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Thor: Love and Thunder Proves That the Marvel Cinematic Universe No Longer Makes Sense

Marvel Studios’ genius, at least in the beginning, was that each film seemed like a puzzle piece. Each chapter in the Marvel Cinematic Universe saga felt deliberate, with each chapter introducing a hero, a few side characters, a villain, and then a stinger previewing the next picture. Even if the picture didn’t quite work, each films about Iron Man, Captain America, or Thor were building toward something bigger, generally an Avengers film.

Marvel Studios has been chastised by critics for producing films based on corporate rather than creative mandates. Kevin Feige, on the other hand, was in charge of a singular vision. The Marvel Studios president divided the films into “phases” and frequently told fans what to expect next. New characters would make their stage premiere at Comic-Con, generally years before their film debut, to get fans excited about their future films.

But it’s been three years since Marvel grabbed the stage at Comic-Con, and for the first time in over a decade, the MCU movie trajectory isn’t entirely apparent. I eagerly await each new MCU entry, hoping that it would explain a clear, united vision for the future of this storytelling effort. Every time, I leave the theater feeling more disoriented than before. Thor: Love and Thunder was no different. For better or worse, the film is self-contained, rarely acknowledging a world outside of Thor’s New Asgard.

In their stingers, the classic Marvel movies tended to at least set up the next chapter. We saw Thor’s hammer for the first time at the end of Iron Man, and we saw Scarlet Witch and Quicksilver for the first time in Avengers’ end credits. However, the end-credits scenes in Love and Thunder (which I won’t spoil, but you can read about here) merely introduce prospective sequels and spinoffs to the Thor franchise in general.

And, although it may be OK for a single picture, at some point, viewers will wonder if hours of investment in a tale that leads nowhere would provide diminishing returns. After two years of Phase Four of the Marvel Cinematic Universe, it’s time to assess what’s working and where it’s all going.

The manner in which we were

Yes, it was a capitalist ruse: you needed to see all of the movies to really comprehend what was going on, and Marvel was maximizing its movie ticket sales in the process.

However, that format had narrative advantages. Early in the pandemic, my husband and I rewatched (for me) and watched (for him) all of the Marvel movies in a row. We didn’t hold them in high regard. We took breaks when we were bored, fatigued, or hungry, and resumed them the next day. We treated them as if they were long episodes of television. And the episodic Marvel movies work great as television. The phases were referred to as “seasons,” with each Avengers film serving as the season finale.

Even when a single film underwhelmed us (hello, Thor: The Dark World), we didn’t feel like we’d squandered our time. There are always highs and lows with episodic narrative. But we knew Thor’s backstory will come in handy in a later installment. Despite writing issues, you were working toward a storyline crescendo that would be pleasing in its finale.


Some of the most reviled films ended up having pivotal roles in the conclusion. Every significant event in Avengers: Endgame was predicted by the infamous Avengers: Age of Ultron. Of course, we couldn’t have known that at the time, and it’s possible that the film’s director, Joss Whedon, didn’t either.

But there were signs. The phases had somewhat well-defined origins, middles, and finishes. The Infinity Stones were scattered sparingly throughout the movie, rewarding viewers who could point at the screen and identify a key MacGuffin when it appeared. In practically every film, Samuel L. Jackson’s Nick Fury would appear at some time to warn the Avengers that another threat was on the way and that they needed to learn to work together.

The dreadful Thanos (Josh Brolin) was previewed in the original Avengers movie’s end-credits scene, six long years before he’d become the main villain in Avengers: Infinity War and Avengers: Endgame. He had a little involvement in Guardians of the Galaxy but generally remained a lurking threat in the background. The expectation of something bigger spurred us forward.

When the MCU was operational

When viewed via an episodic lens, Avengers: Endgame was one of the most successful series finales ever made in episodic cinema. Not only did it tie up nearly a dozen stories from other films, but it also provided satisfying endings for characters such as Iron Man (Robert Downey Jr.) and Captain America (Chris Evans). The heartbreaking scene in which Iron Man sacrifices himself only succeeded because we’d seen the guy transform from an immature playboy to a responsible, if still witty, father over a decade.

Captain America’s reunion with his love Peggy Carter (Hayley Atwell) struck a chord because Evans and the Russo brothers (who directed several of his films) had spent years developing the character from a resilient but cloyingly earnest Boy Scout to a slightly more cynical and wiser version of the character, without losing Cap’s all-important moral compass. (For more on the evolution of the “I can do this all day” catchphrase, click here.) Those emotional beats come only after years of character development.


That narrative interest in the characters was what set Marvel apart from the competition, particularly the DC and X-Men films. It was impossible to believe Batman and Superman would clash in Batman v Superman because we had never seen Ben Affleck’s Batman onscreen before and had no idea what made him tick. The Dark Phoenix film failed in part because the viewer spent so little time with Sophie Turner’s Jean Grey before she became the antagonist. There were other reasons why those single films didn’t perform, but the franchise failures are mostly due to the studios’ lack of patience. Those franchises attempted to forgo the world-building episodes in favor of the season finale. However, for the vast majority of fans and moviegoers, the finale is only rewarding because of the preceding building pieces.

According to reports, the Marvel Cinematic Universe wasn’t always the meticulously designed plot it appeared to be. James Gunn, the director of Guardians of the Galaxy, has stated that he received no guidance on the scene in which a character recounts the origins of the Infinity Stones. So, yeah, some dumb luck was involved. Audiences knew what to anticipate once the pattern was established—several one-off pictures each year, culminating in a team-up every few years.

The MCU becomes disoriented

Endgame has been out for three years, and fans have been left scratching their heads ever since. Marvel IP have expanded as a result of the launch of the Disney+ streaming platform, as well as Marvel-themed TV series. Some are inextricably tied to other entries: Doctor Strange in the Multiverse of Madness doesn’t bother with character development for its nemesis, Scarlet Witch as Wanda Maximoff, because it presume you’ve seen her Disney+ show Wandavision.

Others appear to have nothing to do with anything: Moon Knight originally captivated me, but the star-studded show that appears to live in a vacuum left me cold and puzzled. The writing was insufficient to explain the show’s existence, and since the plot had nothing to do with the rest of the MCU, why did I waste six hours of my life watching this show when I could have been watching far better projects like Oscar Isaac or Ethan Hawke?

We anticipated the MCU would be dormant for a while. With significant performers like Downey Jr. and Evans completely out of the picture, and others like Scarlett Johansson (Black Widow) and Jeremy Renner (Hawkeye) on the verge of retirement, the franchise would need to hit the reset button and introduce a new generation of heroes. There was definitely some type of strategy in place, with actresses like Johansson and Renner passing the mantle to fresh talent like Florence Pugh and Hailee Steinfeld in films like Black Widow and shows like Hawkeye.

However, Feige has stated that there will not be a new Avengers squad comprised of these new actors filling in for the old. In the usual sense, the action is not building toward an Avengers 5 sequel. Which begs the question, “Why not?” Previously, the format worked really well. Why give up now?

The simple solution is money. Disney desired a streaming service and required shows to populate it. As a result, the stories spread. But there are now far too many diverse personalities and narratives going in all directions. The Eternals’ cosmic beings appear to have little to do with Steinfeld’s street-level arrow slinging. Furthermore, the tones of these projects are so disparate that it’s difficult to envision them ever coming together.

A Young Avengers team could be in the works. And some kind of magical alliance encompassing all the wizards and witches. And one with a grim undertone featuring Blade and the Black Knight. And a villainous one consisting of criminals, assassins, and discredited would-be heroes led by none other than Julia Louis-Dreyfus. It’s…a lot. Even though I’m paid to keep track of everything, I’m frequently tempted to remove episodes, movies, and storylines because I just don’t have the time to keep up with every single story beat.

The studio has also experienced a number of unexpected hurdles. Chadwick Boseman, one of its brightest stars, died in 2020. Black Panther was a huge success—the biggest solo debut for a Marvel superhero—and Boseman appeared to be on track to dominate Marvel films for years to come. Director Ryan Coogler was sent racing to draft the sequel script.

Corporate squabbles with Sony, which owns the Spider-Man rights and intended to create its own superhero movie universe, placed Peter Parker’s fate in doubt and posed creative hurdles for Spider-Man: No Way Home’s ending. Meanwhile, Johansson sued Disney for deciding to webcast her long-awaited solo picture Black Widow during the pandemic. (Disney and Johansson have since reached an agreement.)

That leads us to Marvel Studios’ most unexpected challenge: COVID-19. The virus struck, delaying the filming and release of multiple projects and mucking up well planned plans. Notably, Doctor Strange in the Multiverse of Madness was said to be released before Wandavision and Spider-Man: No Way Home. This discovery explains a lot of the clumsy narrative in those three franchises. Wanda follows the same path twice, going from hero to villain to hero in Wandavision and again in Multiverse of Madness. It’s a choice in storytelling that some fans have compared to character assassination. Wanda’s spiral into corruption in the Multiverse and her disclosure of her wicked actions in Wandavision were presumably the original intentions.

Even ignoring character, this era of the Marvel Cinematic Universe appears to rely on the audience comprehending the multiverse (parallel universes); variations (different versions of the same character in other realities); and invasions (one parallel universe crashing into another). Instead of providing fans with a single concise explanation for why characters can suddenly travel across the multiverse, we get three: Loki’s murder of the man who was maintaining a single master timeline; Doctor Strange’s misbegotten spell that leads to Spider-Man villains invading our main timeline in No Way Home; and America Chavez’s multiversal travel in Doctor Strange.

As a Marvel fan, I’m not sure what any of these events have to do with one another. Again, I assume rescheduled release dates have something to do with this perplexing plot, but it’s far from an ideal way to kick off a global reset.

Where Thor: Love and Thunder falls short

Then there’s Thor: Love and Thunder, the most recent MCU installment. With Iron Man and Captain America no longer present, Thor (Chris Hemsworth) is the only significant character remaining from the original Avengers lineup. (Sorry, Hulk, but I don’t think Ruffalo’s take on the Big Green Guy counts because he has yet to have his own film, and probably won’t.) Thor, presumably, will be the pivotal figure in whatever follows.


But Taika Waititi’s new picture, which has underwhelmed critics in comparison to its predecessor, Thor: Ragnarok, exists in its own world, almost purposefully devoid of references to earlier Marvel films, save for a throwaway joke about Thor saving Nick Fury’s phone number as “Nick Furry” on his cell phone. This meditation on a specific character’s emotional state would be fine if we weren’t desperate for a rock to cling to in the midst of the Marvel content deluge.

Listen, solitary films that stand out from the crowd are fantastic. For example, Black Panther finds ways to shine without being weighed down by easter eggs referencing earlier Marvel flicks. In that situation, Coogler exploited the available space to create an entirely new world. That film incorporates Wakandan folklore, a long history of its leaders grappling with political and moral duties, and a discussion of how the affluent should assist the oppressed. Waititi, too, used his time in Ragnarok to create new worlds for Thor to explore while also refreshing the character by giving him a humorous bent.

Love and Thunder, on the other hand, does not break new ground. It’s just a little journey that closes up a decade-old tale from a previous film. To the credit of the screenwriters, there is some character development here. Thor has lost his sibling (three times), his mother, his father, and several of his greatest friends in previous Marvel films. Because of this loss, he battles with loneliness and vulnerability, although he finds some solace in various relationships in this film. However, for a character that has now appeared in more standalone superhero movies than anybody else in the MCU, this metamorphosis feels like a conclusion rather than a beginning.

Thor might yet have life in him. The mid-credits teaser teases an intriguing future antagonist. The casting is especially creative. But, at this point, Marvel has introduced so many new characters in cameos and stingers that have yet to appear in the MCU that I try not to get too enthusiastic about any single casting move.

Here’s a list of some of the performers Marvel has teased but who have yet to appear in a Marvel film: Michelle Yeoh and Sylvester Stallone as Aleta Ogord and Starhawk in an end-credits scene in Guardians of the Galaxy Vol. 2; Will Poulter as Adam in that same film; Donald Glover as Aaron Davis in Spider-Man: Homecoming; Michael Mando as Scorpion in that film’s end-credits scene; Harry Styles as Thanos’ brother Eros in Eternals; Mahershala Ali as Blade and Kit Harington as the Black Knight


It’s an embarrassment of riches in Hollywood waiting in the wings. And who knows if or when we’ll see them again. In fact, I would argue that the list of persons drawn into Marvel’s universe has grown much too long. The films end up squandering brilliant talent such as Tessa Thompson, who is quickly sidelined in Thor: Love and Thunder because the film doesn’t know what to do with her, or Chiwetel Ejiofor, who was set up as the big bad at the end of the first Doctor Strange film but only played a minor role in its eventual sequel.

In April, Feige announced that the Marvel team was going on a creative retreat to plan the next decade of Marvel films. One can wonder why they didn’t hold such a planning session before Endgame premiered several years ago, anticipating this current slump. Perhaps they did, and this meeting indicates that they have realized that throwing spaghetti at the wall isn’t working. Instead of dozens of underwhelming storylines, they should refocus on one or two key storylines and execute them well. The studio will have another opportunity to pique fans’ interest in the MCU’s future at the San Diego Comic-Con in July and the Disney Expo D23 in September.

To avoid Marvel fatigue, the Marvel team will need to clarify that there is a strategy in place and that we are in good hands. The tale doesn’t seem to be moving forward after twenty-nine films and seven Disney+ TV series.


Marvel versus DC. Who has the hotter female actors?

DC and Marvel are the two most well-known superhero film companies. There are several points on which fans of these two studios can’t agree, including which has the superior superheroes, which has the superior superhero team-up, which has the superior villains, and which makes the superior movies.

Yes, it seems like another argument is on the horizon. Marvel and DC aren’t shy about featuring stunning female leads since they know it draws in the crowds. In exchange for portraying some of our favorite superheroines, these ladies earn millions of dollars.

Discover who has exceeded the other in this respect.

Marvel VS DC


Scarlett Johansson as the Black Widow

Elizabeth Olsen, aka the Scarlet Witch

Gwyneth Paltrow – Pepper Potts

Gwyneth Paltrow

Captain Marvel (Brie Larson)

Valkyrie – Tessa Thompson

Dani Guererro – Okoye


Gal Gadot as Wonder Woman

Lois Lane, played by Amy Adams

Amy Adams

Margot Robbie as Harley Quinn

Amber Heard/Mara

Black Canary, played by Jurnee Smollett-Bell

Who do you believe has the sexiest actresses? Who is your top pick and why? Leave a comment, thanks!

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Each and Every Show That Inspired the Disney+ Series WandaVision

WandaVision’s frequent allusions to classic television shows are a major part of its humor.

In January of 2021, WandaVision launched Phase 4 of the MCU, officially ushering in a new age of Disney+ shows. Indeed, it was the first time the MCU was seen on television, as it chronicled Wanda Maximoff’s (Elizabeth Olsen) reaction to the aftermath of Avengers: Endgame. In the end, WandaVision was a huge critical triumph, garnering a whopping 23 nods at that year’s Primetime Emmys.

WandaVision, as the first television series in the MCU, appropriately paid tribute to the medium of television by drawing inspiration from a wide range of programs throughout its history. WandaVision acknowledged a wide range of television classics by the end of the series, from The Dick Van Dyke Show to Modern Family. All the shows that served as models for WandaVision are listed here.

The Dick Van Dyke Show

The Dick Van Dyke Show, which follows the title man in his antics both at work and at home, is one of the earliest shows mentioned on WandaVision, appearing in the very first episodes. One of WandaVision’s primary inspirations comes from this episode. Matt Shakman, the show’s director, told Den of Geek that he and Van Dyke had lunch together to discuss the show’s production.

I Love Lucy

Featuring Lucille Ball as a New York housewife who dreams of becoming a star, I Love Lucy was a smash hit on television. Clearly, this program, along with The Dick Van Dyke Show, was an influence on the first two episodes of WandaVision. The most blatant example is the fact that couples could not be depicted in bed together during the airing of I Love Lucy. Two separate single beds were displayed instead of a double bed.

Featuring Lucille Ball as a New York housewife who dreams of becoming a star, I Love Lucy was a smash hit on television. Clearly, this program, along with The Dick Van Dyke Show, was an influence on the first two episodes of WandaVision. Couples could not be shown in bed together on television during the time that I Love Lucy was airing. Instead of a double bed, two single beds were displayed.

The Twilight Zone

The Twilight Zone

The Twilight Zone, the only non-comedic source of inspiration for WandaVision, is another source of the show’s unique style. The structure of the show has a narrator guiding the audience through a series of spooky stories set in a realm named “The Twilight Zone.” Jordan Peele just recreated the series, but he stuck with the same basic idea. Jac Schaeffer, the program’s creator, discussed WandaVision’s impact on the series and its storytelling, highlighting the impact the show had on the development of Wanda’s magic and the resolution of the Hex’s mysteries.


Bewitched, originally shown on ABC in the 1980s, has been remade numerous times throughout the history of film and television, most recently as a box office smash starring Nicole Kidman and Will Ferrell. Starring in the show is Elizabeth Montgomery as a witch attempting to lead the life of a typical housewife. WandaVision, in which Scarlet Witch and Vision disguise themselves as normal suburbanites, finds an apt inspiration in these stories.

The Brady Bunch

The Brady Bunch was a popular show from the 1970s about a nuclear family that ended up blending and raising six kids together. The third episode of WandaVision, as part of the Marvel Cinematic Universe, plainly draws inspiration from The Brady Brunch, as the title card makes explicit reference to the show’s title show.

Good Times

A family living in a Chicago public housing complex experienced nothing but good fortune. The actress playing Monica Rambeau on WandaVision, Teyonah Parris, confirmed this was a running gag, and that the show’s effect can be seen even in later episodes. Good Times originated in the 1970s as a spin-off of Maude, which was itself a spin-off of All in the Family.

Full House

In Full House, Bob Saget played a widower father who enlists the support of his brother and closest friend, both of whom were also single parents. The episode in which WandaVision transitioned into the 1980s TV era was inspired by this show. Having grown so much, Billy and Tommy had altered the household dynamic. It’s worth noting that the Olsen sisters, Mary-Kate and Ashley, were featured prominently in the ABC show Full House, which served as inspiration for the show’s design.

Malcolm in the Middle

The popular sitcom Malcolm in the Middle from the 2000s focused on the eponymous character, a bright kid from a working-class family who struggled to fit in. In the sixth episode of WandaVision, there were multiple references to Malcolm in the form of dialogue and the opening titles were a direct homage to his. Furthermore, exactly as Malcolm did in his show, Tommy did in WandaVision, breaking the fourth wall.

The Office

WandaVision’s seventh episode included numerous allusions to contemporary sitcoms like The Office, especially in its mockumentary-style format, which featured interviews and glances directly into the camera. While Vision and Darcy are operating the circus truck, Vision occasionally turns his head to stare directly into the lens. When Agnes recognizes the camera, she once again reveals herself to be Agatha Harkness. It’s only fitting that a reference be made to The Office, which has had such an enormous impact on contemporary television.

Modern Family

When it comes to television, Modern Family is up there with the all-time greats. The show centers on the Pritchett family patriarch, Jay, and how his three children and their families interact. In the sixth episode of WandaVision, Wanda addresses the camera directly in a mockumentary style reminiscent of Modern Family. Wanda’s home is also quite similar to the Dunphys’ in terms of color scheme, design, and general vibe.

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Who is the Wonder Man of Marvel Comics?
We had been expecting you, Simon Williams.

The following contains spoilers for some of Wonder Man’s comic book history, but will give you an overview of his background.

Marvel Comics readers have been wondering when Simon Williams, aka Wonder Man, would enter the MCU ever since the introduction of Vision in Avengers: Age of Ultron. With the confirmation that Destin Daniel Cretton, the man behind Shang-Chi, will be directing a Wonder Man series for Disney+, some of the answers to that question began to emerge. And in even more thrilling developments, it appears that Yahya Abdul-Mateen II will play Simon Williams in the film. If you seen Watchmen on HBO, in which Abdul-Mateen II portrayed Doctor Manhattan, you’ll find this casting even more intriguing. As the villain Black Manta in the Aquaman film series, he is no stranger to the superhero genre. But that’s not why we’re here; we want to speak about Simon Williams and his role in the future of the MCU, and in particular the fates of two of the most beloved star-crossed couples in the MCU canon.

Who is this mysterious Wonder Man, anyway?


Wonder Man made his debut to readers on the cover of Avengers #9 in 1964. There was a banner that read, “Marvel Comics proudly introduces… Wonder Man, the newest, most dynamic surprise character from the world-famous House of Ideas,” and the cover art featured the looming heads of Thor, Captain America, Iron Man, Wasp, and Giant-Man looking down on their new superpowered foe. Even more so considering Wonder Man wouldn’t make it to the issue’s conclusion, it was a bold claim. Simon Williams was a normal man before he was kidnapped and subjected to “the most potent ionic rays” by Baron Zemo at his hideout in the Amazon Jungle, transforming him into a superhero with superhuman strength and invulnerability. What could possibly motivate such crazy research? The goal was to get Simon (now known as Wonder Man) into the Avengers organization and give him superpowers. In the end, Wonder Man decides to help the Avengers defeat Zemo, after initially agreeing with the plan. He pays the ultimate price for his brave decision. Zemo had poisoned him in secret and, after being deceived, had refused to give Simon the antidote. So long, Wonder Man.

The question is, how did Wonder Man make his way back? And if that was his last appearance, why is he getting a spinoff? In an event that would have lasting effects on Wonder Man and the Avengers, he was soon to play a pivotal role in the development of a legendary Marvel hero.

How Wonder Man are related with Scarlet Witch and Vision?

For four years and 51 issues, fans had to wait before seeing Simon Williams again in the pages of The Avengers. However, the style did not adhere to the norm for comic books. Unfortunately, he was not shown to be still alive or brought back from the dead. This guy wasn’t even a clone. Instead, he is shown to be instrumental in the creation of the synthezoid known as the Vision in the acclaimed story “Even an Android can Cry” by Roy Thomas, John Buscema, George Klein, and Sam Rosen. Something shocking is uncovered as the crew led by Iron Man investigates Vision’s origins and identity. Ultron, the villain, absconded with a valuable item, a “memory cassette” of Wonder Man’s brain. He put it to use in developing the Vision. Yes, in the comics the Vision is an android with a digital replica of Simon Williams’ brain, as opposed to the MCU, where he is formed via the combined efforts of Thor, Tony Stark, and Bruce Banner. The odd narrative may have ended there, but Wonder Man had more in store.

By revealing in Avengers #102 that Simon Williams had not been killed but had instead been in a coma since Avengers #9, Marvel Comics planted the seed for his eventual resurrection in 1972. Unfortunately for Simon, it wasn’t the Avengers but Kang, as part of his villain team Legion of the Unliving, that resurrected him in Avengers #131. Wonder Man’s relationship with Vision only grew in importance once he through a few more rebirths and officially joined the Avengers in 1977.

After living together for a while, the duo finally accepted their unorthodox connection and began to view each other as quirky but supportive siblings. Unfortunately, that was short-lived when a corrupt business destroyed Vision’s memory, rendering him emotionless. Simon’s understanding refusal to enable his loving wife Wanda to restore him via brain imprint donation to Vision was understandable. Because he had grown to love Wanda, even if she didn’t realize it for years. The affair was intense, but it ended when Wanda realized she still loved her one true love, Vision, too much to let him go.

What are Wonder Man’s powers?

What a fascinating query! The correct answer has evolved with the times, just like our favorite comic book heroes. We already know that his innate abilities granted him superhuman strength and indestructibility. His initial ionic experiments with Zemo gave him the foundation for his subsequent enhanced talents. Wonder Man appeared to be made entirely of pure energy after reviving from one of his numerous deaths, but the truth is more complicated.

Wonder Man has falsely claimed to be made of Ionic Energy on multiple occasions, however a more accurate description would be that it is embedded throughout his own flesh and bones. As a result of his extraordinary physiology, he can heal himself from wounds, fashion solid objects out of energy, and control magnetic fields. His peculiar abilities can be traced back to his past. Aside from that, Wonder Man possesses a host of classic superhero abilities, including flight, invulnerability, bulletproof skin, the ability to leap tall buildings in a single bound, extreme agility, and super reflexes. He also possesses latent powers, such as teleportation and shapeshifting, though he rarely employs them.

Isn’t it true that Wonder Man used to act?

Yep. Simon’s aspirations to become an actor are almost as well-known as his association with Vision. Wonder Man, who in the 1970s was a resident of the Avengers Mansion, left to strike out on his own. Simon left the Avengers #211 after Captain America attempted to downsize the squad to focus on his personal life in Avengers #211. He is now working with good old Hercules in his acting profession. He then tried his hand at acting before transitioning into the world of stunts in Hollywood, where he proved to be nearly unstoppable. Both West Coast Avengers Vol. 1 and his solo series Wonder Man detail that time period in his life. It’s easy to imagine that this will serve as a springboard for his Disney+ series.

What role Wonder Man will play in Marvel?

Simon Williams seems like a logical progression for the MCU after the events of WandaVision and the introduction of the memory-erased White Vision. The question that remains, though, is how the MCU will redefine the antihero in his pilot episode and throughout the franchise. The several possibilities we’ve discussed here show that this is so. Following a much-loved Marvel Cinematic Universe convention, this author speculates that Simon Williams was either an employee or rival of Tony Stark. The latter seems more realistic, given that his past in the ’80s comics was expanded to involve him competing with Stark Industries for cash.

It’s possible that the MCU will introduce the idea that Jarvis and eventually Vision were created using Williams’ coding skills or a physical brain imprint, giving him the crucial connection that the characters need. This would be a great opportunity for the MCU to further cement the brotherly bond between the two characters and bring him full circle back to Tony Stark. The Wonder Man TV show might also take place in the past to introduce audiences to the character and his background before he becomes part of the Marvel Cinematic Universe. That may be a fun way to introduce audiences to Wonder Man before he officially enters the current MCU, while also incorporating some of the hilarious hijinks from his time in Hollywood. It’s also plausible that this path may leave Williams in a coma, where the MCU’s latest villain can revive him.

It seems likely that Kang will play a role in Simon’s primary introduction to the MCU, given the comics and the time of the Wonder Man series. Including the Legion of the Unliving in the MCU may be a fascinating development. It’s also possible that White Vision is discovered by scientist Kang, who then links the new synthezoid to Simon. However, we believe that Simon will become well-established in the series before being presented to the main MCU, where he will become connected with White Vision and the Avengers after becoming entangled with a revived Scarlet Witch. During the Kang Dynasty comic that inspired the new film’s title, Wanda and Wonder Man actually break up in the comics.

We won’t know until Disney+ launches the much-anticipated MCU series, though.

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