgame’?

Sahred From Source link Entertainment

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the-connection · 6 years

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The mama of three is espousing a vegan lifestyle - again.( AP)

Beyonce has officially bid farewell to animal byproducts, and hello to a planet-based nutrition. On March 2, the 22 -time Grammy winner announced that she’s extending vegan by sharing a photo of an aesthetic, vegetable-topped avocado toast to Instagram.

“4 4 daytimes until Coachella !! Vegan Time !! ” the sun wrote, subsequently sharing photographs of herself jamming with backup dancers with the same caption. Set to headline at Coachella in April, the 36 -year-old mother of three will have strict rules to follow if she’s serious about hugging the diet philosophy.

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44 eras until Coachella !! Vegan Time !! Click the link in my bio to connect me!

A post shared by Beyonce (@ beyonce) on Mar 2, 2018 at 3:47 pm PST

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“A vegan diet concentrated on plant-based foods and beverages and eliminates all animal products. While vegetarians still deplete dairy and eggs, vegans remove any and all animal byproducts, or meat that involve animals in their processing process, ” Greatist reports. “Meat, poultry, fish, and dairy are taken off the plate and replaced with veggies, fruits, nuts, seeds, and grains.”

For the record, this isn’t the first time that Queen B has cuddled veganism. As Business Insider and The New York Times, the musician has dipped with the diet in both 2013 and 2015. During those stages, Business Insider shared that Beyonce enjoyed savory preferences like smoothies, chia pudding and oatmeal for breakfast, avocado salads and lentil curry for lunch, with zucchini noodles, quinoa meals, and pitch-black nut burgers for dinner.

RTAG 10 TTBTAG 3 TTFISHERMEN PROMOTING 'NIGHTMARE' MONKFISH AS AFFORDABLE SEAFOOD DTAG 9 TT BTAG 4 TTDTAG 10 TT DTAG 11 TT DTAG 12 TT RTAG 11 TT 44 daylights until Coachella !! Vegan Time !! Click the link in my bio to affiliate me! RTAG 12 TTA post shared by Beyonce (@ beyonce) on Mar 2, 2018 at 3:50 pm PST RTAG 13 TT“I am not naturally the thinnest maid, ” Bey said on Good Morning Americain 2015, while promoting vegan meal-delivery assistance 22 Era Nutrition, which she co-created with partner Jay-Z and fame manager Marco Borges. “I have curves, I am proud of my curves, and I have struggled since a young age with nutritions. And detecting something that actually use and actually keeps the heavines off has been difficult for me.” RTAG 14 TT"The ATAG 11 TTbenefits of a plant-based diet need to be known, " she told the Times that same time. "We should spend more age desiring ourselves, which makes taking better care of ourselves with good nutrition and realise healthier meat choices." RTAG 15 TTThe media mogul must be equal portions excited and serious about her recent turmoil to veganism, as she generally doesn’t berth about food on social media. As of late, her Instagram feed has been inundated with solo images of her, seeming fashionable as ever. DTAG 13 TT RTAG 16 TTJanine Puhak is an editor for Fox News Lifestyle. Follow her on Quaver at ATAG 12 TT @JaninePuhak DTAG 14 TT ATAG 13 TTDTAG 15 TT DTAG 16 TT DTAG 17 TTDTAG 18 TT DTAG 19 TT

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There's a moment in Black Panther where Angela Bassett removes her headdress discovering grey terrifyings and I choked. The Queen mother of Wakanda inspected not only regal and potent, but she also looked like the status of women I'd always envisaged Storm would grow into--a true-life depiction of the Marvel Comics' condition maven who has led the X-Men and settled Wakanda alongside her once-husband T'Challa.

Maybe Hollywood was never absolutely "re ready for" Storm until Black Panther . A white-hot wig slammed on Halle Berry and dialogue like," Do you know what happens to a toad when it's been hit by lightning ?" was never going to shake the earth. An attempt to reboot Storm in X-Men: Apocalypse was similarly bankrupt, despite Alexandra Shipp's likability, as the character just had any strings. Each "ve been trying to" fetch arguably Marvel Comics' most popular female courage to the big screen has been one adversity after another.

Sure, we could've had an evoking Storm movie suggestive of the phenomenal Blade franchise--particularly Blade II , is administered by Guillermo del Toro, who imparted the same kind of visual knack and magnitude of storytelling that Marvel has displayed in movies like Winter Soldier , Black Panther , and Thor: Ragnarok .

As huge as some of the earlier X-Men films could be, looking back on them now, the latter are woefully inadequate in their medication of Storm. Bryan Singer's cinemas never seemed able to explore social commentary beyond the tenuous" has become a mutant is like being gay" analogy he continued to double down on, and do we really believe that Fox was going to hire a pitch-black dame to mold Storm as she truly deserves to be? Back in the 2000 s? None of its most important movie franchises, from Marvel to DC to Lucasfilm, have managed to do that now...and it's 2018. When Ava DuVernay's A Wrinkle in Time is still a first, you know that service industries has been ill-equipped to handle a goddess like Storm. God forbid we end up with another iteration of Berry's horrific Catwoman film.

The creator Storm deserves in her entry movie should care as much about her African-American identity as they do her mutant capabilities. Ryan Coogler's Black Panther feels like a disclosure because it's not Hollywood's usual depiction of black people--it depicts pitch-black Americans, pitch-black Africans, black people of different surface feelings, black people who are heroes and rogues and papas and the women and fans and soldiers. It is a film interested in the the identity cards of African-Americans, what separates black Americans from pitch-black Africans, and what also raises us together. Storm is the daughter of N'Dare, a Kenyan tribal princess, and David Munroe, an American photographer. Many of the topics brought up during the conflict between T'Challa and Killmonger would have to be revisited in a Storm film.

Meanwhile, we've yet to have a Storm film announced, while cinemas for Captain Marvel and Black Widow and Kitty Pryde march on, but with the secrete of Black Panther it's not merely necessary for Marvel to greenlight a Storm film, it would be insane for them not to. Black Panther has become a global phenomenon at this point, and the cinema exhibits such beautiful, nuanced shows of pitch-black maidens that it would be daunting to appreciate those pitch-black maidens relegated to the sidelines of the Marvel Cinematic Universe.

To be fair, the Fox-Disney uniting has not been able to closed, and it seems like if Marvel were to make a Storm film, it would be a Disney enterprise. No one wants Storm hanging out in whatever current state the X-Men movies are in right now. She deserves to move the African continent with her brothers and sisters in Black Panther . She deserves to prove that she is capable of extending a crew in an Avengers film. She deserves the care that Kevin Feige has shown to movies like Thor: Ragnarok and Black Panther by making leads Taika Waititi and Ryan Coogler gave every ounce of their souls and culture into their film projects, despite them being part of a sprawling franchise.

Storm deserves the best. The all those people who tried to give us to her before weren't ready for her greatness, but her future examines bright.

Read more: http :// www.thedailybeast.com

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