These garbage movies are about like the feelies from Brave New World. They are designed for the sheep class to go get their sensory stimulation. There's no need to bother with things like explanations.
I've seen rumors that the combined budget (production+marketing) for this movie reach upwards of 800 million, and a not-insignificant portion of that will be Evans' and RDJ's pay, so that's a real stretch.
This is the most off-putting thing about flagship Disneyslop today.
It's all just playing with toys from the toybox. Endless permutations of the same branded characters, where there are no stakes and nothing ever changes or progresses. It's just empty stimulation for retarded millennials to soyjack over.
Thor: I have fought alongside many warriors who were far stronger than all of us put together, and they died facing enemies that scared me far less than this one.
That's the most cringe, hyperbolic, retarded, amateurish writing I've seen from this whole franchise, which is really saying something. Thor is defining their new big bad guy... with the transitive property? Like a ten year old comic book nerd describing his new overpowered original character (please don't steal)?
"How strong is the new bad guy? Let me tell you! So old good guy was stronger than all of the current good guys put together, right? And old good guy was defeated by old bad guy, right? Well new bad guy is even stronger than old bad guy! So you can see now how much stronger new bad guy is than current good guys! This is crazy!"
No, it's fucking embarrassing. It could almost be a meta joke on comic book fans, an humiliation ritual mocking the way nerds debate character power levels. This is painfully rushed and truncated. Clearly, none of this shit was properly setup or planned. Stunt casting isn't going to change the fact that Doom is a desperate asspull.
Thor continues: we need to stand together. Put aside your petty squabbles. If we win, one thing is certain: we will return as brothers and sisters (?). But it's gonna be impossible. We need a miracle.
Translation: it's time to stop hating on all the shitty characters - most of them insufferable girl bosses and DEI hires - that we've forced into the MCU since Endgame. You all like Thor, and he just told you how super serious this bad guy is, so we need all hands on deck to overcome this totally unprecedented threat. That includes everyone from all the box office bombs and crap tv shows we've released.
And if these widely disliked characters do manage pull off the win, then you have to accept all of them completely. You have to embrace the shitty woke feminists and race swaps as fully legitimate members of this cinematic universe. Because they will have succeeded against all odds and defeated the greatest threat ever. This is nonnegotiable. It's a contract you are entering when you watch the movie. It's really just math, innit? If modern audience avengers can beat this bad guy who is 100x more powerful than Thanos, then all of our DEI characters are automatically the best. Thor just laid it all out for you, chuds.
Remember the scene in Endgame when Thor is introduced to Captain Marvel and he literally says, out loud, that he likes her. That was the writers using a popular established character to command the audience to like a new character who hasn't earned it. Common fan fiction trope. Well this entire trailer is basically the same thing but on an unprecedented scale. I can't remember the last time I saw writing this transparently manipulative.
The Mary sue complaint has always included the unearned praise clause.
But this seems slightly tweaked from that, as it's not about how likeable they are, which is usually the Mary Sue trope, but how.... meta likeable they are. The best way to show a movie is good is to have the characters point out how much more awesome THIS adventure is than the last one.
To draw another parallel, it reminds me of a perversion of the Japanese obsession with callbacks. Like imagine DMC8 or whatever ending with "now this... is the real jackpot" fag kissing
Ultimately it's just the metasized version of "Sonic would agree with me!"
Many of the actors were alone in a green room for their performances, not even knowing who their characters were interacting with or any sort of scene context.
It's funny how people rag on AI creations when modern movies are just as processed, separated and generated. It's like two brands of sausage arguing that hand cranked is better than machine processed when it's the same mystery meat going into both.
Considering how many characters, environments and entire scenes and sequences are generated whole cloth, we need to move these films from 'live-action' to 'animation'.
"In 2026, it was reported that Majors had started shooting his first film in three years for The Daily Wire which would be titled Run Hide Fight: Infidels"
It's been leaked: Loki offers to send him, Carter, and their son to the Fantastic Four (First Steps) timeline, because his presence was going to make that timeline collapse.
It's so obnoxious. I love the concept of a multiverse in theory, usually naturally sprouting from multiple interpretations of the same story spinning off in different directions. But modern hack writers just use the idea to either try and inflate the stakes to vast, alienating levels, or to negate previous consequences by replacing what was lost with a dimensional duplicate. Either way, the authorial manipulation becomes too blatant to ignore and suspension of disbelief is strained beyond repair.
the same set of characters and universe for nearly 70 years
Because they can't make characters that are more likeable, with real values anymore. The classics are all they have, and they have to pray they're being written by a decent writer.
It gets so bad, they've tried to pass embodiments of pure chaotic evil as "good and just people." And then make the old evils look like reasonable people unintentionally.
No it isnt. This is the consequences of copywrite law slaughtering every bit of artistic integrity that has ever supposedly existed.
We have NEVER had a problem with people getting bored of their own human culture until men with guns started to enforce who was allowed to tell what stories.
There are worse moral and economic ills plaguing society, but the murder of storytelling is the most fundamental to the human psyche
it wasn't copy right laws though, it was the comic book publishers jewing the jew artists that signed away the characters to the publishers, and then the publishers trying to milk the properties down to the last drop. Japanese manga industry doesn't have that problem even though their copy right laws are even stricter. Japanese artists own their ips and are in charge of the direction where the stories are going, and if they feel they've exhausted all the good ideas they can just end the series and start new ones, they aren't forced to keep coming up with plots to keep their cash cows series going for 60 years.
there's nothing stopping American artists from owning their ip, or signing away their ips. just because the original marvel/DC artists treated the comics like disposable entertainment like pulp and signed away the characters, doesn't mean the copy right laws are at fault
I like the idea of different versions of the same hero teaming up and comparing and contrasting their differences. The differences in their worlds and how they handle their threats. There's fun potential for storytelling there.
Yes, excellent example. The Spiderverse changed from being a gaggle of counterparts thrown together by chance and the villain's scheme, into the Counsel of Ricks. Instead of letting the different worlds breathe and bounce off each other, they were consumed into an unholy orobourus amalgamation.
Exatly. None of it matters. No one cares. Same for infinity stones and time traveling. I can count on one hand the number of situations where time traveling made sense/worked narratively .
Character dies? Just go back in time to save him. It's a miracle they didn't save gamora from thanos - oh wait, they did.
I've been similarly exhausted by the multiverse concept, and over the past 6 months or so have been doing a bit of creative writing to try to 'solve' the problem of multiverses as a narrative device. Basically my idea is that reality has causal mass, in the same way matter creates a gravity well. Like how in space, enough dust and rocks and such can be enough for their own gravity to act on each other and start to form a planetoid. When two bodies with their own gravity encounter each other, the one with less mass collapses into the one with more, and it takes a significant amount of energy, like momentum, to escape a gravity well. Rocks can form moons, planets can capture moons into stable orbits or pull them in entirely, planets orbit stars, stars orbit the galactic center, and so on, all based on which has the biggest mass and thus biggest gravity.
My idea is that reality works much the same way. This is why there actually aren't an infinite number of alternate universes, like ones where a single free neutron 100,000 LY away is in a different spot one Planck length in distance than in the next universe. Those realities have no causal mass, so they collapse back into their parent realities and cease to exist. Events need to be different enough to have enough causal mass to create their own reality that can break away from the parent one and become self sustaining. The bigger the event, the bigger the break away.
So the reason why in stories we see characters jump from one alternate reality to the next, but nearly everything is the same, even meeting alternate versions of themselves, except for one narrative-driven change, like the outcome of a war being different, is because those events were big enough to spin off an alternate reality, but they are still in orbit so to speak of the central reality they spun off from. All of the alternate realities where everyone is evil and has mustaches, or the Soviets won the Cold War, the usual stuff you see in an 'alternate universe' episode of a show, those are all casual bodies orbiting a central reality, but that itself is basically akin to a planet with a lot of moons. And that central reality is orbiting an even larger, more massive, reality, like one where the Sol system exists at all, which is orbiting another reality with even more casual mass, like the Milk Way existing at all, and so on.
The creative writing I'm doing isn't so much about the alternate realities we often see in sci-fi shows and movies per se, but about why those types of alternate realities are the ones we see in the first place. Why don't the characters jump through the portal or use the warp gate or whatever to jump to a reality where everything is exactly the same, except one carbon atom in one molecule in a single mosquito 10 million years ago was slightly different? Mathematically those changes should be way more common than jumping to an alternate universe and stumbling upon the one where the alien invasion was successful and Humans are a slave species on earth now.
Because those realities collapse and annihilated because they weren't different enough. You can only jump to ones that are different enough to have been able to self-sustain, and the difference itself is what gives it the causal mass to self-sustain and keep existing. So no, there aren't an infinite number of the same person you can just pull from one reality to another if they die. Their death probably isn't different enough in the grand scale to sustain its own reality, so when you die, you die in all of the local reality orbits.
I'm still working on how to turn it into a short story and not just a sic-fi idea, but that's what I've been spending some of my free time on over the past couple of months.
Isn't multiverse a creation to enable milking a story? Political propaganda aside, how else can the (((studios))) make endless remakes and reimaginings and male it cannon?
Shouldn't have veered off the basic setup and characters in the first place. But we all know they wanted to slip in their woke DEI/grrlboss replacements, one by one.
These garbage movies are about like the feelies from Brave New World. They are designed for the sheep class to go get their sensory stimulation. There's no need to bother with things like explanations.
I mean Robert Downey and Chris Evans are surefire 1B+ movies at this point so can you really blame them? Its basically a free billion dollars....
I've seen rumors that the combined budget (production+marketing) for this movie reach upwards of 800 million, and a not-insignificant portion of that will be Evans' and RDJ's pay, so that's a real stretch.
This is the most off-putting thing about flagship Disneyslop today.
It's all just playing with toys from the toybox. Endless permutations of the same branded characters, where there are no stakes and nothing ever changes or progresses. It's just empty stimulation for retarded millennials to soyjack over.
A truly bleak and retarded age.
Listen to that fucking dialogue.
Thor: I have fought alongside many warriors who were far stronger than all of us put together, and they died facing enemies that scared me far less than this one.
That's the most cringe, hyperbolic, retarded, amateurish writing I've seen from this whole franchise, which is really saying something. Thor is defining their new big bad guy... with the transitive property? Like a ten year old comic book nerd describing his new overpowered original character (please don't steal)?
"How strong is the new bad guy? Let me tell you! So old good guy was stronger than all of the current good guys put together, right? And old good guy was defeated by old bad guy, right? Well new bad guy is even stronger than old bad guy! So you can see now how much stronger new bad guy is than current good guys! This is crazy!"
No, it's fucking embarrassing. It could almost be a meta joke on comic book fans, an humiliation ritual mocking the way nerds debate character power levels. This is painfully rushed and truncated. Clearly, none of this shit was properly setup or planned. Stunt casting isn't going to change the fact that Doom is a desperate asspull.
Thor continues: we need to stand together. Put aside your petty squabbles. If we win, one thing is certain: we will return as brothers and sisters (?). But it's gonna be impossible. We need a miracle.
Translation: it's time to stop hating on all the shitty characters - most of them insufferable girl bosses and DEI hires - that we've forced into the MCU since Endgame. You all like Thor, and he just told you how super serious this bad guy is, so we need all hands on deck to overcome this totally unprecedented threat. That includes everyone from all the box office bombs and crap tv shows we've released.
And if these widely disliked characters do manage pull off the win, then you have to accept all of them completely. You have to embrace the shitty woke feminists and race swaps as fully legitimate members of this cinematic universe. Because they will have succeeded against all odds and defeated the greatest threat ever. This is nonnegotiable. It's a contract you are entering when you watch the movie. It's really just math, innit? If modern audience avengers can beat this bad guy who is 100x more powerful than Thanos, then all of our DEI characters are automatically the best. Thor just laid it all out for you, chuds.
Remember the scene in Endgame when Thor is introduced to Captain Marvel and he literally says, out loud, that he likes her. That was the writers using a popular established character to command the audience to like a new character who hasn't earned it. Common fan fiction trope. Well this entire trailer is basically the same thing but on an unprecedented scale. I can't remember the last time I saw writing this transparently manipulative.
Thor is one humiliation ritual after another.
The Marvel writers were always terrified of making a blonde, White god too badass so had to shit on him at every chance they could.
It's a weird inversion of the Worf effect.
The Mary sue complaint has always included the unearned praise clause.
But this seems slightly tweaked from that, as it's not about how likeable they are, which is usually the Mary Sue trope, but how.... meta likeable they are. The best way to show a movie is good is to have the characters point out how much more awesome THIS adventure is than the last one.
To draw another parallel, it reminds me of a perversion of the Japanese obsession with callbacks. Like imagine DMC8 or whatever ending with "now this... is the real jackpot" fag kissing
Ultimately it's just the metasized version of "Sonic would agree with me!"
It's "From the studio that brought you-" in narrative form. Credentialism, essentially.
This movie sounds like a trainwreck.
-The movie supposedly begins by killing Tobey Maguire's Spiderman and Wolverine and nuking their universes out of existence. Great idea guys.
-Doom's motivation is to destroy the universes to resurrect his dead family. Wins. Movie ends. Doom does not in fact resurrect family.
-Steve Rogers plays Steve Rogers and can't play Captain America because racism or something
-Many characters die except the ones you want to see die.
-Love her or hate her, the strongest entity in the universe Capt Marvel isn't even mentioned because Brie Larson pissed off Disney.
-Newest villain Jonathan Majors was supposedly killed off screen because Disney is retarded.
-Robert Downey Jr. looks like a cancer patient. Dude needs to eat some red meat.
Many of the actors were alone in a green room for their performances, not even knowing who their characters were interacting with or any sort of scene context.
It's funny how people rag on AI creations when modern movies are just as processed, separated and generated. It's like two brands of sausage arguing that hand cranked is better than machine processed when it's the same mystery meat going into both.
Considering how many characters, environments and entire scenes and sequences are generated whole cloth, we need to move these films from 'live-action' to 'animation'.
I don't see how you can't include the villain's name and the real reason he's not in this movie, especially when it's so beautifully on the nose.
Wikipedia. hmmmm.
we wuz johnathan majors and sheeeiit
It's been leaked: Loki offers to send him, Carter, and their son to the Fantastic Four (First Steps) timeline, because his presence was going to make that timeline collapse.
It's so obnoxious. I love the concept of a multiverse in theory, usually naturally sprouting from multiple interpretations of the same story spinning off in different directions. But modern hack writers just use the idea to either try and inflate the stakes to vast, alienating levels, or to negate previous consequences by replacing what was lost with a dimensional duplicate. Either way, the authorial manipulation becomes too blatant to ignore and suspension of disbelief is strained beyond repair.
woke shits aside, this is the natural consequence of trying to come up with stories with the same set of characters and universe for nearly 70 years
Because they can't make characters that are more likeable, with real values anymore. The classics are all they have, and they have to pray they're being written by a decent writer.
It gets so bad, they've tried to pass embodiments of pure chaotic evil as "good and just people." And then make the old evils look like reasonable people unintentionally.
No it isnt. This is the consequences of copywrite law slaughtering every bit of artistic integrity that has ever supposedly existed.
We have NEVER had a problem with people getting bored of their own human culture until men with guns started to enforce who was allowed to tell what stories.
There are worse moral and economic ills plaguing society, but the murder of storytelling is the most fundamental to the human psyche
it wasn't copy right laws though, it was the comic book publishers jewing the jew artists that signed away the characters to the publishers, and then the publishers trying to milk the properties down to the last drop. Japanese manga industry doesn't have that problem even though their copy right laws are even stricter. Japanese artists own their ips and are in charge of the direction where the stories are going, and if they feel they've exhausted all the good ideas they can just end the series and start new ones, they aren't forced to keep coming up with plots to keep their cash cows series going for 60 years.
Artists owning IP as a concept is the core issue.
You're basically making the "liberalism was fine until X law" when no, the core issue was liberalism
there's nothing stopping American artists from owning their ip, or signing away their ips. just because the original marvel/DC artists treated the comics like disposable entertainment like pulp and signed away the characters, doesn't mean the copy right laws are at fault
You're dense. IP shouldn't be purchaseable. It shouldn't be ownable. The concept is contrary to natural law.
I don't. It's dumb as fuck.
I like the idea of different versions of the same hero teaming up and comparing and contrasting their differences. The differences in their worlds and how they handle their threats. There's fun potential for storytelling there.
Something like the Spiderman crossover but done well?
Yes, excellent example. The Spiderverse changed from being a gaggle of counterparts thrown together by chance and the villain's scheme, into the Counsel of Ricks. Instead of letting the different worlds breathe and bounce off each other, they were consumed into an unholy orobourus amalgamation.
The multi-verse makes it so that anything can happen and none of it can matter.
Exatly. None of it matters. No one cares. Same for infinity stones and time traveling. I can count on one hand the number of situations where time traveling made sense/worked narratively .
Character dies? Just go back in time to save him. It's a miracle they didn't save gamora from thanos - oh wait, they did.
I've been similarly exhausted by the multiverse concept, and over the past 6 months or so have been doing a bit of creative writing to try to 'solve' the problem of multiverses as a narrative device. Basically my idea is that reality has causal mass, in the same way matter creates a gravity well. Like how in space, enough dust and rocks and such can be enough for their own gravity to act on each other and start to form a planetoid. When two bodies with their own gravity encounter each other, the one with less mass collapses into the one with more, and it takes a significant amount of energy, like momentum, to escape a gravity well. Rocks can form moons, planets can capture moons into stable orbits or pull them in entirely, planets orbit stars, stars orbit the galactic center, and so on, all based on which has the biggest mass and thus biggest gravity.
My idea is that reality works much the same way. This is why there actually aren't an infinite number of alternate universes, like ones where a single free neutron 100,000 LY away is in a different spot one Planck length in distance than in the next universe. Those realities have no causal mass, so they collapse back into their parent realities and cease to exist. Events need to be different enough to have enough causal mass to create their own reality that can break away from the parent one and become self sustaining. The bigger the event, the bigger the break away.
So the reason why in stories we see characters jump from one alternate reality to the next, but nearly everything is the same, even meeting alternate versions of themselves, except for one narrative-driven change, like the outcome of a war being different, is because those events were big enough to spin off an alternate reality, but they are still in orbit so to speak of the central reality they spun off from. All of the alternate realities where everyone is evil and has mustaches, or the Soviets won the Cold War, the usual stuff you see in an 'alternate universe' episode of a show, those are all casual bodies orbiting a central reality, but that itself is basically akin to a planet with a lot of moons. And that central reality is orbiting an even larger, more massive, reality, like one where the Sol system exists at all, which is orbiting another reality with even more casual mass, like the Milk Way existing at all, and so on.
The creative writing I'm doing isn't so much about the alternate realities we often see in sci-fi shows and movies per se, but about why those types of alternate realities are the ones we see in the first place. Why don't the characters jump through the portal or use the warp gate or whatever to jump to a reality where everything is exactly the same, except one carbon atom in one molecule in a single mosquito 10 million years ago was slightly different? Mathematically those changes should be way more common than jumping to an alternate universe and stumbling upon the one where the alien invasion was successful and Humans are a slave species on earth now.
Because those realities collapse and annihilated because they weren't different enough. You can only jump to ones that are different enough to have been able to self-sustain, and the difference itself is what gives it the causal mass to self-sustain and keep existing. So no, there aren't an infinite number of the same person you can just pull from one reality to another if they die. Their death probably isn't different enough in the grand scale to sustain its own reality, so when you die, you die in all of the local reality orbits.
I'm still working on how to turn it into a short story and not just a sic-fi idea, but that's what I've been spending some of my free time on over the past couple of months.
Isn't multiverse a creation to enable milking a story? Political propaganda aside, how else can the (((studios))) make endless remakes and reimaginings and male it cannon?
Shouldn't have veered off the basic setup and characters in the first place. But we all know they wanted to slip in their woke DEI/grrlboss replacements, one by one.
No creativity. I read the leaked plot of this one and it’s equal and they sound like yet another boring rehash.
I walked away after End Game. That movie was a trash fire and this looks worse by a whole order of magnitude.
Endgame is shockingly worse than Infinity War.
It really is. End Game was a huge let down after seeing Infinity War.
infinity war was the only one of these normie capeshit I liked. The last good superhero movies were the X-Men trilogy.
1st 2 of those were really good. X2 was great.
At this point who gives a shit lol
At this point the writers probably don't. 'Cap? I thought you were dead!'
'I was.'
What happened to Kang?
Didn't the blackwashing pay off?
Kang's actor, Johnathan Majors, got accused of sexual assault and lost all his roles, which forced the pivot to Doctor Doom
They'll probably jingle some keys in front of the screen for a few minutes, and then just have him appear.