Ms Marvel Post: Have Marvel TV malfunctions permanently damaged the MCU?

The last addition to the Wonderful universe has the potential to be the most revolutionary superhero event of 2022. Mrs. Marvel, which debuts at Disney + this week, stars Iman Vellani as Kamala Khan, a 16-year-old Pakistani-American high schooler from a Muslim family living in Jersey City. Written and directed by Pakistani-British comedian Bisha K Ali (whose resume includes Netflix Sex Education), the six-part series – about a magic bracelet that gives Kamala cosmic powers and transforms her into the title hero – promises to raise the bar for representation in the superhero genre on both sides of the camera.

But while Mrs. Marvel, the seventh of the Disney + Marvel shows, may well represent a bright light in captive entertainment – Ali spoke of wanting to portray a “realistic, non-stereotypical, Muslim family” – remains to be seen if it can shine bright enough to obscure. the huge flaws in Marvel’s television strategy. Stumbling from misfire to misfire since arrival 18 months ago WandaVisionthe studio’s live television offerings have already undone much of its fine work in film.

Until Disney +, Marvel missed every challenge thrown at it. It overcame the failures of the early 2008s The Incredible Colossus – starring the incredible sulk Edward Norton – along with that of Christopher Eccleston Doctor Who bad routine in Thor: The Dark World in 2013. And it somehow made us forget Avengers: Age of Ultron (2015), with its confusing plot and incoherent action – not to mention the quickly aborted romance that Joss Whedon cooked up between Black Widow and Bruce Banner.

Marvel instead soared higher and higher with his additional films Avengers and Guardians of the Galaxy, along with humorous, self-conscious marketing items such as that of Taika Waititi. Toro: Ragnarok. However, that sense of unified vision completely disappears with the six Disney + series released so far, which included Loki and Hawkeye. The undisputed fact is that Marvel’s television universe has been extremely inconsistent in tone and quality – and thus has the potential to remove the brilliance of Marvel’s previously flawless brand.

The obvious counterpoint is that there were also two Marvel movies – the one mentioned Hulk and Age of Ultron, for example. Not to mention last year’s heavyweight Lords and Sam Raimi’s recent one Doctor Strange in the Multiverse of Madness, which languished in two- and three-star reviews. The difference is that even blurry Marvel movies are relatively easy, always harmonizing with the wider cinematic universe. While WandaVision, The Hawk and the Winter Soldier and the recently completed Moon Knight are often confusing and tonally confusing, thus breaking the spell that Marvel worked so hard to evoke. They don’t stain its copy book so much, but tear the copy book and throw the shredded pages out the window.

It’s hard to deny that all of Marvel’s TV series have failed miserably. WandaVision, for example, catastrophically discarded its early black-and-white sitcom appearance for a subdued finale steeped in CGI. The overall excellent Loki likewise discarded all its hard work with a failed conclusion that pulled a new villain – a version of Kang the Conqueror – out of a hat. It reduced the narration of the previous five episodes to a glorious distraction, namely the very significant revelation that Tom Hiddleston’s titular cheater was bisexual.

Some of the other decisions of the shows were downright terrible. Early on WandaVision, Amazing fans branched out that neighbor Agatha (Kathryn Hahn) was a cosmic witch Agatha Harkness – and hoped that a major villain Mephisto would finally be revealed as the one pulling the strings. There was disappointment when this failed (perhaps comic book fans should learn to accept that a female villain is just as valid as the male variety). In The Hawk and the Winter Soldier, Abundant hints of a “big bad” called The Power Broker gave the wet squib revelation that the hidden bastard was in fact Sharon Carter (Emily VanCamp) from Captain America: The Winter Soldier. That was a double failure – a twist that fell flat, and a betrayal of a protagonist that deserved better.

Elizabeth Olsen on “WandaVision”

(Disney / Marvel Studios)

Those are just the highlights. The worst Marvel shows were a complete waste of everyone’s time. Hawkeye served only to remind us why we were so bored with Jeremy Renner’s bow and arrow, to begin with (it would have failed completely without his charismatic co-star Hailee Steinfeld). And, a few weeks after its finale, the only thing anyone remembers Moon Knight is Oscar Isaac’s sensible Frank Spencer accent. Shockingly, all of this developed under the watchful eye of Marvel Studios president Kevin Feige. He’s the architect of the MCU – so why did his golden touch leave him when it comes to the Disney + proposals?

Marvel movies are a testament to its ability to constantly pull rabbits out of hats. With 2008s Feruloit turned C-list hero and washed Robert Downey Jr into megastars. Guardians of the Galaxy made us invest in crazy heroes that included a talking bush voiced by Vin Diesel. It shouldn’t work. And yet it did. So it’s weird that the studio’s miraculous manners have so emphatically abandoned it when it comes to television.

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The added problem is that by going to Mrs. Marvel’s small screen, Disney denies her a shot at a multi-screen glory. How much more revolutionary would it be to give her the full film treatment. TV is good and good, but not everyone has a Disney + subscription, while a theatrical broadcast might put Khan in front of many more eyeballs. Imagine how less iconic Chadwick Boseman’s Black Panther would be if he were relegated to a six-part limited series.

Mrs. Marvel and this August She-Hulk: A lawyer (It works wonders McBeal Alliance, judging by its trailers) may well counter that trend and provide a genuine reason to subscribe to Disney +. But the risk is high: one more television disappointment would be recorded as another blow against Feige’s Wonder. For years the studio defied gravity and proved that superheroes could be sympathetic, destitute, and full of emotional depth. But something was lost in their transition to the small screen. The dubious quality of these shows is the loose thread that could cause all the effort to unravel.

“Ms Marvel” begins on June 8 at Disney +

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