This March, ask yourself the question: If you were a teen superhuman and all the adult heroes failed you when you were kidnapped and tortured, would you switch sides and break bad? Marvel is pleased to present your first look at AVENGERS UNDERCOVER #1 from Harvey Award winning writer Dennis Hopeless and critically acclaimed artist Kev Walker!
Damaged, broken, and forever changed by their experiences in Murder World, five conflicted young superhumans are out to prove to the world they can still be heroes. Now, Bloodstone, Hazmat, Deathlocket, Cammi, Anachronism, Chase, and Nico are going rogue and heading deep undercover with the Masters of Evil. And they’re going to take them down from the inside!
But the longer these teens spend undercover, the deeper they descend into darkness. And the line between good and evil blurs. Before it’s all over – a new super villain will be born!
“In many super hero comics, the series jumps from adventure to adventure, never taking the time to dig deep and explore how a traumatic event would truly effect the protagonists. AVENGERS UNDERCOVER turns that situation on its head by using this trauma as the starting point, “ says editor Bill Rosemann. “What happens after your teachers abandon you? Where do you go when you no longer fit in with your old life? When the world has rendered their judgment as to what lies in your heart, how to you prove otherwise? Dennis and Kev have the answers—and to get them you’ll have to follow our heroes down a rabbit hole of pure evil.”
“There aren’t any rules this time,” says writer Dennis Hopeless in an interview with Marvel.com. “The game is over and the kids who have survived have to go back to real life. AVENGERS UNDERCOVER is the story of what that feels like. We explore the PTSD of the thing.”
“What sorts of life decisions do these kids make once they realize that they don’t really fit into their old lives anymore?” continued Hopeless. “Can they get any of it back? If so, how? And if not, what’s next?”
Their time in Murder World prepared them for death. But nothing can prepare them for their new lives among the Masters of Evil. The longer they stay undercover, their path’s become more clear: Join up with the Masters of Evil for real, or be discovered and killed! If you thought Murder World was dangerous, you haven’t seen anything yet – and it all starts this March in AVENGERS UNDERCOVER #1!
AVENGERS UNDERCOVER #1 (JAN140692)
Written by DENNIS HOPELESS
Art by KEV WALKER
Cover by FRANCESCO MATTINA
Variant Cover by MARK BROOKS (JAN140693)
Thanks to an added boost from DVR users, NBC’s THE BLACKLIST continues to be the fastest growing, and only real breakout hit of the TV season. We talk to the folks from behind and in front of the camera, including cast member Parminder Nagra, to find out the secret of their success. Plus GHOST IN THE MACHINE might actually be a movie, and that POWERPUFF GIRLS cover…..really?
Last year Marvel made big news with the Black Avengers book they are doing or have done or will be doing.
Truth is I don’t know if it’s been done or not because these days I rarely read comics that get massive press. Unless I know the creator I’d rather pass on hype – especially if that hype has to with new black characters.
I’m sick to death of some making a big deal out of the black character they are bringing to comics.
Why?
Two reasons. The first is because two seconds (if that long) after the story appears in the press or the book goes on sale I’m asked to comment.
“DC is doing a book where two black people are in a street scene. What are your thoughts?”
“Well I think that anytime a major publisher puts two black people in a scene it’s another step towards Dr. King’s dream.”
That’s what I’d say. Sure I would.
If ever some asswipe asked me such an asinine question I’d be doing hard time for putting my foot up their ass. Not the 300 bullshit hours of community service I’m doing now. I don’t think anyone’s stupid enough to be that stupid but trust me some have come close.
Because of my so-called status as an African American creator I’m subject to many a question about Negro progress in the industry, so the easiest way for me to avoid going to jail is to tell the truth which is “I have not seen it so I can’t comment but I hope it’s good and if so it succeeds.”
Or, maybe my status has nothing to do with it maybe they know I’m good for a rant or two because I’m either fearless, careless or always high thus I will tell the bare truth no matter what. I’m not fearless, I’ve been careless won’t comment on being high but stupid I am not
Imagine the co-creator of Static saying, “What the fuck is Static doing fighting a fucking giant fucking fish? Fuck fuck fuckidy-fuck!!!!!
Not good.
I waited to comment on the recent new 52 Static book from the DC well after they killed the book, which, by the way, should have been killed. I’ve heard all the “DC should have given it a chance” bullshit on the net, but let’s get real. The book had issues and was not getting the support from the fans so what is DC to do? Continue to take a loss?
Wake the fuck up world. This is reality this is not some chat room where some pussy deprived little fan boy thinks he knows better than Diane Nelson, Jim Lee or Dan Dildio.
News flash: they don’t.
Truth is I don’t comment on any black book unless I love it. I refuse to say anything negative about black comic book content, not because it’s all-great because let’s face it a lot of is horrible. I won’t comment because I’m not that guy. Never in my life have I publicly stated any bad, adverse or harmful remarks against any black comic, creator or publisher…
Unless said creator or publisher invites a response by putting out straight up imaginary bullshit about Milestone. Then it’s on.
I won’t even comment publicly when a black creator says there are simply no black women characters created by black creators that have reached a mainstream audience.
Really?
Milestone’s teenage girl superhero Rocket reached and was an overwhelming success in the mainstream market – before she got pregnant. Then she was mainstream news. You can’t get more mainstream than the Washington Post and CNN, to name but two.
I did send the guy who was saying that in interviews an email saying “really?”
Dark Horse has a new book coming out called Skyman. Everything I’ve read about Skyman mentions he’s black.
The Black Age Of Comics Convention (yep, I stole the name of this article from them) promotes black creators, publishers, comics and black pop culture in general. The goal of the convention is to reach black people and black kids in particular because there are so few black heroes for young kids of color to relate too.
That’s a wonderful thing and they do great work.
99.9% of everything I’ve ever done in comics, television, radio and mainstream publishing the main characters are black because that’s what I do. I’ve always tried to reach a mainstream audience and I’m well aware that black anything is a difficult sell in the first place.
So the second reason (this is so long you forgot I said two reasons eh?) is that I am sick of media news that spotlights the African American aspect of some projects because never, and I mean never, do any of these news stories even attempt to acknowledge what has gone before and most publishers co-sign that bullshit.
So that young black mother or father who sees that TV news report on Marvel’s Black Avengers will think this is the first time ever for a black character in comics and run out to get it for their kid.
To put it another way, it’s like saying Elvis never listened to or was influenced by black music. Eminem is a great rapper and I’m sure if FOX News had a music channel they would have you believe he started Rap and discovered Dre.
Milestone is the most successful African American line of comics in history. We were not the first to publish black superheroes. Not even close. And we said as much and still say as much in public.
You can bet when black kids attend the Black Age Of Comics Convention they are told repeatedly about the vast history of black characters in comics and all media.
My dear friend (to me more like family) Lana Walker is one of the very few people I won’t question if she wants me to meet someone. If she called and said “Michael, I want you to meet with this axe murderer who will try to kill you” I’d take that meeting. No question.
I hate Hollywood parties. Hate them. Lana asked me to come to a Hollywood party and meet some people. That’s like asking Superman to come to a party at Kryptonite mountain – it kills me. I went to the party, no questions asked.
I’m pretty damn sure Lana did not tell those people, “You should meet Michael Davis, he’s black. When I showed up it was pretty damn obvious I’m black. When a new black character shows up and the media covers it, the publisher promotes it as if it’s the first black character ever it is not only, in my opinion, fucked up lazy journalism. it feels to those who know it’s bullshit like yet another total disregard of African American history.
I’d just like publishers to at least give a nod to what has come before when promoting black content.
Or do like Dark Horse and make it about the character.
If you feel the as a journalist the black angle is a good one, do some fucking research and at least write something about what has come before even if it’s something like this:
Black Dick, the story of an African American private eye is a new comic from Poon Tang Publishing. It’s the very first black comic ever… I think.
If people like the character and the idea behind it color will matter not. Blade and Spawn are perfect examples. Yeah, Spawn is black. If you can’t tell because of his mask ask yourself what’s up with that third leg.
BTW, “Black Dick” is trademark & copyright Michael Davis 2014 All Rights Reserved and is not the first black character.
Synopsis: Marvel’s Thor: The Dark World continues the big screen adventures of Thor, the Mighty Avenger, as he battles to save Earth and all the Nine Realms from a shadowy enemy that predates the universe itself. In the aftermath of Marvel’sThe Avengers, Thor fights to restore order across the cosmos… but an ancient race led by the vengeful Malekith returns to plunge the universe back into darkness. Faced with an enemy that even Odin and Asgard cannot withstand, Thor must embark on his most perilous and personal journey yet, one that will reunite him with Jane Foster and force him to sacrifice everything to save us all.
Cast:Chris Hemsworth (Marvel’s Thor, Marvel’s The Avengers, Snow White and the Huntsman) as Thor, Natalie Portman (Marvel’s Thor, Black Swan, Star Wars Episodes I-III) as Jane Foster, Tom Hiddleston (Marvel’s Thor, Marvel’s The Avengers, War Horse) as Loki and Anthony Hopkins (Thor, Silence of the Lambs, Nixon) as Odin.
Director: Alan Taylor (TV’s Game of Thrones, TV’s The Sopranos, TV’s Mad Men)
Screenplay: Christopher L. Yost (Revolutionary Road, Snitch)
Christopher Markus (Pirates of the Caribbean franchise)
Stephen McFeely (Pirates of the Caribbean franchise)
Story by: Don Payne
Robert Rodat
Producer: Kevin Feige, p.g.a. (Marvel’s The Avengers, Marvel’s Iron Man Franchise)
Executive Producers: Louis D’Esposito (Basic Instinct, Marvel’s Iron Man, Marvel’s The Avengers)
Victoria Alonso (Marvel’s Iron Man, Marvel’s The Avengers, Big Fish)
Craig Kyle (X-Men: Evolution, Ultimate Avengers, Iron Man: Armored Adventures)
Alan Fine (Marvel’sThe Avengers, Marvel’s Iron Man, Marvel’s Thor)
Nigel Gostelow (Batman Begins, The Bourne Ultimatum, The Da Vinci Code)
Stan Lee (Marvel’s Iron Man, Spider-Man, Marvel’s Thor)
Release Date: February 4, 2014 for Digital 3D (Select Retailers) and Digital HD
February 25, 2014(Direct Pre-book: TBC; Distributor Pre-book: TBC)
(3D Combo Pack, BD, DVD & Select Digital Retailers)
· Never-Before-Seen Extended and Deleted Scenes
· Gag Reel
· Exclusive Look – Marvel’s Captain America: The Winter Soldier
o Get an exclusive first look at the latest installment in the Captain America franchise and its incredible cast of characters, including Scarlett Johansson as the Black Widow, Samuel L. Jackson as Director Nick Fury, Chris Evans, our hero Steve Roger’s, his new ally Sam Wilson, aka the Falcon played by Anthony Mackie, and a mysterious enemy from the past…the Winter Soldier played by Sebastian Stan.
· A Brothers’ Journey: Thor & Loki
o In this 30 min feturette go behind the scenes with filmmakers and cast as we explore two of the most iconic characters in the Marvel Universe with stars Chris Hemsworth (Thor) & Tom Hiddleston (Loki), and journey through the key moments that have defined and endeared these characters to audiences around the world.
· Scoring Marvel’s Thor: The Dark World with Brian Tyler
o Go behind the scenes with the filmmakers and acclaimed composer Brian Tyler for a look at the creation of the movie’s stunning original score.
· Audio Commentary with Director Alan Taylor, Producer Kevin Feige, Actor Tom Hiddleston (Loki) and Cinematographer Kramer Morgenthau
The trailer for The Amazing Spider-Man 2 is out and you’ve no doubt seen it here on ComicMix and elsewhere. It looks pretty spiffy, I think, and I’m ready to shell out my shekels to see it.
I came into the living room the other day as My Mary was watching the end the previous Amazing Spider-Man on the tube. She mentioned how her friend Sherry preferred Toby McGuire’s Spider-Man to Andrew Garfield’s and made an interesting observation: McGuire’s Spider-Man was more Todd MacFarland while Garfield’s was more Steve Ditko. I found that pretty astute.
McGuire was also Sherry’s first Spider-Man and I think that also plays into it. Who your favorite artist (or even writer) on a given character or property may depend on who was on the book when you first read it. For me, my Spider-Man artist was John Romita – and that’s Senior, not Junior (who is a fine artist in his own right). I would only encounter Ditko later, in reprints (this was long before the Internet or even comic book stores with longboxes). I’ll be honest; I was not keen on Ditko at first. My guy was Romita Sr. My Spider-Man was the one he drew.
I don’t know who was drawing Batman when I first read the book; the first one I remember was Neal Adams (and scripted by our own Denny O’Neil). I think my first Doctor Strange artist was Marie Severin, inked by her brother John, a mighty duo.
The idea (I wouldn’t call it a rule) also extends to Doctor Who. The definitive Doctor for an individual is often the one you first saw in the role. For me, it was Jon Pertwee, with the capes and the bouffant hair. The episodes were aired sporadically in my area and one day I came across one with a horse faced actor in a big multi-colored scarf swanning around and being called the Doctor. I was resistant to Tom Baker for a good while; my Doctor was Pertwee. I came around and Baker became one of my faves along with most of the rest of Who fandom.
I found it interesting in a special mini-episode where David Tennant’s Doctor comes in contact with Peter Davidson’s Doctor and said, “You were my Doctor!” I think that was true for Tennant; he would have been the right age.
The concept doesn’t always hold. My definitive Avengers artist would have been John Buscema, definitely not the first artist I saw on the book. OTOH, my definitive Conan artist would have been Barry Windsor Smith and not John Buscema. BWS was the first. Gene Colan was the first artist I saw on both Daredevil and Iron Man and remained the definitive artist for me, over both Wally Wood and Frank Miller on Daredevil and Bob Layton on Iron Man.
These are all artists whose work I have enjoyed on the various books but they don’t hold the special place in my heart that the first artists did. They marked the first time I encountered the characters and fell in love with them and there isn’t anything quite like your first love, is there?
Consider this a free lesson in becoming a rich and successful writer, be it in Hollywood, comic books, TV, movies… whatever. Yes kiddos, you too can be a mega-player in the game if you follow my patent-pending advice. And since there’s no use to wasting time, let me get to them write now. Get it?
Copy someone better than you. See, I’m already gonna copy legendary John Ostrander, who in his article this very week gave out five tips to aspiring writers as well. But as you’ll learn, babe, it’s not about who did it first… just who does it next. I recall, fondly, that one of my professors at college had his intro to screenwriting class begin the year by dissecting their favorite romantic comedy for structure, and then literally rewrite it according to the corresponding skeleton etched out. Nifty, eh? So when the chips are down and your screen is blank, just boot up Netflix, and get prepared to appropriate your masterpiece.
Retcon it, reboot it, or make a prequel/sequel! Why waste your time creating an original piece of work when you can start where someone else started? As a natural next-step of copying someone who is better than you, you can get oodles of dollars by simply refraining from even considering originality as an option. DC Comics may have canceled a Batman series recently, but you best believe that someone else will fill in the slot the second they see an uptick in BatSales. It’s their New52 M.O.: when sales spike, it’s time to expand! Justice League look good? Make it dark! Make it American! Make it StormWatch! Err… Simply put, if you want to be a resource to those folks who sign the big checks? Then be prepared to take on the franchise when the original creator is off doing whatever it is “artists” do. Remember, you want to be writer… not an artist.
When the editor says “Jump”, already be in the air. When you’re in the air? Be screaming “Is this high enough?!” You see, in today’s market, the writer is just another tool in the box. One need not be “good” as much as “serviceable.” When he-who-signs-the-paychecks demands you kill a character off, or refrain from being “too gay,” you salute them, thank them for their bold choices, and immediately write exactly what they’re looking for. If they’re vague? See tips #1 and #2 above. You can never go wrong by pitching to them that which they already know. At the end of the day, they want money. The market proves to us day in and day out that one need not break barriers, blow minds, or explore new territory with our creative fiction. What sells today is what sold yesterday… with a shiny new coating.
Kill off as many characters as needed to feel edgy. Look kids: sex and death sell. Nothing in fiction is off limits. Hell, they killed a major character on Family Guy not even a month ago, and boom, he’s back. Captain America? Time bullet. Batman? Time warp. Thor? Ragnorak. The X-Men? Time vortex. Get violent if you need to. Hell, Man of Steel and The Avengers leveled near entire cities to make their point. Better yet, they gave away the secret to how you end things afterwards. Want your audience to leave with a knowing smirk on their face? Have your heroes be a bit witty amidst the wanton destruction, and maybe let them get a sandwich. Need your audience to feel remorse for all the devastation? Have your hero scream in agony, and then end on the witty retort. Boom. Roll the credits, and whatever you do… Do not forget the stinger. Thanks to Mickey, we have to end everything, and then end it again. Or, pull a Jackson: end your piece, and then end it eight more times. Each time make it gayer and more emotionally despondent. People eat that crap up like McRibs.
Remember that the critics, fans, et al don’t matter anymore. In the age of the Internet, everyone is a critic. Thanks to news sites, blogs, somehow-still-alive newspapers, social media, et cetera, every new release is covered by hundreds of would-be pundits. No matter your score, trust me, you’re fine. If you deliver an atrocity? You’ll pop up on everybody’s Worst Of lists, and your sales will spike as rubber-neckers come to guffaw. Get a middle of the road review? Just head to the comment section, and accuse yourself (anonymously) of being gay, racist, or a gay-racist. Then, as yourself, open up an Instagram account, and post angst-riddled notes of how depressing your life is. Soon enough, they’ll forget if your work was any good anyways. Hell, go apeshit and you could end up like Charlie Sheen. He went AWOL, and nabbed a 20/90 backend multi-season pickup for a show so by-the-book, most scripts are handled via an AOL mad-lib generator.
As far as fans go, just know that you’re safe. When you do an acceptable job writing up the expectable (it is a word now.), only elitist Onion readers will get up in arms. Do you really care if a horn-rimmed glasses wearing, curly mustachioed, corduroy and bow-tie bedazzled Arcade Fire fan thinks your work is shallow and pedantic? Do you mind that I just lifted a line straight off TheSimpsons? Of course you don’t! At the end of the day, you want a paycheck and a fluffy credit. I want a yes-man. It’s a win-win situation.
The key to this all is simple. The world is going to end eventually. You’re either going to be frozen is actual carbonite (rich people have the technology – for real) or buried in a pine box right off the highway. It’s your call. Live and eat well by doing what they tell you to do, or have a backbone and visible ribs. The choice is yours. Your foolproof plan is laid out above.
When you’re famous, do me a solid and link back to this article. I’m cold, and extra readers keeps my furnace running.
In case you missed it, Marvel’s Iron Man & Hulk: Heroes United was released last week and we’ve got one giveaway package of the Blu-ray Combo Pack along with an exclusive Iron Man MiniMate courtesy of our friends at Shout! Factory.
In order to win, tell us who would win a fight — Iron Man or the Hulk — and why. Your entries have to be received by 11:59 p.m., Saturday, December 14. Open only to readers in the United States and Canada. The judgment of ComicMix‘s judges will be final.
Synopsis:
Marvel makes history again with one of the greatest Heroic team ups in the universe. Hulk’s brute strength and Tony Stark’s high-tech intellect come together to create a powerful duo necessary to face off against one of the most dangerous enemies.
When “Zzzax,” a seemingly invincible, energy devouring monster threatens to destroy the planet, these two Avengers are mankind’s only hope. Alone, neither can defeat the awesome power of Zzzax. As a team, they just mighthave a chance – if they can find a way to work together without smashing heads before time runs out!
Packed with explosive action, loaded with bonus features and presented in groundbreaking Marvel CG Animation, Iron Man & Hulk: Heroes United is a must-own movie event that will blow you away!
Voice Cast: Adrian Pasdar (TV’s Heroes, Marvel’s Ultimate Spider-Man) and Fred Tatasciore (TV’s Marvel’s Hulk and the Agents of S.M.A.S.H.,Marvel’s Ultimate Spider-Man)
Supervising Creative
Director: Eric Radomski (TV’s Marvel’s Ultimate Spider-Man, Batman: The Animated Series)
Supervising Director: Leo Riley (TV’s Mad, The Rickey Gervais Show)
Writer: Henry Gilroy (TV’s Animatrix, Batman: The Animated Series, Batman Beyond) and Brandon Auman (TV’s Iron Man: Armored Adventures, The Avengers: Earth’s Mightiest Heroes)
Executive Producers: Alan Fine (Marvel’s The Avengers, Thor, Iron Man 2), Dan Buckley (TV’s Marvel’s Ultimate Spider-Man, Marvel’s Avengers Assemble, Marvel’s Hulk and the Agents of S.M.A.S.H.) Joe Quesada (TV’s Marvel’s Avengers Assemble, Marvel’s Ultimate Spider-Man) and Jeph Loeb (TV’s Marvel’s Agents of S.H.I.E.L.D.)
Bonus Features:
Marvel “Inter-missions”
Marvel puts a humorous twist on their old-school original animated series. What better way to take a break from fighting villains than hitting pause and enjoying a little comedy with Marvel Mash-Ups.
Marvel Team-Up with Ryan Penagos and Joe Q.
Super Heroes are larger than life on their own. But when they join forces with another, they become a force to be reckoned with. Marvel’s Chief Creative Officer, Joe Quesada, joins Ryan Penagos (Agent M) in an intimate and lively one-on-one conversation about these Marvel Team-Ups.
Rating: PG
Feature Run Time: 72 minutes
Aspect Ratio: 1.78:1
Audio: Dolby Digital Surround Sound: English 5.1 – Spanish 5.1 – French 5.1
Languages: English, Spanish, French
Subtitles: English: ESL, English: SDH, Spanish, French
It’s been a while since we’ve done one of these, and this time we’re bringing in Sara Raasch to mix things up a bit with Glenn Hauman as we talk about Thor: The Dark World.
Glenn: So. How long have you been waiting for this film?
Sara: I was actually less hyped about this than any of the other Marvel films. I enjoyed Thor, but of the Marvel Cinematic Universe Phase One, excluding The Incredible Hulk, it was my least favorite.I didn’t buy tickets till after a friend saw it at the premiere. The thing that made me choose to go to the opening night screening rather than waiting was Loki. I really feel like he and Banner stole the show in The Avengers. So as it became clear that he was going to have a large role in Thor: The Dark World, I became more excited about it.
Glenn: What worked for you here that didn’t work as much in the first film? What improved for you?
Sara: I liked that the movie took itself more seriously than the first film and that it did away with the sorta slapstick Greek god fish outta water humor. I was glad he grew out of his petulant teenager phase.
Glenn: Thor was really Thor, in other words. Not so much humbled as humble.Although he still has trouble making his parents happy.
Sara: True. But that’s true to the comics and his back story.
Glenn: In so many ways, the story of Thor is one of family— not dysfunction, per se, but disapproval. In the first movie, Thor was a headstrong kid who couldn’t make his dad happy. In this one, he’s a more mature individual and he still can’t make his dad happy– and this time, it’s more Dad’s fault.
Sara: Yes, but even within that, they are all dedicated to each other.
Glenn: Very true. Thor and Frigga are still even loyal to Loki, at different levels.
Sara: The other thing that I found so much improved from the first movie was the size of the world. The first movie seemed very small. So much of the film was spent in that town in the middle of the desert. Where as in Thor: The Dark World we got to see Thor and crew across the 9 realms.
Glenn: And even on Earth, we get London and Greenwich as compared to New Mexico.
Sara: And then the Asgard sets were stunning.
Glenn: Did you see the film in 3D?
Sara: I did, which I normally wouldn’t do– I hate 3D movies. But I really wanted to see the 5 minutes of Captain America: The Winter Soldier footage.
Glenn: Do you feel the actors improved, or the characters and what they were given to do?
Sara: In general, both. I felt like the acting was consistently good with a few exceptions. Zachary Levi’s character fell flat for me. And as always, Kat Dennings plays Kat Dennings.
Glenn: But not as annoyingly as in 2 Broke Girls, so thanks for small miracles.
Sara: I thought Christopher Eccleston was good, but not exceptional, which is shocking becuase in general I love Eccleston.
Glenn: Eccleston was good, although it led to a particular moment of dissonance— when you see dimensional rifts opening up over England, my instinctive reaction is to wonder where the Time Lord is— and here he’s on the wrong side.
Sara: Fantastic!
Glenn: And while we’re on the subject of bad guys… your object of affection…
Sara: So, okay, I’m obviously biased here, becuase I think Tom Hiddleston is the bee’s knees.
Glenn: You and half of the female audience for these films.
Sara: That being said. I really do think he’s a great actor. And I thought Loki was well done. For me the interactions between him and Thor really worked. And It was nice to see his character get at least a glimmer of redemption after the events of The Avengers.
Glenn: The thing that the movies have brought in a way the comics didn’t get for a long time if ever, is the family bond between these two. Only recently (he says, revealing his age) have they acted like siblings.
Sara: And I thought that really came across. Even after Loki denies his adopted Asgardian legacy, these two really are brothers. And they are each driven to achieve greatness and glory in their own way
Glenn: And they may still do so, although… well, why ruin the surprises?
Sara: You know I have a strict no spoiler policy!
Glenn: Yep. So we won’t even mention the fun cameos. However, we can say to stick around to the very end of the credits for two add-ons, right?
Sara: Yes, reasonable to say.
Glenn: How about the rest of the cast?
Sara: Wait, there were people in this movie other than Tom Hiddleston?
Glenn: Yes. The one with the big biceps? The crazy guy without pants? The hot chick in the leather armor?
Sara: Can I be Sif when I grow up?
Glenn: Well, I won’t complain if you grow up to be Sif.
Sara: I thought Chris Hemsworth did an excellent job as Thor. He has the range as an actor to pull of his machismo bravada as well as his softer moments with Natalie Portman.
Glenn: Hemsworth showed more charm than his previous outings, as though he’s finally found the right balance to play at being a Norse thunder god, a prince of the realm, and still a guy who can’t quite get everything to work perfectly and is a bit troubled by it.
Sara: I’m not sold on the chemistry between him and Portman.
Glenn: Me neither, but there’s certainly more here than, say, with Hayden Christiansen.
Sara: I was gonna reference that.
Glenn: Well, when you have that kissieface moment on the lake right out of Episode II–
Sara: Ugh. Ohh, how can we forget Idris Elba reprising his role as Heimdall. I was super disappointed that he was not, in fact, cancelling the apocalypse.
Glenn: He was actually the one character that seemed a bit diminished from the first film.
Sara: His performance felt pretty phoned in. He seemed one dimensional, and in general Elba can act, so I can’t help but wonder whos fault it was, his, the writers, the directors.
Glenn: I blame whoever had the idea to have him take off his helmet. It made him… fallible, rather this bronze guardian. So— is it worth seeing again?
Sara: I’d watch it again. In 2d this time. Like I said, I’m not big on 3d in movies in general and I didn’t feel that the 3d in Thor: The Dark World was either particularly groundbreaking, well done or integral to the movie experience.
Glenn: I think this was an upconversion job, and it really didn’t need to be. But with this film we now have scale that we didn’t have before, now that the origin movie’s out of the way. Granted, there’s still a lot of setup being laid for the next few films…
Sara: NO SPOILERS! But yes, I’m excited for the next pieces of the MCU Phase 2. As long as Marvel can avoid another misstep a la Iron Man 2.
Glenn: Well, the tough one is two films down the road. Can we at least tell people to rush to see it or next week’s Agents of SHIELD may be spoiled for them?
Sara: Yeah I think that’s fair game.
Glenn: Watch the film! And hope that the TV show measures up.
Sara: Fingers crossed for a Loki cameo next week!
Glenn: Hey— no spoilers, remember? We post this, and those women who just can’t get enough of Tom Hiddleston are going to be all a-flutter.
Marvel’s cinematic Avengers will be joined on the smaller screen by The Defenders, the culmination of four series just commissioned by Netflix. Luke Cage, Daredevil, Jessica Jones, and Iron Fist were announced this by Variety morning as each receiving thirteen episode commitments. The linking device is that all four series will be set in New York City’s Hell’s Kitchen, which, in the comics, has been Daredevil’s base of operations dating back to the 1970s.
This rumored set of series was revealed without naming producers, writers, showrunners or casting but would be expected to debut some time in 2014. The announcement did not acknowledge if this quartet of series will be set in the same reality as the film series. If so, it would also connect these shows to ABC’s Agents of S.H.I.E.L.D.
Netflix has received great attention thanks to their original series, a move now being imitated this month by Amazon Prime and soon by Hulu and YouTube. Their House of Cards was the first internet series to receive an Emmy nomination and will be back for a second season in the winter. The pay channel’s Orange is the New Black is their most watched original series and will also be back for a second season, as will their Hemlock Grove.
Since Jeph Loeb was added as a VP for filmed material, Marvel has filled in a vital gap with live-action television, something they seemed unable to crack. Beyond these four, and the subsequent Defenders teamup project, Marvel has been said to be eyeing a Peggy Carter spinoff based on the short film with Haylee Atwell that was attached to the home video release of Iron Man 3. Other series apparetly also ebing pitched to other networks.
Disney’s Marvel movies will move from Starz to Netflix after the current dea for the studio’s output expires in 2015, just in time for The Avengers 2.
DC Entertainment aso has numerous television series in development, mostly at their co-owned CW network with the Flash expected for the 2014-15 season. Fox is also developing a Gotham City series featuring young James Gordon, long before Bruce Wayne first dons the cape and cowl.
Hey there, true believer, when you book to the multiplex to see the new Thor flick, you won’t be seeing just a movie, or even just a superhero movie – you’ll be seeing a Marvel movie! And you’ll know it almost from the moment the feature begins to unreel. How? Easy! The word MARVEL will be splashed across the big screen, white letters against a red field – no point in being subtle, here. There may be references to other Marvel movies as the drama unfolds and, count on this, after the end credits – and you are going to stay for them, aren’t you? – there will be a brief final scene that hooks you into another Marvel movie! Or two, maybe.
Almost like it was all planned from the beginning, this creation of the Marvel brand, and in a way, it was. And by “beginning” I don’t mean…oh, say 2002, when Tobey McGuire put on the Spidey suit and began slinging webs. No, we’re referring to the 1960s when Stan Lee was busy revolutionizing the comic book biz. He once told me that he wanted everything Marvel to support everything else Marvel, and he made that happen, insofar as it could happen back in the dark ages. (No Internet? No smart phones? iPads? Google? Facebook? Not even – you gotta be kidding me! – fax machines?)
So Smilin’ Stan Lee created the Marvel Universe, a mirror image of our universe, but a universe not quite so beholden to life’s drearier realities – one in which superheroes could and did exist. Characters from one title popped up in another title and all the costume wearers seemed to know, or at least know of, each other. It was a cohesive fictional construct, this Marvel Universe, and it was given to us almost whimsically; footnotes and text pages and even cover copy emphasized fun and hinted that we didn’t have to take anything in a Marvel book too seriously. Y’know, just hunker down and enjoy. Oh, and you didn’t have much doubt that you were reading, not just a comic book, but a Marvel comic book.
The movie and television folk seem to have learned from the smilin’ one. They’ve taken Stan Lee’s paradigm, adapted it to their media, and achieved marketing success and, recently, a fair degree of artistic respectability. What Stan might call “the Marvel manner” has survived metamorphosis from cheap pulp magazine filler to the stuff of hugely elaborate and technologically sophisticated cinema.
Those cheap pulp magazines? Well, they’re not pulpy anymore and, let’s face it, not so darn cheap, either. But they’re still comic books – Marvel comic books. Somehow, the publishing arm of the Marvel empire has preserved some of its identity though decades of varying ownership and turnover of personnel in both the marketing and the editorial offices. And a lot of artists and writers, including your humble correspondent, have worked for and/or at both Marvel and its rival DC, and still at least a ghost of Stan Lee’s vision persists.
I haven’t mentioned Marvel’s television show, Agents of S.H.I.E.L.D. Well, the lead character has mentioned his appearance in Marvel’s big screen Avengers and the word on the street is that S.H.I.E.L.D. will have some connection to the next Captain America flick. ‘Nuff said?
