The concept of a prequel as a literary device has been around in one form or another for quite a long time in almost every medium. When The Phantom Menace came out in 1999, the idea of going back and telling the story of the Clone Wars was something that hadn’t been done before on that kind of cinematic scale. More than 20 years later, the Star Wars universe is still dipping into that well, and will likely continue showcasing stories that take place before A New Hope for the foreseeable future.
Star Wars certainly isn’t alone in wanting to delve into the stories that take place before the original setting of the intellectual property. A short list of heavy-hitters appearing this year alone on TV includes (but is certainly not limited to) the following:
Lord of the Rings: The Rings of Power
House of the Dragon
Star Trek: Strange New Worlds
(And just this week) Andor
Before I get into the particulars, let me say this: This post is not about the casting, fan backlash, or creative decisions involved with any of these shows. I have the greatest respect for the actors, crew, and digital artists who bring these shows to life. If you’re here expecting some sort of fanboy outrage at one or more of those groups, feel free to hit that “eject” button now and punch out. Byyyyeee.
Still with me? Excellent. What I hope to do with this blog is to take a look at the viability of prequels as a framework for telling stories, exploring three things that make prequels attractive as well as three more that make them less appealing than an original story. With that in mind, let’s dive in.
The most obvious answer is that a prequel hopes to capture the magic that the property had before, tapping into the good will and warm fuzzies that we may harbor from previous iterations of said property. Depending on how subtle or overt this previous connection is handled, you might wind up with fun call-backs, but it runs the risk of becoming heavy handed with member berries.
For the most part, I’m fairly forgiving of when the fan service gets too fan service-y. Even when this happens, it’s hard to deny that the feelings that are evoked when you see parallels play out. In the right hands, they can be profound. The best prequels are able to successfully excavate those little nuggets of emotion we have tied up with the original and shine new light on them.
Nostalgia is often a distortion of past events, though, filtered through the lens of a yearning for a past that may or may not have really existed except in our minds. While it can be a two-edged sword, it can also be a powerful reminder of what we love, reigniting our passion and enthusiasm in the present.
More Time in the Setting
Stories taking place in settings we love are always finite. There are only so many episodes of Star Trek: The Next Generation, only so many Lord of the Rings movies. Once a setting has achieved that sort of critical mass in the hearts and minds of fans, it’s natural to want to go back to that place if given the chance. After all, we have friends there, favorite spots, and (in general) we know what we’re getting ourselves into. It’s a known quantity, and one we already like.
Settings with rich backgrounds are often the most fertile soil for prequels. If you’re a lore nerd like I am, who just loves to sink your teeth into the backstory and worldbuilding, this is a chance to see it brought to life. The mentor figure of a previous story might now take center stage as the protagonist of the prequel. Characters who are bitter enemies might be friends in this telling. Maybe you get to witness legendary events play out that were only ever talked about, or receive additional context to the original story.
Like the voyages of the original Constitution-class Enterprise? Well, here’s more of that. Remember the thrill of Game of Thrones? Let’s have another foray into Westeros, shall we? And so on.
A Safe Bet
Prequels don’t have the risk that new, completely original stories carry. There’s a built-in audience, likely one that’s hungry to see more of whatever it is. This makes prequel stories something comfortable for both the producers and consumers of media. If you liked this, you’ll surely love that.
It’s the same mindset that brings us sequels, but there’s an innate guardrail backed into prequels: You know where the characters are going. You don’t have to worry about coming up with the next big story arc, and you already have the end point established. You’re just filling in the gaps and adding additional layers to a story that’s already been told.
The issue with going back before the ‘main’ timelines is that the temptation to make the prequel story bigger, grander, and more impressive often blows the originals out of the water. Consider the lightsaber duels in the Star Wars prequel trilogy. They are orders of magnitude more complex and fast-paced than the ones we see in the original trilogy.
The ever-increasing want to pile spectacle on top of spectacle, to outdo what audiences have experienced before, can be momentarily thrilling in the moment, but it always has the effect of making the source material seem far more mundane. This is especially noticeable when you watch the releases in that universe’s chronological order. Thus, prequels often have the side-effect of downgrading or side-lining the originals.
By its very nature, a prequel does not exist in a void. It comes before something. It’s no easy feat to balance the needs of the prequel story with the constraints placed on it by the stories that released before it. It’s a delicate balance to walk. Lean too much into what’s been established and you risk severely limiting the scope of your story. Throw canon to the wind and the prequel story may not fit within the greater framework that exists in the minds of fans.
This is personally why I think that prequels can be a hard sell for long-running fandoms — it’s too easy to cause contradictions and lore breaks. Sure, not everyone cares about that. Most casual viewers probably don’t, but invariably there are fans who are invested in the universe that do want to see continuity maintained. Prequels are often the bane of those kinds of fans.
Now I know that, more often than not, these types of fans are dismissed out of hand as whiny manbabies, like a Youtube comment section come to life. But, I would argue that many of the fans that object to major breaks in a universe’s continuity just want all parts of the thing they love to work in concert, forming a cohesive whole, rather than having elements that work in opposition to that. Major breaks in continuity can make that a bridge too far to span.
Lack of Stakes
Perhaps the worst curse of prequels is that we know that nothing will really change. Yeah, maybe we get a little extra insight into what leads up to the originals, but we know the story can only resolve in a certain way. We already know who lives and who dies.
That means that established characters that are alive and kicking in the future are effectively untouchable in the present. There are no stakes when the outcome is already known. When there are no stakes to a story, it can make everything in it feel brittle and unearned. It doesn’t matter how outnumbered, outgunned, or impossibly the odds are against them, we know that the heroes will make it through. It drains most, if not all, of the dramatic tension from the story as we already know the protagonists will win. Prequels are where the plot armor is thickest, and it shows.
For one reason or another, we live in an age of prequels. In the case of both the Lord of the Rings and Game of Thrones universes, it’s because the main stories have already been told, and it’s too soon for any sort of reboot. With Star Trek and Star Wars, they seem to both have an allergy to advancing their own timelines (with some exceptions), and would much rather set their stories in eras that have historically proven popular.
Combine that with the powerful urge for studios to create some sort of interrelated cinematic universe, and it’s a safe bet that the stream of inevitable prequel releases is just getting started.
Still, there are some places even within those offerings where new, original stories can thrive, ones that aren’t as beholden to other source material that have more space to grow. (Mandalorian, I’m looking at you.) While my instinct is usually to leave backstory as just that, I’m usually willing to give prequels stories a shot. Sometimes they land, and sometimes they don’t. After all, a story well told is a story worth your time, regardless of how much baggage it might carry from what has gone before.
So, I put it to you, dear reader, what are your thoughts on prequels? Do you like them, love them, despise them, or are you just sort of ‘meh’ on them? Let me know in the comments below.
My recent quarantine with Covid has been a springboard to catch up on several streaming shows that are within my wheelhouse, including (but not limited to) Obi-Wan Kenobi, Ms. Marvel, and Stranger Things 4. That much media in so short a time made certain things stand out to me in sharp relief, so I thought I would share them here. What follows will contain spoilers for the aforementioned shows, so consider yourself warned.
Also, I want to be clear that while I may be discussing some of the missteps of these shows, that doesn’t mean that I’m dunking on them, the actors, the crew, or anyone involved in the production. This is up to and including the writers. There are a lot of moving parts when it comes to productions of this size, a lot of compromises that have to be made for time and budget. My purpose here is not merely to point out some of the underlying flaws. No, I want the shows coming on the major streaming services to be better. Many of them are already watchable, but there’s always room for improvement.
As I’ve stated elsewhere on this blog, writing is cheap. Before the camera rolls or the digital artists jump in to work their magic, you have a script. Just words on a page. It surprises me sometimes what actually makes it through to the screen when a little bit of logic or a slightly different presentation could make a world of difference.
With that in mind, here are five ‘under the hood’ considerations writers should think about when constructing their narratives:
1.) Moving pieces around the board
Unless your entire story takes places in a single location, your characters have places to be. How long does it take them to get there? What challenges, if any, do they have to overcome to arrive at their destination? Even if all of this takes place off the screen or page, it’s worth thinking this through. This is especially important if there are other events occurring during this time that need to eventually synch up.
In science fiction, it might be as easy as hopping in a ship or stepping onto a transporter pad. Still, you should have an idea of how long the trip takes, as well as how events might have changed in the meantime.
For fantasy, where the fastest mode of travel available might be a sailing ship, you might consider how long the characters are at sea. That could affect the relationship they have with each other and give you space to further develop their interrelations.
Example: At the end of episode 5 of Obi-Wan Kenobi, Ex-Grand Inquisitor Reva is seen stabbed through the abdomen with a lightsaber, abandoned by her forces on a junk world, and left for dead. At the opening of episode 6, however, she’s on Tatooine, seemingly fully healed and back to normal.
We might give this a pass, assuming in our minds that several days have passed since her duel with Vader. If that were the case, there are still some things we don’t see and are never mentioned. How did she heal herself of what was (presumably) a mortal wound with no resources at the ready? Once she did that, where did she find a ship with the range to get her off planet? The time in hyperspace is shown later to take almost no time at all, so I’m not counting that.
However, the show undercuts this by continuing the transport chase with Obi-Wan, Leia, and the rest of the Path in space. Unless the transport has some serious shields, it shouldn’t be able to withstand the onslaught of an Imperial Star Destroyer for very long. So, this tells us that not much time at all has passed since Reva’s stabbing.
2.)What options are available to solve a problem? Why do they choose that one?
In just about any situation, the characters may have several options to deal with a given obstacle or problem. They could try to use brute force, employ misdirection, kitbash some solution on the spot MacGyver style, or any number of a million possibilities.
So, why do they go with the option that plays out in the narrative? This can be particularly tricky when you’re dealing with people who have military training, those who are trained to shrewdly assess a situation and come up with a solution that produces a specific end result.
This is not to say that all decisions your characters make will be done with calm, rational precision. Decisions are often made out of emotion, instinct, or conditioning. While the audience may not think to question why a character undertakes a certain course of action, these decisions are something that deserves the writer’s attention. The larger, more important the decision, the more the writer should weigh whether it makes sense in the context of what they’ve established.
Example: Let’s head back to Obi-Wan Kenobi, episode 6. He’s on a ship with a busted hyperdrive and likely doesn’t have the time to make repairs before the ship is destroyed (although that point gets a bit muddled along the way). He does, however, have access to a pretty decent-sized shuttle that does have a functional hyperdrive. The shuttle looked big enough to hold a large percentage of the Path, at least enough to significantly reduce the number of people in harm’s way.
Instead of employing the shuttle to evacuate the kids and a good chunk of the people, Obi-Wan takes it to use as a diversion. It would have made more sense in that situation if Obi-Wan’s shuttle did not have a hyperdrive on it at all, so Obi-Wan takes Vader’s Lambda-class shuttle after their duel, which we know from Return of the Jedi has a hyperdrive.
3.)Why do they need to act right now? What is their time scale?
Have you ever been frustrated that a character spends no time developing a skill and is suddenly an expert with no explanation, not even the tried-and-true ’80s montage? Or, has a love story not quite worked because the characters have barely had time to know each other? Chances are that the scale of time wasn’t enough to make the payoff feel earned or plausible.
The same goes for a villain who needs to act right now for some reason. What is the time scale they are working off of? Perhaps there’s some convergence of events or a limited window of opportunity that won’t come again anytime soon, or ever. Why doesn’t the villain just walk away, learn from their mistakes, and try again in five years?
Time is a factor in the travel that I mentioned above, but this aspect is less about the amount of time that passes for the characters and more what they do, or don’t do, with it.
Example: In episode 3 of Ms. Marvel, Kamala Khan meets her Jinn extended family, the Clandestines. Their initial meeting is cordial and welcoming, and goes a long way towards explaining part of Kamala’s mysterious background. At that point, I thought the stage was set for Kamala to be buddies with them initially, then slowly start to realize that the Clandestines’ goals maybe weren’t as noble as they seemed at first.
Later in the same episode, however, Najma decides that Kamala has to help her achieve her goal of opening the portal to her home plane that night, during Kamala’s brother’s wedding. Besides the abrupt tonal shift of ‘you’re one of us’ to ‘we’ll kill you and your entire family if you don’t comply,’ there is zero explanation of why Najma couldn’t wait until the next day. Or next week, or next month.
All the Jinn appear to be long-lived, and they had been waiting around since at least Partition in 1947. So, what’s with the sudden urgency? Clearly, they could wait because Najma and her group are all arrested at the end of episode and don’t catch up to Kamala again until they’re all in Pakistan, presumably several days to a week later.
4.)What knowledge do the characters have to act on? How do they know that?
Let’s say your characters are faced with a difficult decision. They don’t have time to debate it in committee. They need decisive action, and they need it now. What do they do? Perhaps more importantly, what do they know to do? What is the situation as they understand it in that moment? That will entirely shape the decision that they make.
This is especially important if you have several groups working in concert towards a larger goal, and something changes suddenly. There has to be some believable way for the characters at the point of contact to understand the broader scope of what is going on. With literary devices like telepathy, you can easily have one character reach out to another one, such as Luke contacting Leia as he hung from the bottom of Cloud City. But, Leia wouldn’t have known to do that otherwise.
Bottom line, unless there’s magic in your story, and it’s able to inform all parties involved, the characters shouldn’t magically know the right thing to do; they need to have some way of arriving at the correct decision that makes sense.
Example: In Stranger Things 4, we get perhaps my favorite scene in the entire series: Eddie Munson on top of his trailer in the Upside-Down shredding out Metallica’s Master of Puppets. The scene is made even better with the knowledge that the actor playing Eddie, Joseph Quinn, was actually playing the guitar in that scene. Ultimately, Eddie sacrifices his life to keep the demobats distracted, to buy his friends more time. It is a great character moment, as well as a heartbreaking death scene between Eddie and Dustin.
There’s just one issue: Eddie had no knowledge of what was going on with Steve, Robin, and Nancy in the Creel House (who were all busy being strung up by tentacles at the time). Eddie is absolutely correct in his assessment that his friends need more time, but how did he arrive at that conclusion? Why would he have thought they needed more time? There’s nothing in that moment to tell him to stall for time, certainly at the cost of his own life. For a group that makes a point of showing that they have walkie-talkies to keep in contact, they don’t use them.
5.) What are the consequences of their actions?
This is a biggie for me, mainly because negative consequences so rarely seem to come back to haunt main characters. Obviously, you want to grant your characters as much agency as you can, so they need to make meaningful decisions. The result of these decisions should be a big part of the story you’re telling, and there should be repercussions. Without them, it can start to feel like nothing the characters do really matters.
Consequences don’t always have to be negative, however. Most of the time your characters are standing in triumph at the end of the story because of their actions. In fact, I have a special place in my heart for stories that show us how the heroes’ actions tangibly improve the lives of the people around them.
Besides a sense of stakes and tension, knowing the consequences of the characters’ actions is a great way to map out what happens in future stories or later in the one you’re writing. So, you’re not doing yourself a favor by ignoring them. Your story will feel more real and engaging if your characters don’t always get off the hook. Even if they’ve done the right thing, sometimes no good deed goes unpunished.
Example: In Stranger Things 4, Eleven loses it on her school rival, Angela. Eleven viciously attacks her bully with one of her roller-skates. This results in Angela being hurt badly and bleeding. Two police officers show up at her house the next day to take her into custody, pending assault charges.
When Dr. Owens, played by Paul Reiser, recruits Eleven in the diner, she asks about the incident. Owens hand-waves that and says that he will make that all go away. He certainly does. It’s never mentioned again. Unless it’s referenced in Season 5, which I seriously doubt, it’s a complete non-issue to the story.
Okay, that’s five. I don’t often write about writing itself, but I thought this was worth exploring. Do you have any narrative tropes, non-sequiturs, or leaps of logic that stick out like a sore thumb to you when you’re reading or watching movies and/or TV? If so, share them below in the comments.
[Note: I do not consider myself a movie critic. What follows is just one fanboy’s opinion based off of a single double viewing of the film. Oh, and there are SPOILERS ahead for this movie, Wandavision and Loki, so take heed.]
Folks, this is a hard entry for me to write. I’m normally pretty glowing in my reviews of Marvel projects, and maybe a little more forgiving of their flaws, simply because the interconnected nature of the MCU is quite literally a dream come true.
So, it’s going to be tough love today, unfortunately. It’s been a while since I’ve felt the MCU had a true misfire. Opinions vary on that score, of course, but even when the MCU is not at its best (Iron Man 2, Thor: The Dark World, I’m looking in your direction), the movies have been watchable. I would have to rank this movie down in the lower tiers. Strap in, folks, here we go:
I like Doctor Strange, not just the movie from 2016, but the concept of the character and his role in the Marvel Universe. I thought he was fantastic in Infinity War and Endgame. The way he was used in No Way Home didn’t thrill me, but he’s a character that’s powerful enough that he can overwhelm a story if you’re not careful. I think there was a better way to handle his interactions with Spider-Man, but that was a minor issue in a movie I really loved.
I had heard that this movie experienced significant rewrites and reshoots, which started to make my spider-sense tingle, especially since the initial director backed out. But, I can’t blame the guy; Jon Watts directed all three of the MCU Spider-Man movies. He deserves a chance to step away.
Since the torch passed to Sam Raimi, I wasn’t too concerned, as I really love him as a director. The Army of Darkness is one of those movies that I can quote from beginning to end, pretty much right up there with Big Trouble in Little China, The Princess Bride, and Monty Python and the Holy Grail. The first two Spider-Man movies with Tobey Maguire were also incredibly good. I, for one, was glad to see Raimi return to Marvel. At first…
What I liked:
All the Sam Raimi-isms — Like I said, I really enjoy Sam Raimi’s visual style. The monster cams, the extreme reaction shots, the (ahem) break-neck pace. By the end, some of the choices were starting to grate a little, but there is no denying that he directed this film. His stamp, for good or for ill, is indelibly marked all over the movie.
Wanda believes she’s the protagonist — If you’ve read this blog for any length of time, you know that I really love literary villains. In one of my posts, I talk about how villains should always behave as though they are the central hero of their own story. Most villains don’t, and shouldn’t, think they are a villain, and behave accordingly. Thanos in Infinity War is a good example. Even though Wanda does some truly horrific deeds, she still doesn’t think she’s a monster. For most of the movie, anyway. More on that in a minute.
High production values — This is a major Marvel release, and that means incredible visuals, great sound editing, and overall a polished product, at least from a technical perspective. In that way, it definitely delivers.
The acting — One of Marvel’s strengths has been the casting and talent of the performers. I think every on-screen actor that appears here turns in a great performance, even if the material they are handed doesn’t give them much to work with. I think we’re lucky to have Benedict Wong, Benedict Cumberbatch, Rachel McAdams, and of course Elizabeth friggin’ Olsen. The amount of talent they have is astounding.
The Illuminati reveal — I did love this part of the movie, even if it didn’t really go anywhere in the end. We finally get to see Captain Carter in live action, along with Mr. Fantastic, and PROFESSOR X. Wow wow wow. Even though Inhumans wasn’t a good show, I like Anson Mount as an actor. I would love to see Black Bolt return in some capacity…though obviously not this version of him.
Zombie Doctor Strange — This is peak Sam Raimi, right here. An undead Doctor Strange who forges a cloak out of damned souls….OH YEAH! (*said in the Yello voice from Ferris Bueller’s Day Off*) Extra points that Doctor Strange starts sorta talking like a pirate, which seems to be a thing when you’re either undead or a deadite. Love it.
Wanda’s realization that she’s actually the antagonist — Wanda has a Falling Down moment at the climax of the film. She has somehow been able to justify everything she’s done up to that point. Seeing the children she hoped to mother completely terrified of her, to see them rally around the Wanda from that universe, it’s a cold splash of water to the face, allowing Wanda to come back to the forefront from being the Scarlet Witch. She realizes that she is the villain of the piece. Some top-shelf acting from Elizabeth Olsen (on both sides of that scene) really goes a long way.
What I DIDN’T Like:
Where’s Kang in all this? Or Vision? — I thought that the breaking of the timeline in Loki would be a catalyst for this movie, but there is zero mention of him or any of his other incarnations. You might make a case that there’s a difference between alternate timelines and alternate universes, but I suspected that Kang would be the next Big Bad, to use a Buffy term. Worse though, is that Vision is mentioned once, but Wanda never attempts to seek out White Vision or even find a universe where the original vision is still alive. He’s treated, effectively, as though he doesn’t exist. Considering the end of Wandavision, that’s a really odd choice.
Is this the same Wanda from Wandavision? — Speaking of that show, the version of Wanda we see here doesn’t seem to be the same one from the end of Wandavision. I thought the whole interlude had taught her that she needed to learn to refine the use of her powers to avoid hurting more people. I also thought she had made her peace with the illusory nature of her boys and Vision. But here, she is hyperfixated on getting the boys back, even though they weren’t real in the first place. This leads me to my next point.
What is the deal with her kids? — It’s the same two boys from Wandavision, but in the Hex, they were supposed to be the kids she had with Vision. That was all an illusion. Since Vision is an android, we can make a pretty decent guess that he can’t actually father children with her. (I’m fairly certain that wasn’t a concern when Ultron built the body.) But in the multiverse, however, Wanda apparently does have these kids. So, are they magical conjurations as well? Or did she have them the usual way? If the latter, who’s the father? It’s such a central point to Wanda’s character, but there is no real explanation of who, or what, these kids actually are.
The dark side of the Bruce Campbell cameo — I love me some Bruce Campbell, but this…this gets darker the more you think about it. So, a pizza-ball street vendor asks for payment for something a punk kid steals, and in the altercation is about to spray mustard into some arrogant Doctor Strange cosplayer’s face. Mustard. Even if he had succeeded, it would have done zero harm. In return, Strange puts a curse on him to do physical harm to himself for several weeks. Besides just the physical trauma, it seems like it would be pretty hard to eat, drink, or sleep as your limbs act on their own accord. While we see him in the end stinger, in reality that man would be dead. The whole thing is played for laughs, and is completely unnecessary.
So, how long does it take to drain America’s powers? — There are a number of internal inconsistencies in this movie. I don’t want to go into all of them, but one of the biggest ones was this: At the beginning of the movie, Soon-To-Be-Zombie Strange has trapped a demon, one that’s about to escape in the next few seconds. He makes the choice to take America’s universe-hopping power for himself. He’s holding the demon with one hand, and draining her power with the other. The implication is that Strange believes he can take the power in the moments before the demon gets loose again.
At the climax of the movie, Strange and Wong trap Wanda in a spell sphere. She’s also about to break free, so Wong prompts Strange to take the power. Again, the idea is that Strange can do this before Wanda busts out and kills all of them. And yet, Wanda captures America and has her in her temple for potentially hours while Strange and Christine walk through the ruined universe to find Third-Eye Strange, fight him, set up the spell using the Darkhold, then get Zombie Strange to the temple, fight off the spirits of the damned, and then finally get over there to disrupt Wanda’s ritual.
Wanda can’t take the power from Strange? — The frustrating part about America being a living McGuffin (amongst the things), is that Strange taking her power is likely for nothing. It’s never mentioned anywhere in the movie, but if Wanda can drain the power from America, who’s to say that she couldn’t do exactly the same thing to Strange himself? Even if he crossed that threshold, and killed America for her power, Wanda could almost certainly turn around and take it from him on the spot. She soloed against Kamar-Taj, and barely broke a sweat against dozens of the most powerful wizards in the world. As much as I would like to give Strange the benefit of the doubt, the silver bullet they keep bringing up might not actually help them.
The lack of material for America Chavez — I think that Xochitl Gomez does a good job with a character that has almost no backstory, and no real character development. America is treated like a walking, talking McGuffin that’s occasionally snarky. What a waste of potential. I really hoped this would be a grand entrance for both the actress and the character into the MCU, but the character comes off as the bratty, streetwise trope that we’ve seen any number of times in other things. Also, she’s been to 73 universes and never heard of Spider-Man? What the—?
The Fall of Kamar-Taj — I understand the need to show that Wanda is now an Omega-level threat. I thought they established that quite well, but where it fell apart from me was when Wong orders “Fortify Your Minds!” I mean, Wanda’s powers were always about affecting people’s minds, of getting in their heads. If you have a way to ‘fortify your mind’ as a wizard, shouldn’t you have already done that? In game terms, maybe it’s best to cast mind blank before combat if that’s an option. Also, one guy running away is enough to open a hole in the shield? Ugh.
Wong is a pushover — Wong is the Sorcerer Supreme. He, more than anyone else, has an idea of what damage Wanda can do with the Darkhold. One of his wizards even sacrifices herself in a pretty brutal way to make sure Wanda is deprived of the Book of Vile Darkness. When captured, he tells Wanda that she can torture him all she wants, but he won’t tell her anything more. She threatens some of the other wizards, and he folds like a card table. There’s no attempt to resist, or any thought of Wanda trying to get into his head, perhaps even trying to convince him that its Strange asking for the book instead of her. For a character that we’ve seen that’s so great about being a moral compass for Strange, and a solid, reliable presence, this has plot contrivance written all over it. It doesn’t do the character justice.
A multiverse of…three? — There’s a quick cutscene of Strange and America crashing through universal barriers, but other than that, we don’t get to see much of the multiverse. There’s our universe (kind of a given), the 838 universe with the Illuminati, and the destroyed universe where Third-Eye strange resides. I guess for a movie with ‘multiverse’ in the title, I was expecting more variety than just three.
The execution of Strange-838 — I understand that the conflict with Thanos played out differently in Universe-838, and that Strange was responsible for the destruction of a whole universe. While it was a sad scene to see Black Bolt simply say “I’m sorry” and kill his friend, it rankles me a bit that the Illuminati didn’t attempt to reform their friend, find a way to help him, or simply imprison him. They just execute him, and that’s that. I can’t speak for all the members of the Illuminati, but are you telling me that Captain Carter and Professor X in particular would have just been okay with that? No attempt at a redemption, just death? Superheroes should not be in the execution business.
Fall of the Illuminati — Hoo boy. First, maybe don’t tell the bad guy the exact nature of Black Bolt’s powers. Second, for the world’s smartest man, what was he doing? Stretching his arm out to do…what? Punch her? Pat her on the shoulder? While Mr. Fantastic is busily getting spaghettified, and then promptly popped like a balloon, his (remaining) companions do nothing. And if Wanda can do that, why would she bother engaging Captain Carter in hand-to-hand combat at all? Why not a quick balloon-popping for everyone? Then, she drops a statue on Captain Marvel with the implication (the hand-falling gesture) that the hero is dead. Yeah, the Carol Danvers Captain Marvel flew through a concentrated barrage from Thanos’ ship without any hindrance whatsoever. A statue falling on her would be less than nothing.
Like I said, the Illuminati thread just sort of ends without accomplishing anything but slowing Wanda down temporarily, and really not even that. Xavier makes the most progress, in a scene that reminded me of him trying to lock away the Dark Phoenix in Jean Grey, but that fails, once again, with no tangible return or lasting results. I would have almost preferred that we scrub this section completely and get to spend more time with Wanda, Strange, and America. Those three characters could have used it.
Doddering around the Book of Vishanti — I could tell immediately when we got to this part of the movie, from the musical cues, to the camera angles, that the Book of Vishanti would be a non-starter. And so it was. Instead of sprinting towards the book, knowing that one of the most powerful beings in existence is hot on their heels, intent on their destruction, they screw around, wasting what precious seconds they had. In game terms, you’ve got maybe three rounds before the boss gets there. You’ve got one round to get to the book, one round to find the spell you need, and one round to cast it. Sure enough, no sooner has Strange got the book in hand, it’s destroyed without being useful at all.
Since it’s clear that the Darkhold is the polar opposite of the Book of Vishanti, and the Darkhold exists throughout the multiverse, doesn’t it also stand to reason that the Book of Vishanti might also exist in other universes? That possibility is never explored, or even given a line mention. Once the good book is destroyed, it’s never mentioned again. That’s a lot of screen time invested in a McGuffin for it to have zero effect on the outcome.
Slow, dramatic walking as the world is about to end — The movie has a real issue with building up events as important, perhaps even all-important, and then promptly deflating them by having the characters react to them in a ho-hum fashion. The Book of Vishanti was one, but the interlude with Third-Eye Strange really takes the cake. Strange and Christine walk nonchalantly through the ruined universe (he has a repaired cape that allows him to fly at this point), find the Sanctum, and then slowly walk up the staircase. May I remind you that during this interlude, Wanda has America in her clutches, and no one is around to stop her. There is zero sense of urgency in any of this. I could just hear Sgt. Avery Johnson from Halo yelling, “Let’s move like we’ve got a purpose, Marines!”
Doctor Strange checks out — Strange is not responsible for resolving the conflict in his own movie. In fact, as cool as Zombie Doctor Strange is, he doesn’t contribute much to the crux of the action. He hands that completely off to America with a just “go kick her ass” pep talk. America attempts to fight Wanda for three seconds before realizing she can’t win, then on her own decides to give Wanda what she wants. It’s a great twist, leading to one of the best moments of realization in the movie, but the whole thing is resolved without Strange really doing much. Again, what a weird way to go.
There’s no redemption for Wanda — I know a fair few Wanda Maximoff fans, and this was a hard one for them to watch. Wanda makes an incredible villain here. That chase scene through the tunnels really makes her seem like a cross between Carrie and the Terminator, but once she realizes what’s she’s become, she just ends it.
For the sake of the aforementioned fans, I hope that isn’t actually the end for Wanda. Otherwise, that is a great character that’s just tossed into the bin. If Marvel has a redemption arc for Wanda in mind, you certainly couldn’t tell if from this movie. She just drops a mountain on herself as the story just seems eager to be done with her rather than see her try to undo the harm that she’s done. Also, just like Captain Marvel, unless she intentionally willed herself to be vulnerable, dropping the temple on herself wouldn’t have killed her. It’s a frustrating way to handle her exit.
Too many to count. I’ve addressed a number of them in the entries above, but this movie really does leave me with so many more questions than answers, and not just about the story. How much studio interference was there? What concessions were made? What did the original story arc look like? What was left on the cutting room floor that might have made more sense than what we got in the end? I guess we’ll never know.
It’s definitely exciting and visually appealing…but, too much of it is on the surface or winds up being a confused mess. There’s too much of “Wow, that was cool. Don’t think too hard about it.” That phrase might as well be the motto of the entire movie. Unfortunately, a second viewing only made the cracks stand out in even sharper relief.
Doctor Strange in the Multiverse of Madness is an odd puzzle piece for the MCU. It doesn’t really fit with what was established in the movies and shows that led up to it, and it doesn’t seem to further the somewhat meandering Phase IV continuity moving forward. Heck, it doesn’t even seem to jive with itself half the time. I expected that this movie would leverage what Loki had set up with Kang, even if it was only a line mention. It didn’t, and that seems like a big missed opportunity.
Overall, I’m not sure if the MCU is served by this movie’s presence. Unless future installments refer back to the events here, such as a return of Wanda, I don’t think this one is required viewing. If you’re not a Sam Raimi fan, or if you have an aversion to horror in your superhero movie, it’s definitely a hard pass. Even if you are a fan of those things, it still might be worth skipping. I wish that weren’t the case, but here we are.
This next Tuesday, April 26th, marks three years since the release of the final installment of the Infinity Saga. At the time, I wasn’t sure if anything could truly cap off 11 years of the MCU, including 22 movies and one helluva setup with Infinity War. I should’ve known all of you would knock it out of the park.
Of course, the odds of any of the actual cast reading this are admittedly pretty slim, but writing this is cathartic for me after the emotional roller-coaster that is Avengers: Endgame that still lives rent-free in my head now in 2022.
First, the general stuff:
This goes out to not only the cast but the crew as well. It took a literal army of people to bring this movie to life. No matter what your role was on this film, on or off the screen, it’s clear that your passion for the work came shining through in a way that’s seldom seen. I’m sure there were a myriad of frustrations and obstacles that we, as the viewing audience, will never understand or even know existed. But you persevered, laboring to create something truly beautiful.
And what you have created is nothing less than a love letter to the Marvel Cinematic Universe. As both a comics fanboy and movie enthusiast, I am humbled by the feature you collectively delivered. Truly.Humbled. From the bottom of my heart, thank you. You have no idea what your work means to me.
There are a few folks in particular I would like to address. Obviously, I can’t cover everyone involved in a production this size (this may lead me to write a Part 2 to this eventually), so let me simply say that every actor who made an on-screen appearance played their part to perfection. Every single one. The MCU has always had pretty inspired casting, and I can safely say that the acting here is phenomenal across the board. I love you all.
Okay, now the specifics:
Jon Favreau – Where would we be if you hadn’t directed the original Iron Man? For me and many of my friends, it’s been our collective dream to see an interconnected universe where these heroes could team up and interact with each other. You set that in motion, and I’m really happy (note the use of the word) that you have maintained a recurring character. I always look forward to seeing him, and wow-oh-wow did your scene with young Morgan strike home, post-funeral scene. While it’s not strictly on topic, I have really enjoyed The Mandalorian and other Star Wars projects that you and Dave Filoni have created. I look forward to many more.
Alan Silvestri – I’ve been listening to your Endgame score while writing this letter. It’s so evocative. There’s pain, and despair, but there’s a slender thread of hope that runs through it. One of the hardest things about watching this movie was seeing all these characters I love in such pain, and you underscore it beautifully. Let me add that I’ve been a fan of your scores since Back to the Future. Your work regularly appears on my writing playlists. Your ability to inspire, or to break my heart, through music is astonishing. When your Avengers theme comes on, I feel like I can fly.
The Russo Brothers – You did the impossible. You brought a million disparate threads together, weaving them into a tapestry worthy of Odin’s great hall. Your contributions to the MCU in the past have been top-tier. Winter Soldier and Civil War are visual poetry. And now with Infinity War/Endgame, you have created the crown jewel of the Infinity Saga. You should be proud.
Tom Holland – I know that you weren’t in this film very much, but every moment with Spidey is absolute gold. You really twisted the knife in Infinity War with your “I don’t feel so good, Mr. Stark” line. I’m still not sure I’ve recovered from it. And then, the look on your face when the tables were turned at the end here — wow. Peter’s vulnerability is something that really shines through every time you’re in the role. Also, as I said in my No Way Home review, that was pretty much everything I could have ever asked for as a life-long Spider-Man fan.
Jeremy Renner – The first scene of this movie really allows you to shine. As a parent, it really struck home. The confusion, which quickly turns to fear, it was all there on your face. This was a Clint that was hard to watch because he was just so dead inside, and we as the audience were witness to the moment it happened. I think you are a fine actor, and I think that this is some of the best work I’ve ever seen from you. I was also very pleased by the Hawkeye Disney+ series. I hope that this isn’t the last we’ve seen of Clint Barton.
Scarlett Johansson – What a legend. Thank you for being an integral part of the MCU since Iron Man 2. I know that death in the comics, and often in the movies, can be more of an inconvenience that anything else. That wasn’t the case with Nat’s death. It felt pretty permanent, and thus more real. I gotta say, Endgame had me crying about six different times, and I when saw Nat fall, I was bawling. No more red in her ledger. She made the hard call. It was incredibly harsh to watch, but what a way to go out.
Paul Rudd – I have to tell you that Scott’s reunion with Cassie was incredibly moving, and one of many places where the screen was suddenly blurry for, ahem, no well-explained reason. There are so many emotions playing across your face in that moment. I love that Ant-Man is the key to the Avengers’ eventual victory, and that you had so many great moments. You, sir, are a national treasure. I look forward to seeing you return in Quantummania.
Mark Ruffalo – You took one of the most challenging characters to portray in maybe of all of Marvel, and you make it look effortless. I can’t even imagine the level of motion capture rigs and general weirdness it must take to turn in a Hulk performance. I loved seeing Professor Hulk in this, where Bruce had found a kind of balance with the dual sides of his nature. While Tony may have defeated Thanos in the end, it was the Hulk that undid the Blip. Half of the universe returned to life because of his direct actions. As accolades go, that one doesn’t suck.
Chris Hemsworth – Of all the Avengers, Thor is the one who internalized the failure to stop Thanos the most, taking him down a self-destructive path. I know that a lot of it gets played for laughs, thanks in part to your incredible comic timing, but those moments when we see Thor reflect on his role in events is moving. He’s always the hero who is exactly where he needs to be when it matters most, so for him to fail by a matter of seconds was gut wrenching. I noticed in the recent Thor: Love and Thunder teaser that Thor is trying to find his place in the universe after all of that. I am here for it.
Chris Evans – Oh Captain, My Captain! I remember seeing Cap standing alone on the field facing Thanos, hurt, dirty, with a broken shield in hand. I knew that this would be the last movie where you played Steve Rogers, and I was painfully aware of how that confrontation played out in the Infinity Gauntlet comics. I remember sitting in the theatre thinking, “Oh god, this is where we lose him.” Even when it all seemed hopeless, when the Avengers were scattered, we see that Steve is ready to fight to the last.
Then we get perhaps my favorite moment in any MCU, set to this piece of music. There used to be these promotional posters that just said “Marvel Universe” on them. They were entirely covered with overlapping superhero art. There was one of those hanging up at the local comic shop (local being a relative term) when I was a kid. I used to stare in awe at it. Every single hero on that poster had a story, an origin, dreams, challenges, victories, and defeats.
Seeing Cap lead the Avengers into battle one last time took me back to that poster, a reminder of my earliest interest in Marvel comics. Of course, finally hearing you say “Avengers, assemble!” was the cherry on top. Thank you for a great run as Captain America.
Robert Downey, Jr. – Here’s the thing about Iron Man for me: My love for the character is second generation. I got it from my Dad, who read Iron Man comics as a kid in the late ’60s. He encouraged me to read the comics, and love of the character is something we’ve bonded over. His birthday is in May. Since Marvel tends to kick their summer off around that time, practically every year I’ve had a movie to take him to around his birthday. In 2008, we saw the first Iron Man together in a little theatre in East Texas. When we saw Endgame together, it was in the same theatre. We ended our journey with Tony Stark in the same place it began. Just thought I’d share that.
You are a once-in-a-generation casting for this role. Others might have been able to do him justice, but you took the very real pain from your personal life and used it to bring Tony to life in a way that felt right, felt true. I am thankful for every second of every appearance of your Tony Stark. From the bottom of my fanboy heart, thank you.
Truth is, I’m super selfish. If you had played him 100 times, I would want to see 101. I know that there comes a time for all things to end. And as heroic ends go, Tony’s is pretty hard to beat; he not only defeated Thanos, but saved the life of every living being in the universe. Every character we see from now on in an MCU film owes Tony a debt of gratitude. We’ve already seen the shadow that his absence casts, particularly over Peter Parker. I am curious to see how his legacy unfolds moving forward, especially as we get into shows like Armor Wars and Ironheart.
I’m sure that you’ve heard this a million times by now, but I sincerely mean it:
I love you 3000.
And really, that goes for everyone associated with this movie.
[Full disclosure: I wrote the bulk of this blog post a while back as a fun, tongue-in-cheek sort of writing prompt. As it deals with some themes of war, and we find ourselves watching in collective horror at what’s going on in Ukraine, I’m putting a mild trigger warning on this one.]
The pandemic has seen me return to a number of my favorite shows. Needing a little levity and excitement, I decided to pick up all five seasons of The A-Team. I have fond memories of seeing it as a kid, and let’s face it…you just can’t be unhappy when that iconic theme song is playing. It is simply the way of things.
Well, in one of the earlier episodes, Face, Murdock, B.A., and Hannibal are on a mission in South America. As it’s pretty warm there, we see George Peppard wear a bandana around his neck like an ascot as he merrily smokes cigars and fights the assorted baddies in that week’s episode. At that moment, I was struck by how much Hannibal looked like an older, extremely badass version of Fred Jones from Scooby-Doo.
And that got me to thinking: What if the two men were actually the same person?
What follows is the resulting story as my mind started making connections between the two.
The child that would come to be known as Fredrick Jones, Jr. was born in the autumn of 1932 in Crystal Cove, California. The son of the mayor, he never knew his mother who (supposedly) left when he was very young. A curious and intelligent child, Fred had a natural knack for mechanics, gimmickry, and gadgetry, particularly in the area of building traps. He was also fascinated by the True Crime comics of his day, leading him to take an interest in investigation and deductive reasoning. This would lead him to meet and befriend Norville “Shaggy” Rogers and his Great Dane, Scooby-Doo, the incredible genius Velma Dinkley, and the woman who would become the love of his life, Daphne Blake.
As he grew to be a teenager, he excelled at sports and athletics, turning into a handsome young man who was socially popular. Even with all the attention, he only had eyes for Daphne. The four of them would solve many mysteries and strange occurrences before founding Mystery Inc. officially. Upon earning his driver’s license in 1949, his father rewarded him with a bright teal Volkswagon minibus, one of the first ever sold in the United States. Shaggy would paint green flourishes over it sides, while Daphne and Velma added orange daisies. Together, they dubbed the van the “Mystery Machine.” The vehicle would come to symbolize their unique bond, and it would become their home for the next two years as they toured the country, investigating hundreds of supernatural phenomena and mysterious happenings.
In every instance where they meddled, they found it was someone merely attempting to frighten people with clever light shows, special effects and — most notably — personal disguises. While the majority of the disguises turned out to be rubber masks that could be easily pulled off, a fair few of them used makeup, wigs, and spirit gum in ingenious ways to give their appearance realistic and convincing details. Little by little, Fred learned from their disguise techniques, stowing them away to one day become a master of disguise himself.
During this time on the road, Velma kept a detailed journal of their adventures. Years later, a copy of this journal would wind up in the hands of executives at Hanna-Barbera, who would translate the colorful adventures contained within into an animated series named for Norville’s mystery-solving dog.
In early 1952, Mystery Inc. went their separate ways. Velma went to MIT on a full-ride scholarship for math and science. Daphne went to study architecture in places across Italy and France. Norville and his dog became nomads, continuing to seek out adventure and oversized hero sandwiches wherever the winds of fate might carry them. With a tear in his eye, Fred handed Norville the keys to the Mystery Machine to aid them in their travels, and said good-bye.
The breaking of their band was hard on Fred, but the loss of Daphne made the familiar sights of Crystal Cove too painful to bear. Wanting to get away from it all, he secretly created a false identity for himself and enlisted in the Army. Knowing that his father would not approve, Fred signed his papers with the most non-descript name he could think of, one that would be virtually impossible to track: John Smith. He would likewise wear gloves at almost all times to keep from being tracked by his fingerprints.
His exceptional physical abilities, combined with his innate leadership skills and cleverness, made him a natural choice for the Green Berets. Once in training, he drilled on a host of skills, including operating small arms, parachuting out of a plane, and outflanking and out-thinking an enemy in virtually any environment. In short order, he deployed to Korea in the final year of the war. The unorthodox methods he employed while in the field won him the nickname “Hannibal,” a nom de guerre he would carry for the rest of his life.
After leaving Korea, he was tapped for Officer Candidacy School (OCS), where he underwent his transformation from an enlisted soldier to an officer. Over the next few years, the Army would invest heavily in Hannibal’s education, heaping upon him extra training and learning opportunities. He excelled at every turn. He was among the first American ‘advisors’ to reach Vietnam in the late ’50s. While the fighting did not quite reach the fevered pitch that it would a decade later, Hannibal wearied of fighting.
By 1962, Hannibal’s term in the Army was almost up. He toyed with the idea of leaving the fighting behind and settling down. While on leave in the United States, he looked up Daphne, hoping to rekindle their old flame. He proposed on the spot. Unfortunately for Hannibal, she was already considering an engagement to Jack Harmon, a successful businessman. While Daphne still harbored feelings for Hannibal, she ultimately chose Jack over her old Mystery Inc. friend and lover. Hannibal was still an adventurer, still destined to travel the world, where as Daphne had dreams of starting a family.
Though brokenhearted, Hannibal knew that Jack was a good and decent man who would take care of Daphne. Hannibal and Jack parted ways as reluctant friends. With nothing left for him in the United States, Hannibal re-enlisted in the Army and once again shipped out to Vietnam. In 1965, Jack and Daphne welcomed a baby boy into their family, Fred “Kid” Harmon. Hannibal would visit them often when he returned to the States, where his namesake would recognize him as “Uncle John.”
In Vietnam, Hannibal would continue to make a name for himself. While he remained fit and operational, his blonde hair slowly turned into a silvery gray, but his signature blue eyes remained bright, however. While never a hard drinker, the years of war and conflict did see him pick up the habit of smoking cigars, particularly Cuban panetelas.
Always one to surround himself with talented people, he came to build a new core team in the jungles of Vietnam, somewhat modeled after his experience with Mystery Inc. Shortly before the Tet Offensive kicked off in 1968, he recruited and befriended four other Green Berets: the handsome, fast-talking swindler, Templeton “Faceman” Peck, the half-crazed Huey pilot with an invisible dog, Captain H.M. “Howling Mad” Murdock, and the tough-as-nails Sergeant Bosco Albert Baracus (or simply “B.A.”), who would prove to be the most capable fighter Hannibal would ever encounter.
While Hannibal hadn’t planned it that way, the four of them mirrored the structure of Mystery Inc. Hannibal was once again the leader, with Face as the resident convincer and influencer, and Murdock as an analogue to Norville’s zany antics. Oddly enough, B.A. was the genius of the group like Velma had been all those years before. Instead of a scientific genius, however, Mr. Bad Attitude himself was an absolute wizard when it came to vehicles and mechanics. The four of them together had a knack for kit-bashing what they needed for the mission out of the materials at hand, including elaborate traps, which Hannibal excelled at building.
The four of them would come to form a crack commando unit tasked with the most difficult missions the Vietnamese theatre could throw at them. They were known as Alpha Team during their early exploits, a name which would later be shortened to the A-Team. They would become the most famous soldiers in Vietnam, though H.M. Murdock’s role as the team’s resident pilot would remain ambiguous, at least as far as the Army was aware.
At various times, they would cross paths and run missions with the likes of fellow Green Beret, Michael Arthur Long, the ingenious bomb specialist, Angus “Bud” MacGyver, noted college athlete, James Crockett, and decorated Navy SEAL, Thomas Sullivan Magnum IV. There was even a friendly rivalry that developed between fellow helicopter pilots Murdock and Stringfellow “Stray Dog” Hawke.
In 1972, their commanding officer, Colonel Morrison, ordered them on a super secret mission to rob the Bank of Hanoi in an attempt to end the war. While they were successful in completing the mission, they returned to their base to find it utterly destroyed and Colonel Morrison killed. Without any evidence that they were ordered to rob the bank, it appeared to the Army that the A-Team had gone rogue. Upon reporting in to clear their names, they were arrested.
These men promptly escaped from a maximum security stockade to the Los Angeles underground, where they survived as soldiers of fortune. Glad to be back in his native California, Hannibal found that he had traded the steaming jungle terrain of Vietnam for the concrete jungle of modern-day LA. For the next 10 years, the four of them used their skills to fight for those in need, sometimes for pay, sometimes out of the necessity of the cause.
Still wanted by the government, and pursued by the tenacious Colonel Lynch, and others like him, Hannibal mounted a successful mission back to Vietnam in late 1982 to recover the gold taken on that fateful mission. Once in hand, they divvied up the money. H.M Murdock gave most of his away to various animal charities and checked himself into a military psychiatric ward to avoid suspicion. Face spent his reward on the finer things in life, but his pockets were soon emptied. Hannibal anonymously invested his earnings into his adopted nephew’s fledgling racing career.
Yet, the part that made Hannibal’s heart soar was when B.A. spent his reward on a black and gray 1983 GMC Vandura with red turbine wheels, a spoiler, and slanting racing stripes down the sides. B.A. had supercharged the engine, reinforced the frame with bulletproof panels, and installed secret compartments, including weapon storage and even a full photographic and printing suite.
B.A. had prepared for them a mobile command center, a home away from home, a vehicle that would be emblematic of their loyalty to one another. Once again, the man from Crystal Cove, who had worn many names in his lifetime, and helped countless people, slipped into the seat of a van with his closest friends to seek out adventure in the great unknown.
There you have it, folks. If you write fan fiction of either property, feel free to take this information and do with it what you will.
This was an interesting thought experiment for me that I really enjoyed writing. Would you like me to do others in a Strange Headcanon series? Would you like to continue the timeline of this particular thread? If so, leave me a like or a comment to let me know.
[Note: I do not consider myself a movie critic. What follows is just one fanboy’s opinion based off of a single viewing of the film. Oh, and there are SPOILERS ahead for this movie, Loki and Hawkeye, so take heed.]
At the time of this writing, Spider-Man: No Way Home has taken the world by storm, clocking in at a whopping 1.6 billion at the box office. According to Box Office Mojo, it’s already surpassed Black Panther to take 4th place in the top domestic earners of all time and 8th place worldwide. That’s crazy in the best sense of the word. I only wish that Stan the Man was still with us to see not one but three versions of his famous creation save the day on screen. Together.
Since we are going to be talking about different actors playing the same character, I’m designating them in order of chronological appearance, so:
Peter-1 – OG Spider-Man/Tobey Maguire
Peter-2 – Amazing Spider-Man/Andrew Garfield
Peter-3 – MCU Spider-Man/Tom Holland
There was no way I wasn’t going to see this movie. I wasn’t super keen on heading to a packed theatre to see it, but I did so anyway. Tom Holland has proven himself an inspired casting choice for Spider-Man, and seeing him in the role would have been enough to motivate me. The studio leaks that said that Tobey Maguire and Andrew Garfield would reprise their roles as the titular character gave me a little pause. Not because they weren’t great, but I was somewhat worried that too many things would try to be smashed together into one movie. You don’t have to look any further than 2007’s Spider-Man 3 to see how a story can falter for having too many elements going on at once. That many characters on screen, even with a long run time, can be challenging to land just right.
All of my concerns proved unfounded, however. To say that this movie sticks the landing is the understatement among understatements.
What I LIKED:
DAREDEVIL! – I let out an excited yell in the theatre when Charlie Cox showed up as Matt Murdock. And this within days of Vincent D’Onofrio’s Wilson Fisk showing up on Hawkeye. It still remains to be seen how much they are like their Netflix appearances, but to have them as an official part of the MCU after being consigned to legal limbo is incredible. Now that it’s been established, I hope we start seeing Charlie Cox show up in other Marvel projects and eventually headline his own series or movie again.
Peter-3’s Sense of Compassion – Peter didn’t take the easy way out. At any time he could have pushed the button and made the issue of the villains (literally) disappear. Even when they turned on him, his goal was to help them, a decision that ultimately costs him dearly. Yet, he still does it. At the battle at the Statue of Liberty, his goal wasn’t just to punch them, but to cure them. It all calls back to Peter’s innate humanity and compassion. Yeah, he got a little carried away with Green Goblin there for a moment, but it’s hard to blame him. And, wow, can Norman Osborn take a punch. That formula must’ve been really something.
Real Consequences – I’ve heard it said that nothing in the MCU feels like it has any real stakes since it can be undone or retconned easily enough. That’s less of a problem with Marvel movies and more an issue with comics in general, I think. But here, Peter’s choices have lasting consequences. From the looks of it, the aftermath of this movie doesn’t feel like it will be overturned.
Returning Heroes – If there’s a trope that’s my literary kryptonite, it’s the returning hero. Especially if the hero was thought lost or has been away for a long time. Seeing Peter-1 and 2 show up again is a warm hug straight to the heart. It’s great to see Tobey and Andrew step into these roles when we weren’t sure if we would ever see them wear the red and blue again. Love it.
Aunt May Says the Words – When Spider-Man showed up in Captain America: Civil War, I had assumed that this version of the character had witnessed Uncle Ben die as well. My guess was that after seeing that event happen twice on screen that the screenwriters (wisely) didn’t want to show us all that again. From how this played out, it looks like Aunt May might have been with Ben when he died instead. Spider-Man is, unfortunately, fated to lose someone he loves dearly. Yet, he always takes that loss and transforms it into something positive. We hear Marisa Tomei say the immortal words that Stan Lee left us with all those years ago, and it really hits home. Tom Holland brings such a wonderful vulnerability to the character, and his performance is so good in that scene that it feels like the loss we see on screen is really happening.
Spider-Man vs. Doctor Strange – I normally don’t like it when superheroes fight, but I felt this one was justified, even if I think Strange should have at least heard Peter-3 out. While it would seem that Strange should just be able to roll over Spidey without issue, that Peter was able to use math to find a way to beat Strange at his own game shows us just how smart our friendly neighborhood Spider-Man really is.
The Scooby Gang – Some of my favorite moments in the movie are when Peter-3, Ned, and MJ are together as friends and trying to determine what they’re going to do. The chemistry of those three actors is fantastic. Spider-Friends…go for it!
The Sinister Six Five – Each of the villains had their moment to shine with stand-out performances by Alfred Molina and Willem Dafoe as Doc Ock and Green Goblin, respectively. Seeing both of them step back into these roles is a real treat.
J. Jonah Jameson – If ever there was an actor who really nailed it in bringing a character from the comics to life, J.K. Simmons did that with the bombastic editor-in-chief of the Daily Bugle in Peter-1’s continuity. Seeing him reprise his role in the MCU is a real bright spot. Any time we get hear him say, “He’s a menace!” I am there for it.
Happy Hogan – This one hurt. This really brought home the extent of what Peter had to sacrifice to win the day. We see the full extent of Strange’s spell in effect here. Jon Favreau helped start the wheels of the MCU turning with the original Iron Man. I’m always glad to see him as a recurring character. I hope he’s able to keep going with Happy for as long as he wants.
Venom – If I’m being frank, I haven’t been a big fan of either of the Venom movies that have come out. I didn’t hate them, but I wouldn’t say that I liked them. I was a bit concerned by the stinger in Venom: Let There Be Carnage. I didn’t really want that version of the character in the MCU. Thankfully, we got the best of both worlds. Tom Hardy’s character was banished back to his own continuity, but we got a trace of the symbiote left behind that could be a catalyst for other stories. Since Secret Wars is in the production pipeline, maybe that’s where it will come into play.
What I DIDN’T Like:
Doctor Strange’s Initial Spell – As a long-time D&D player, I have a special appreciation for the wish spell. Specifically, how you should approach it carefully and go into it with clearly defined goals and intentions. If you’re asking a wizard to cast wish on your behalf, you should probably have a bit of a chat beforehand, yeah? Make sure that you’ve thought it through, worked through all the possible ramifications, and set the conditions that are important to you. I know this is a plot device showing itself here, but it’s odd that Strange would put such a major spell in motion without knowing all the caveats Peter wanted in place. Also, from the way it’s presented, Strange would have blanked his own memory if the spell would have gone off. He has that wonderful “So long, kid,” moment at the end of the movie, but here it looks like he’s ready to edit Peter out of his life without hesitation.
Doctor Strange’s Final Spell – I had a disconnect here, and I’m curious if anyone else had this as well. The first spell was designed to make everyone forget that Peter Parker was Spider-Man, not to forget Peter entirely. My understanding of it was that everyone would still know that Spider-Man exists, but they would lose all knowledge that Peter Parker was the one behind the mask. So, those who knew Peter personally, like say Flash Thompson, wouldn’t forget that he exists. When the spell is finally unleashed at the climax of the movie, however, it makes everyone forget who Peter Parker is entirely. Ned and MJ don’t just lose the memories of Peter-3 being Spidey, they don’t know him at all. Yet, everyone still knows that Spider-Man exists. Anyone else feel that this didn’t exactly add up?
Doctor Strange’s Sudden Lack of Empathy – Okay, I know it sounds like I’m ragging on Strange a lot here. Benedict Cumberbatch turns in a great performance, as always. My issue with this portrayal of the character is that he’s willing to condemn the Sinister Five without much thought or contemplation on the matter. Where is his Hippocratic Oath in all this to do no harm? Even if it was their fate to die, clearly that can be changed as evidenced by the ending of the movie. He’s the one who said that simply killing people means that you lack imagination. If someone could find a way to defy fate, it’s the guy who literally messes around with the source code of reality. That he’s not willing to hear Peter out on the matter strikes me as weird and puts the characters into direct conflict with each other.
Some Connecting Scenes – Seeing the three Spider-Men fighting together around the Statue of Liberty was mind blowing. A few of the scenes of them interacting as Peter Parker, however, felt a little ad-libbed. Mainly, I’m talking about the lab scene and where Peter-2 is popping Peter-1’s back. The direction in those scenes felt suddenly unsure and flat, whereas much of the rest of the movie had a much more noticeable dramatic weight to it.
How was Electro brought into the spell when he didn’t know Peter-2’s identity? What becomes of Peter-1 and Peter-2’s timeline since their villains were redeemed? Harry Osborn from Peter-1’s timeline became the Green Goblin (and subsequently died) only as a result of his father’s death. Does the newly reformed Norman Osborn returning to the moment before he died change all that? What about Doc Ock who went into the water near a raging ball of fusion? One hopes that Doctor Strange had the presence of mind to return them to someplace safe. Speaking of whom, how does the fracturing of the multiverse at the end connect to the same effect we see in the Loki series?
Beyond that, what will become of all three Spider-Men? Will we ever get to see Tobey Maguire in the role again? What about Andrew Garfield? Would that change the outcome where he lost Gwen Stacy? Regardless, if the studios haven’t approached Emma Stone about playing Spider-Gwen at some point, I feel like they’re missing a step.
Lastly, what will happen to our beloved MCU Spider-Man? When we leave him, he’s all alone in the world. He has no family left, his friends have forgotten him, and even the Avengers won’t remember him if they bumped into him on the street. While that means that he can operate as Spider-Man without the fear of a backlash to those he cares about, Spider-Man has never been a lone wolf. His relationships and attitudes towards other people have been a big influence on him. Where will he go from here?
What a ride. What. A. Ride. I have enjoyed the MCU offerings post-Endgame, but there hasn’t been the same unified meta-structure as in the Infinity Saga. This movie feels like it sets in motion what Doctor Strange will have to contend with in Multiverse of Madness this May. That feels like the next big narrative thread that the next cycle of movies will explore. So, in addition to being an incredible accomplishment of its own, No Way Home gives us that next big landmark, and delivers it in a larger-than-life way that I wouldn’t have thought possible. I honestly could not ask for more from a Spider-Man movie.
Of course, it’s also a big reset button to everything we’ve built up for Peter-3 so far. I do hope that future installments (which given the incredible earnings of this film make them virtually guaranteed) will start to rebuild the Wall-Crawler’s interrelationships. We get a hint of that in the donut shop scene, but we need more of it. A lot more. Regardless of where the franchise goes from here, I think Spider-Man: No Way Home absolutely deserves every penny it’s earned.
Before I get into the particulars of the movie, I wanted to say a few words about Carrie Fisher. Like so many, I was shocked to hear of her passing. First there was the news of her heart attack, then her death, AND THEN her mother’s death. I can only imagine what the family is going through right now, and my heart goes out to them.
To me, she’s royalty.
Of course, growing up with Star Wars I had a huge crush on Princess Leia. Yeah, I know what you’re thinking, and it actually wasn’t her slave-girl outfit that did it for me. The moment that I think I truly fell in love with Princess Leia is when she removed her helmet after thawing Han out of the carbonite. “Someone who loves you,” she said, and there were anime-style hearts in my eyes. And if that didn’t really drive it home, the moment when she turns the tables on Han on Endor, stealing his own line of “I know” just before she zaps a Stormtrooper cemented in my mind that she was no wilting daisy. True, she was the damsel in distress in Episode IV, but her sass and overall attitude showed us that she was anything but the standard-issue screen heroine of the day. Bear in mind that is was 1977, a time when the changing role of women in fiction, particularly science fiction, wasn’t even a conversation we were having as a society.
But fan worship aside, I respected Carrie Fisher for her abilities as a writer, and for her outspoken stances on mental health and substance abuse. Unfortunately (for me, at least), in all the sci-fi conventions and events that I’ve attended over the years, I never had the privilege of meeting her. From what I hear, she was quite a lady. And though Leia Organa may be the role she is remembered for the most, I appreciate the real person who brought her to life, and the lasting impact her work has had on the world. Rest in peace, Carrie Fisher.
Now, to the review. Roll the standard spoiler warning:
[Note: I do not consider myself a movie critic. What follows is just one fanboy’s opinion based off of a single viewing of the film. Oh, and there are SPOILERS ahead, so take heed.]
The first of what could be an endless series of standalone Star Wars movies, Rogue One: A Star Wars Story hit theatres a couple of weeks ago. In that time, it’s made over $650 million worldwide. With the original extended universe cannon gone, Rogue One steps up to fill the gap of how the Rebel Alliance got its hands on the Death Star plans. With a new cast of characters, we embark upon the first of the non-episodic Star War stories.
The ‘One’ and only. Trust me.
First Impressions: Despite my damaged-but-still-intact love of the franchise, I wasn’t looking forward to this movie. It felt unnecessary, like an obvious attempt by Disney to milk their purchase of its revenue potential. The trailers didn’t do much to change that idea. Still, it is a return to the era of Star Wars that I love the best, so it’s not like I wasn’t going to see it. (Let’s be real here.) I liked but didn’t love The Force Awakens, so let’s see how it goes.
LIKE. A. BOSS!
What I Liked:
– DARTH FRIGGIN’ VADER! I thought he really was going to be a minor cameo in the movie, but Great Scott…that end corridor scene. Why do people fear Darth Vader? This is why. Plus, it also seems to give us an answer to why Vader is so angry when he first boards the Tantive IV. He’s calm and collected the rest of the time, but I now see why he wants to ‘tear the ship apart’ when he finally catches up to it.
– The Battle of Scarif. If you’ve read my sci-fi, you know I’m a sucker for a ground battle going on while a gigantic space battle rages overhead. We got that in Return of the Jedi, and the climactic battle sequence here is pretty much everything I could have hoped for, and more. This definitely puts the ‘wars’ back in ‘Star Wars.’
– Perhaps a better name for the movie should be ‘Suicide Squad.’ The movie pulls no punches. I had thought that perhaps our band of misfits might be return for a sequel, but that will not be the case. One of the problems with an epic story like Star Wars is that the death of a major character will be rare. For a one-time cast, each of our intrepid heroes steps up, does their job, and goes down like a boss. When the bill came due for Imwe and Malbus, I genuinely teared up. I am one with the force, and the force is with me. I am one with the force, and the force is with me.
– Seeing Biggs and the Red and Yellow squadron leaders back in action through unused footage from Star Wars. Now we know why there was a vacancy for Luke in the form of Red-5, and why there was no Blue Squadron attacking the Death Star around Yavin. Plus, seeing some minor characters like General Jan Dodonna and Mon Mothma recast so that they can still be a part of story was cool as well. And that leads me to my next point…
– CGI Characters. This is perhaps my most divisive opinion on the film. Bringing characters back to life was handled pretty well and with respect, I thought. When I first saw Governor Tarkin, I thought he would be a brief cameo. Nope. He plays more of a part in the story than I would have thought. While we’re not quite there yet with the technology, we’re still better than we were with Jeff Bridges in Tron: Legacy. I do wish the voice actor for some of Tarkin’s lines had stayed more with Cushing’s sharp British delivery, but that we got as much as we did was great. CGI Leia was a bit less impressive, but hearing Carrie Fisher say “Hope” was moving, especially now.
– The Score. John Williams didn’t do the soundtrack for this movie, but Michael Giacchino does a pretty good job at capturing Williams’ trademark Star Wars style. I do wish the main theme had been used a bit more, though. It’s not just for Luke!
– Expansion of the New Lore. From the Guardians of the Whills, to reaffirming Kyber crystals while establishing that this is what powered the Death Star’s planet killer, this story does a lot to fill in the gaps of the continuity, particularly since the old lore is dead, dead, dead.
Cool shot. Too bad it’s ‘Sir-Not-Appearing-In-This-Film.’
What I Didn’t Like:
– The TRAILER. Part of the reason I wasn’t excited about the movie was because of the trailers leading up to it. It felt like one big warning that Jyn might somehow betray the Rebellion and join the Empire, that she should remain true to herself no matter what came her way. Well, almost none of the footage or lines from the movie trailer made it into the final movie. Jyn’s dramatic turn in an Imperial uniform while the lights in the corridor go up? Nope. Any hint of her joining the Empire? Nope. Cassian and Jyn on the beach fighting AT-ATs? Nope. Vader talking with Krennic on the Death Star? Nope. Jyn’s whimsical line of “It’s a rebellion. I rebelled”? Nowhere to be found. I understand that footage can be cut different ways to dramatically change its meaning, but the footage they used is not even in the movie. Not just a scene here or there, but a sizeable chunks of what was shown just isn’t there. It’s too bad, because I enjoyed the movie that I got a whole lot more than the movie the trailer previewed.
– No Title Crawl. Yeah, I know that it’s not part of the trilogies, but I still missed it. The slow scroll of words while the Star Wars theme blasts is an essential part of getting me hyped for what’s to come. It wasn’t there at all, and its absence was ringing.
– The Names. Aside from Krennic, Jyn and Galen, I had a hard time remembering the names of the characters. Maybe it’s just how long the Star Wars universe has been around, and the memes that go with it, but the names sort of went in one ear and out the other. They also didn’t seem to use them in dialogue very much, so that part made it even harder to catch them. If you don’t know a character’s name, I think it’s a little harder to sink your teeth into them, figuratively speaking.
– The Beginning of the Film. It felt slow and overly complicated. To be fair, there were a bunch of characters to introduce, but it seemed like a lot of explaining on a theme that we likely already know going in. We get to Jedha and things pick up, and then sort of fades again at Eadu. Scarif is pure joy and awesome, however.
– This is kind of a weird one, but important to me nonetheless: I know that having the Rebellion do shady and horrible stuff is a way to make it more realistic, but I like the clear dichotomy between the good guys and bad guys in this franchise. I generally prefer more morally ambiguous stories…just not in Star Wars. It’s for all the same reasons why the ‘Section 31’ episodes of Star Trek: Deep Space 9 don’t work for me. Yeah, that’s great for another sci-fi property, but keep it out of this one.
– A Nerdy Nitpick: I realize that Diego Luna was using his normal speaking voice in his portrayal of Cassian Andor. While he is from Mexico, his accent came off as French (which struck me as on-the-nose considering he’s in the resistance against a jack-booted fascist regime). We’ve never had much variance of accents in Star Wars, just the occasional British accent, so that was a little distracting from his performance.
– A REALLY Nerdy Nitpick: Galen’s farm at the beginning bears a striking resemblance to Uncle Owen’s farm on Tattooine. The equipment, the interiors, even the layout all have a similar look. The thing is, Uncle Owen wasn’t into growing crops — he was a moisture farmer. Tatooine has so little moisture that a whole industry had to spring up around coaxing moisture from the air and turning it into usable drinking water. The planet Lah’mu, however, is wet. Really wet. So wet that Krennic walks through a puddle to get to it and it’s sprinkling while they are talking. So what kind of farming was Galen doing?
Questions you have. Resolution to them we have not.
If anything, Rogue One does a pretty good job of tying up loose ends, especially with its rather Shakespearean ending. If Galen thought that the Empire would never find the hidden weakness he installed, why was it found so easily in A New Hope, leading to Tarkin’s “moment of triumph” speech? Also, why would Leia even pretend to be on an ambassadorial mission when it was clear that she had just been at Scarif? Vader would be like, “Dude, I saw you take off from that Mon Calamari ship like 30 minutes ago.” Deny it to the end, I guess. And would Leia be surprised that Darth Vader was on her tail when she says, “Only you would be so bold.” Or was that, again, for some sort of deniability?
So what’s your point, Matt?
Conclusions: I realize that it might be hard to know whether or not I liked this film based on what I stated above. I like this movie, I really, really do. Rogue One: A Star Wars Story was far better than any one-off film had any right to be. Believe it or not, it reignited my love for the franchise far more than did last year’s The Force Awakens. While I still worry that the anthology stories may overstay their welcome in the future, this was a welcome addition to the Star Wars universe, and a pleasant surprise to this very jaded and cautious fan.
In honor of the 30th anniversary of Transformers: The Movie, which premiered in U.S. theatres in August of 1986, I thought I would comment on what was simultaneously one of the fanboy landmarks of my childhood AND perhaps the movie that scarred me the most as a kid. No really, the emotional scar tissue is still there. First world problems, yeah?
I mean, what’s the worst that could happen?
If you’ve been with me on this blog for any length of time, you know that I love Gen 1 Transformers. It is both my favorite toy line of all time as well as my favorite ‘80s cartoon. Of course, the cynical adult side of me sees the cartoon for what it was: a half-hour commercial designed to sell more toys. But there’s also the kid in me that remembers when I could come home from school to be greeted by Prime, Bumblebee, Jazz, Hound, Prowl, and the irascible Ironhide. They were friends of mine, and in my mind’s eye I rode shotgun with them through a hundred adventures.
I remember well when I first saw the teasers for Transformers: The Movie. It looked incredible, with some of the slickest animation Sunbow has ever produced. “Two years in the making,” the TV spots proclaimed, “an incredible adventure and spectacular wide-screen animation with an original story that will shock and surprise you!”
Boy, did they have that right.
Before we get to the crying-so-hard-I-had-to-be-taken-out-of-the-theatre part, there are some things I genuinely love about this movie. Let me spell those out first.
I may or may not have a replica of this sitting on my writing desk.
1.) The Lore – In the comics, the Matrix of Leadership was just a computer program in Prime’s head. The movie is where we first see the iconic, semi-mystical talisman, and find that the one who carries it is the anointed Prime, AND that it has a will and power of its own. Throw on top of that the Universal Greeting (say it with me: Bah-weep-grah-na-weep-ninni-bong), Unicron the Chaosbringer, Autobot City, and the saying ‘Till All Are One! We meet the Quintessons for the first time, along with the Junkions and the ill-fated Lithonians. The Transformers universe expanded well out of its TV cartoon roots with this movie.
2.) The Soundtrack/Score – You got the Touch! You got the Pow-wwwwer! Yeaaah! From the mindblowing hard-rock reimagining of the main theme by Lion, to both of Stan Bush’s classic TF anthems (The Touch and Dare), this soundtrack is great throughout every track. At times it almost gives the movie a kind of Heavy Metal feel to it. That’s Heavy Metal in a ‘one-way ticket to midnight’ kind of way with rock paired with animation. There’s also Nothin’s Gonna Stand in Our Way, Hunger, and Instrument of Destruction. And did I mention that Weird Al Yankovic has a spot on this album? That’s right, Dare to be Stupid. And my hat’s off to Vince DiCola on his scoring the movie itself. It really added some emotional weight to a certain scene I’ve yet to discuss.
The man himself.
3.) The Voice Cast – I met Peter Cullen once at a convention. It was less than a minute, and I was just one fan out of a hundred waiting to get something signed. Even though it was only a few seconds of my life, I will remember it always. Always. These names, now so familiar, like: Scatman Crothers, Jack Angel, Chris Latta, Frank Welker, and many others, are the ones who really brought the characters to life with their voice work. This dream team of actors was then joined by the likes of Eric Idle, Robert Stack, Susan Blue, Leonard Nimoy, and friggin’ Orson Welles as the voice of Unicron. I think even the much-maligned Judd Nelson did a fine job as Hot Rod and Rodimus. All those talents under one roof…it’s amazing.
Gorgeous. Simply Gorgeous.
4.) The Animation – Once again, this is some of the most beautiful animation that Sunbow ever created. The coloration, the cell-shading, the grace with which characters move through the frame, all of it is beautiful. The characters seem to take on a new life and vitality, and look better here than just about anywhere outside of Transformers: Retribution.
And here are the parts that left their mark on me as a child:
Pretty much the look on my face, too.
1.) The Casual Deaths of Supporting Characters – The first scene, the destruction and subsequent consumption of Lithone, really set the tone for the movie. But then we get the credits sequence, and we’re back to the Autobots that we know and love. Previously, we’ve seen the Autobots get hurt or shot up, but they were all better by the end of the episode. The one ‘perma-death’ they had in the cartoon, Skyfire, was later undone by Wheeljack and an ice jackhammer.
I still remember the battle on the Autobot starship. Prowl, one of my favorite characters, takes a direct hit in the opening shots. Fire comes out of his eyes and mouth, and he falls over dead.
Let me say that again: Fire came out of his eyes and mouth.
I remember trying to explain why I was so upset by this to my mom and she didn’t get it. She thought that was just one of his special features or powers, like he had fire breath or heat-ray eyes or something. Nope, that was the Autobot version of blood coming out of his mouth before he died.
But it didn’t stop there. In a scene that takes less than a minute of screen time, we see Ratchet riddled with holes and die, Ironhide is given a contemptuous coup de grace by Megatron, and Brawn charge the Decepticons only to take a hit in the shoulder and fall, presumably finished off afterwards (though he does make an appearance in Season Three, so perhaps not all was lost.) In a word: Brutal.
Then we get to Autobot City. We see RC dragging the corpse of Windcharger, which she dumps next to poor old Wheeljack. We don’t even know how they died. We don’t see them make some heroic sacrifice or stand their ground against impossible odds. We just see their dead bodies, discarded and sad. By this point in the movie, Kid-Matt was mighty uncomfortable with how things were going in that movie theatre in Athens, Texas. But none of those deaths prepared me for the emotional gut-punch of what was to come.
Worst. Marketing. Decision. EVER.
2.) The Death of Optimus Prime – Let’s talk about the elephant in the room, shall we? Remember those TV spots I mentioned? Well, as an adjunct, there was a Transformers toy commercial tie-in. It featured Frank Welker in his Megatron voice introducing the heinous Galvatron toy, and Peter Cullen’s Prime introducing Ultra Magnus. At the end, there’s a movie tag that shows Optimus being shot up pretty badly and the announcer asks “Does Prime die?” I remember watching that in my grandfather’s living room and thinking, “Naah, they’d never kill off Optimus Prime.”
But, as Kid-Matt watched several of his favorite bots terminated with extreme prejudice, a gnawing suspicion began to dawn that his favorite of favorite characters was about to go down. We get the glorious fight with Megatron, Prime at his fighting best, and then the idiot Hot Rod gets in the way. Way to go. Perhaps just saying “Hey, watch out! He’s reaching for a gun! Shoot him!” would have been better, yeah?
Way to go, Hot Rod. Tool.
But with one final, mighty uppercut, Prime ends Megatron’s reign of tyranny before collapsing. As Kup says, he turned the tide in the deadliest battle us little’uns had ever seen these characters fight. Not content with that, the sadistic bastards making this movie make us watch as Prime slowly slips away on life support to a musical score that STILL hurts to listen to. He gives the Matrix to Ultra Magnus, tells us not to grieve, and then the bright blue light fades from his eyes. And in case that wasn’t enough to show us that Prime is finally, irrevocably dead, we see his iconic red and blue color drain away to a grey-black, and then his head lolls to the side.
At this point, my godmother had to take me into the hall because I was crying so hard. Like snot-coming- out-of-my-nose-with-my-bottom-lip-quivering-uncontrollably kind of crying. I missed the next 10 minutes of the movie, and didn’t see that part until a few years later when I chanced to watch it again on VHS.
So, seeing my favorite childhood character die hurt pretty bad, but what hurt worse was when I learned the real reason that had Prime died. Hasbro wasn’t going to sell the Optimus toy the next season. They were clearing the way for new characters to sit on the shelves, and killing them off in the story was the perfect way to get them out of the way and explain their absence at the storefront.
Even as a kid, I knew that the cartoon was just a way to promote sales, but I was okay with it because I was already sold on the toys. But to cynically kill off a fan favorite just because he wasn’t being sold anymore? What. The. Hell? Worse, this set the precedent for Prime dying in other interpretations of the character. Revenge of the Fallen, anyone? Transformers: Prime?
But in a twist of what I guess is karma, I wasn’t the only kid who had a freakout moment in the theatre. Lots of parents complained, and there was so much fan outrage over Prime’s death that Hasbro brought him back six months later in the two-part episode aptly named The Return of Optimus Prime. Of course, that was right as Transformers as a cartoon was sinking into the morass of “Seasons” 4 & 5, but at least Hasbro did the right thing in the end.
But the scars remain. #thankshasbro
3.) A Whole New Cast – Take a look at the official movie poster. Go ahead, take a look.
Despite it all, I have this framed.
Notice anything? If you aren’t familiar with the characters, here’s a hint: All of them are new. Every character displayed here, with the exception of what might be Laserbeak in the background, is first introduced to American audiences in this movie. I remember seeing this poster hanging in the lobby of the movie theatre and wondering why Bumblebee, Prime, Jazz, Prowl, and the others weren’t on it. Sure, these new guys looked cool, but who were they?
So, if you had been watching the cartoon for two years, and then went into the movie thinking the main story would revolve around those guys (as I naturally assumed it would), that’s a negatory, Ghostrider. Only the Dinobots play any significant role, and live. Old characters die and are replaced, or are reborn as other characters, complete with new voice actors. It’s a bit of a cinematic bait-and-switch when you think about it, like going into the next Avengers movie to find that all the main heroes have been replaced with Squadron Supreme. Nothing against Squadron Supreme, but that wasn’t exactly what I thought I was getting.
Eh, not so much.
4.) Rodimus Prime – To be fair, Optimus Prime is a tough act to follow. But since Prime dies, the Powers-That-Be apparently had to have another Prime. Instead of picking Ultra Magnus, who shares a lot in common with Prime, including a fancy name made up of superlatives, and an identical base toy, the Matrix instead goes for the punk kid, Hot Rod. Because…reasons. There is an admittedly cool transformation scene where we see Rodimus grow in size and the ghostly voice of Optimus saying, “Arise, Rodimus Prime.” He quickly kicks Galvatron’s butt and goes on to declare an end to the Great War. Roll credits.
But then we get Season 3 of the cartoon, now with the new guys in lead roles, with little of the old guard remaining. Rodimus is now the Autobot Supreme Commander, and it’s clear that he’s no Optimus Prime, either in the strength of his leadership abilities, his ability to inspire others, or his lackluster combat skills (especially compared to Galvatron who seems waaaaay more powerful by comparison). Worse yet, Rodimus knows he’s not nearly the leader that Optimus was. And he’s right, he isn’t. So it goes.
I much prefer this version, even if it’s a tad misleading. I also have this one framed.
As you can see there’s a lot to love and hate about this movie. In only 85 minutes, it embodies both the best and worst of what Transformers had to offer in the 1980s: callous disregard for what fans wanted based off of changes in a toy line, mixed with incredible jumps forward in the universe of Transformers, given to us with animation that looks like visual candy.
So when it comes to the cinematic vomit/explosion orgy offered up in the new series of Transformers movies, I honestly can’t say that Michael Bay is stepping all over my childhood. Transformers: The Movie did that during my childhood. And yet, there’s still a part of me that can’t help but smile when I hear Stan Bush belt out The Touch.
Let me start by making my position clear: I LOVE YOU GUYS. You have given me two of my favorite games of all time, and you can bet your bottom bottlecap that Fallout 4 is one of them. This letter is not meant to be abrasive, mean, or to otherwise throw shade in your direction. I merely want to ask some questions, knowing that in all likelihood I won’t receive answers. But if Socrates has taught me anything, aside from that I know nothing about everything, it’s that I should ask questions anyway, even if there is no clear answer.
That said, let’s talk about your Contraptions DLC. This feels the most ‘unlike’ you so far, and I can’t really see the point to it. I enjoy building my settlements, but I do so either for role-playing reasons (e.g. literally rebuilding the Commonwealth), or as way stations to give me a safe haven when I need to rest, repair, and resupply. Do I indulge in a little trophy building? Sure. You should see my Power Armor museum in Sanctuary. Boy, is it ever self-aggrandizing.
But what I don’t want is to build just for the sake of building or to see what ‘clever’ things I can cook up using Settlement mode. This is what perplexes me so much about Contraptions: it seems that this is for players who couldn’t give two shakes about the game’s story and just want to use the game as high-res version of Minecraft. A lot of thought and energy went into things like the ball tracks, new switches, mortars, and logic gates, etc.
Why? (No really, that wasn’t rhetorical. I really want to know why.) Was there that much call for it? Is this just for Twitch and streaming players to show off?
What’s more, those things that do appeal to a more utilitarian player like myself seem oddly executed or not thought out completely. Some of them really have me baffled, because this is not like you. Even though Wasteland Workshop was panned by some, we still got fusion generators, concrete structures, and the contamination arch out of the deal, which I have made extensive use of in my Survival run.
Maybe you’ve spoiled me, but I’m used to your products being polished and well reasoned, maybe a little buggy sometimes, but I am pretty forgiving on that last score. Contraptions, however, feels more than a bit frustrating. Thus begins my list of questions to you:
Workshop Link-up? — Was there some reason we couldn’t link manufacturing machines up to our Settlement’s Workbench? Carting resources back and forth, and worse yet, scrolling through hundreds of items trying to find items that contain fiberglass is a bit of a pain. I’m not sure why this couldn’t work like armor and weapon workbenches, that draw resources directly from the main workbench’s pool. If you were worried about accidentally depleting certain resources, particularly if you have supply lines to other settlements, could we have set a limit for our factories to produce? So, a Vault-tec lunchbox costs 3 steel. I could potentially make 10,000 of them, but I don’t want to utterly deplete my steel reserves, so I instead a put on cap of 50 on the production run. It prints off 50 and then stops, regardless of how many more it could create.
Factory Automation? — Why are factories limited to producing goods only when I’m present in the settlement? Isn’t the point of automation that it does its thing while you’re away, so you can come back and collect? It is cool to watch the conveyor belts and all, but when I’m creating 30 sets of 2mm EM cartridges, I don’t necessarily need — or want — to watch them roll off the assembly line. I know that settlements do at least some resource bookkeeping while I’m away, so wouldn’t it make sense for this to be a part of it?
Dress Dummies/Weapon Racks — I hope I don’t sound like an ingrate when I say this, so here goes: why are we just now getting these? I’ve been wanting to display weapons and armor since the game premiered in November. So, why did you wait until the fourth DLC to finally give them to us? Not to make too many comparisons here, but Skyrim had this in the base game. Also, what gives with the ‘corkboard’ weapon displays using so much space to display just one weapon? The game’s title sequence shows several weapons and add-ons together in a fairly tight area. Is there no way to be a little economical with the wall space?
Fireworks – Misc Tab — Was it necessary to have these guys live on the ‘Misc’ tab of the inventory, instead of, say, the Weapons tab? The Misc tab is likely the longest of all of them. It’s not too bad to scroll down to ‘F’ for ‘Fireworks,’ but it is quite a chore to scroll down to ‘W’ for ‘Weather Control’ whenever I want to get rid of a rad storm.
Armor Forge — Okay, this is a big one. Why would you randomize the armor pieces that are produced? Why can I not specify that I want the right leg of Sturdy Combat armor? Or the left arm or Heavy Leather armor? Why can’t I tell the machine exactly what I want on the terminal? It feels like the cost in terms of resources is the equivalent of convenience store prices for an unmodified piece of armor, so why must I then waste even more resources waiting for it to produce a full set? You see, I wanted to build a museum of the different armor types because they look so cool and distinctive. Doing so is surprisingly difficult and wasteful with the armor forge as it stands, when it should just be point-and-click.
Also, where is the Synth armor? Or the Trapper armor from Far Harbor? Or the Robot Armor from Automatron? It feels like if you have completed these DLCs you should be able to produce those armor types as well. Possibly more than other aspect of Contraptions, the Armor Forge is the one that leaves me scratching my head. Honestly, how did all this get past you? Surely, you didn’t make it almost unusable on purpose, right?
Mark it on my map, will you?
Ammunition Plant — In contrast, the Ammunition Plant is perhaps the most useful thing I’ve found in this DLC. It fills a gap that seems long overdue. I use a Gauss Rifle, so ammo is always rare, and this allows me to do something about it. But I have to ask…why are there ammo types missing from the line-up? We’re already paying a premium cost in terms of resources to use this, so where are the mini-nukes? The rockets? The fusion cells? The flamer fuel? Heck, where are the railway spikes? Those are literally iron or steel spikes. Why were those ammo types left out, along with many others?
Food Processor — I think I can sum up my confusion with this facet in just one word: Cram. It takes mongrel dog meat, Brahmin meat, and radstag meat to make a single Cram. In terms of healing, each component is comparable or far better than the end product, and the bonus 25 to carry weight for grilled radstag is really too valuable to waste. Why would I do this for anything other than novelty purposes? I don’t understand. The same could be said of the Builder. Other than the Vault-tec lunchbox, why would I want to pay more to produce a teddy bear/Jangles the Moon Monkey/etc. than what I can scrap it for?
Explosives Mill — Maybe I’m missing something here, but we could already make explosives at the Chemistry station. If automation is not a thing, why would I use choose to produce grenades at the Explosives Mill and receive no XP for it, when I could just as easily do it at the Chemistry station gain XP for every one? You basically gave us something we already had, though with no XP reward and more complicated. What gives?
Autoloom — It’s interesting to be able to make new, clean clothing. I like putting my settlers in new clothes rather than the rags they rolled in wearing. Still, and this seems like a no-brainer, but where is the ability to make Vault-Tec jumpsuits? It would be so cool to make jumpsuits from any of the vaults that we’ve visited, even ones like Vault 118 that didn’t have a jumpsuit you could pick up. That’s an iconic part of the game, so why was this overlooked?
Okay, so I could go on and on, but those are the major points. If you’ve stuck with me, kudos to you. Now let me hit you up with my wish list of things I’d like to see for settlements and general gameplay convenience. Submitted for your consideration:
More Reasons to Have/Make Settlements in the First Place — My first run through I built all sorts of stuff in more than 20 of the settlements, and I tried to make sure I built each one with the idea that people would actually live there. Much of it was just RP, of course, but it dawned on me that there was really no point other than to have them as a convenient place for various workbenches, to store stuff, and to sleep. Settlements take on a whole new dimension in Survival mode, but with a lack of fast-travel abilities, it’s better to never set up that recruitment beacon. If there are no settlers, they don’t get attacked at random intervals.
To me, settlements should be more than just blank canvasses to build wacky or over-the-top stuff, they should have some reason for being. Right now, they really don’t. Even if you set up a robust set of shops, it takes far too much effort, perks, and caps to get them going properly, and even longer for them to start making money to justify their existence. If caps are what you want, you can do more with a couple of perks in Fortune Finder and then just wandering the wasteland.
So why not give us something in Settlement mode that we can’t get anywhere else? Say there’s a key ingredient in something we want that only grows at one or two farms. What if one settlement had a power switching station that could provide power to settlements around it, using the existing and still-standing power lines, if you made extensive repairs? What if there were Settlement perks that we get if we bootstrap the Commonwealth back up to a certain point? Not just achievements, but something worthwhile, like unlockable upgrades that benefit the player personally, but also help the settlements out. Really, what I’m trying to say is here is: give us an incentive to care about these settlements beyond just the basics.
You made it this far? You are awesomely awesome with that unmistakable air of mystery and danger! Read on!
Fixed Level 4 Vendors — Speaking of the shop system, could we get a fix for Level 4 vendors? Smiling Larry and the Scribe continue to be bugged beyond repair. I play on the Xbox One, so I don’t have the console commands to teleport them to my location. And really, I shouldn’t have to. This has been a problem since day one, and none of the patches have thus-far fixed this.
New Unique Items — If you can get the top tier vendors to work correctly, it seems that they have only a single piece of unique gear in their inventory. If you want to spice things up for a workshop DLC, how about giving us new unique items in all of the named vendors, across the Commonwealth? Perhaps this is a tall order, but it might give us a reason to revisit some of the guys that are no longer really relevant just to see what they have.
Named/Unique Settlers — You guys are all about immersive play, which I adore. So when I have to sort through 20+ men and women who are just called ‘Settler’ it gets a little stale after a while. Why not give us the ability to name them ourselves, or have them come with randomized names (or both)? Also, it would be great to find unique settlers that did something extra. I wooed Sheffield to my side with a Nuka Cola, but he does not do anything more than any other settler. Maybe we find a badass mercenary who alone raises the our defense score by 25 or more, or a gardener that can tend far more food than normal, or make it produce more often. Perhaps there’s a negotiator that brings prices down in whatever settlement he’s assigned to, or a chef that improves the quality of the food that you bring to him. The possibilities are endless here, and you haven’t even scratched the surface of it.
Permanent Item Placement — This goes back to a gripe of mine about Skyrim. I would like to place objects on tables or shelves and have them stay there. I don’t want to leave and come back and find my carefully placed items on the ground or knocked over. Again, this goes back to immersion. Let us set up a bar with a myriad of different bottles, or place sentimental items together without them going all over the place.
An “Opt Out” Clause for Settlement Attacks — My version of Sanctuary Hills has a defense of over 300. Only the wildest, most unthinking beast or the most stupid Super Mutants would ever consider attacking it. Yet, Raiders, Gunners, and the Brotherhood do, even though it’s suicide. Perhaps they will slightly damage a few of my turrets before they are cut down, but it makes no sense and is just sort of mindless. Plus, Settlement attacks have the worst timing. I once got a notice that Tenpines was under attack just as I was going through Kellogg’s memories. Sorry, Tenpines…it’ll be a minute before I can make it. Another was Oberland Station while I was deep in the depths of the Mechanist’s Lair. Ugh. In Survival Mode, it really sucks to hear that the Abernathy Farm is under attack when I’m hanging out at the Castle. So, give us the option of either turning that functionality off, or give us some in-story way to avoid or stop it. Pretty please, with sugar on top.
Sort Items In the Order They Are Picked Up — This is more of a convenience thing, but while I’m wishing, here you go. I can’t tell you how many times I’ve picked up a holo-tape and then can’t find it again because I don’t remember the name. It gets lost in the tons of keys, notes, and other miscellany of that tab. Is it possible to get a sorting protocol that can show me the last thing I picked up? Even if it’s only for the ‘Misc’ tab, that would be a HUGE help.
Increased Stability in Survival Mode— Again, nothing to do with settlements, but just for my own sanity. I’ve noticed a dramatic uptick in game-terminating bugs while playing on Survival mode. Since you have limited save points to beds (and for some reason you can’t carry a bedroll around with you), nothing chaps this player’s hide like getting through a long section of the game, where there are no beds to save along the way, only to have the game freeze up before I can save. Too much of that makes me think ‘All work and no play makes Jack a dull boy.’
Okay, so if you made it this far, you are a darling. Thanks for listening, or reading as the case may be. If anyone from Bethesda does read this, I hope you will think about what I’ve said here. Food for thought, at least. I have spent more hours than I care to count in the world of Fallout 4. It is a titan of a game, and the DLCs don’t fall far from tree. Automatron was a bit light on story, but the Robots! Holy cow, the ROBOTS! Wasteland Workshop had some useful things in it, and I always appreciate more lighting options. Far Harbor was beyond awesome, with a story that was incredibly engaging and morally ambiguous. Love it!
But then there’s Contraptions, which has some of the Sesame Street vibe of “which one of these is not like the others?” It wasn’t meant to have a story, but the utility it does have seems half-hearted and half-baked at best.
Now I don’t say these things to tear you down. Quite the opposite, in fact. I’m used to getting a certain ‘plussed’ experienced from you, to use a Disney term, and Contraptions is lacking that. It’s like a friend who is super extroverted becoming suddenly withdrawn and anti-social. It just doesn’t fit the pattern of behavior I’ve come to expect. You have to stop and ask, “Are you all right?”
I hope that you are. All right, I mean.
And here’s hoping that the upcoming Vault-Tec DLC will put you guys back on the top spot. Not to blow too much smoke here, but you guys are the best.
[Note: I do not consider myself a movie critic. What follows is just one fanboy’s opinion based off of a single (let’s be real here) double viewing of the film. Oh, and there are SPOILERS ahead, so take heed.]
This is the year of heroes fighting heroes. Batman and Superman. Daredevil and the Punisher. And, of course, #TeamCap and #TeamIronMan. Here are my thoughts on this pivotal moment in the Marvel Cinematic Universe, Captain America: Civil War.
What’s so civil about war anyway?
First Impressions:I was not a fan of the Civil War comic book arc, and I could not wait for Marvel to hit the proverbial reset button on it. Furthermore, I’m not generally keen on superheroes fighting each other, but I understand why it happens. So, I’m already a ‘hard sell’ going into this, but this is the Russo Brothers we’re talking about, and Captain America: The Winter Soldier was excellent. Let’s see how this turns out.
What I Liked:
– I think the ideological conflict between Captain America and Iron Man is well argued on both sides. I can see why Tony believes that the Avengers need to be accountable to the nations of the world, and why Cap thinks that giving up the freedom to choose is a bad idea. I was afraid that the arguments would all be for Cap (since it’s his movie), but I felt drawn to both sides of the conflict at different times.
– SPIDER-MAN! Wow, Tom Holland totally nailed it. The scene between Peter Parker and Tony Stark may be my favorite scene in the entire movie. I am really looking forward to Spider-Man: Homecoming.
– Ditto for BLACK PANTHER! Chadwick Boseman was incredible as T’Challa. I can’t wait to see him in his own movie.
– The action set pieces in this movie are eye-popping. The fight at the airport is one of the best superhero action sequences I have ever seen on film. Full stop.
– We got Giant Man at last. 🙂
– Even the heroes that didn’t have much screen time all had their moments. Colonel Rhodes, Vision, Antman, Hawkeye…every single performance was outstanding.
– I loved Falcon’s new gadgets and how he used his wings as a shield to ward off bullets. Also, his little drone “Red Wing.” Nice Easter egg there, guys.
– The moment when we see Tony firing his repulsors directly into Cap’s shield in slow motion. It only lasts for a second, but that scene is visual poetry.
– The Feels. I genuinely care about these characters, and watching them fight is rough. Heartbreaking, more like.
– These heroes at least try to talk to one another before coming to blows, unlike another much-publicized superhero showdown this year.
What I Didn’t Like:
So was I…
– The VILLAIN. He seems completely superfluous, and is easily the weakest part of the story. The clash of ideas here was strong enough that they really didn’t need a puppet master behind the scenes. And this guy’s master plan requires far too much to go exactly the right way (factors he can’t possibly control) for it to go off.
– The villain’s plan actually works. Not completely, mind you, but he does a good enough job of splitting the Avengers to the point where it will take some time to get them back together.
– The underlying theme of blaming the heroes for stepping in to stop horrible things from happening. If an arsonist sets your whole city block on fire, and you lose your family in the blaze, would you really blame the firemen for not saving them? Or would you blame the arsonist who set the fire in the first place?
– How quickly Tony Stark turns on Cap and Bucky – again. I understand that Tony sees Bucky murder his parents, but it has been said time and time again that Bucky had been brainwashed to do it, that he was clearly not in his right mind. I understand the anger, and the feelings of betrayal since Cap knew about it and said nothing, but to immediately attack the both of them? That seemed like too much of a stretch.
– I find it a little hard to believe that the Avengers would have just packed up and left after Sokovia, and not stayed around to help with search and rescue efforts. In fact, we hear Tony mention the ‘Stark Relief Foundation’ after his rumble in the Hulkbuster armor. So, it sounds like the Avengers don’t just shrug their shoulders and peace out after one of their epic throw-downs.
How did it come to this?
I really liked this movie. When the MCU gets it right, which it does more often than not, it is a wonder to behold. The characterizations are all spot on, the acting first-rate, and the action gorgeous without being empty spectacle. I rate this newest offering right up there with the first Iron Man, Winter Soldier, and the first Avengers. It sets my little fanboy heart all aflutter. I hope to catch it another time or two before it leaves the theatres.
Hopefully, we are done with the heroes-fighting-heroes trope for a while, or worse yet, heroes being punished for doing right thing, risking their lives for others, and taking the blame anyway. We don’t need that kind of Christopher Nolan-esque crap in the MCU.