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New Escapist Column! On “M.O.D.O.K” as a Breath of Fresh Air…

I published a new In the Frame piece at The Escapist on Friday evening. With the release of M.O.D.O.K. on Hulu, it seemed like a good opportunity to take a look at this unusual addition to the Marvel television canon.

M.O.D.O.K. is not a perfect show, but it is a breath of fresh air. In particular, it arrives in a cultural landscape that is becoming increasingly homogeneous and consolidated, existing as one of the last projects produced by Marvel Television before it was swallowed by Marvel Studios. As such, it is a Marvel adaptation with a distinct aesthetic. More than that, it is a comic book adaptation that is completely and utterly unashamed of its comic book roots. It is a show that revels in the inherent absurdity of comic books in a way that puts many higher profile adaptations to shame.

You can read the piece here, or click the picture below.

New Escapist Column! On the Negative Space in “The Falcon and the Winter Soldier”…

I published a new In the Frame piece at The Escapist this evening. As The Falcon and the Winter Soldier winds down its season, it seemed like a good opportunity to consider the show’s approach to the question: “What does Captain America stand for?”

It has been a turbulent few years for American identity, and it makes sense that a television about a character carrying the mantle of “Captain America” should have to figure out what that title means. The biggest issue with The Falcon and the Winter Soldier is that it defines the concept of “Captain America” in negative terms. The series is more preoccupied with what Captain America isn’t than what he actually and actively is.

You can read the piece here, or click the picture below.

New Escapist Video! “A Marvelous Escape” – Falcon and the Winter Soldier – “The Whole World is Watching” Discussion…

With a slew of Marvel Studios productions coming to Disney+ over the next six months, The Escapist has launched a weekly show discussing these series. I’ll be joining the wonderful Jack Packard and the fantastic KC Nwosu to break down WandaVision, Falcon and the Winter Soldier and Loki as they come out.

This week, we take a look at the fourth episode of Falcon and the Winter Soldier, which I continue to really like, even with some caveats about possible “both-sides-ism.” It’s continues to be an interesting and clever reworking of certain flawed elements of both Captain America: The Winter Soldier and Captain America: Civil War.

New Escapist Column! On “Invincible” and the Future of Superheroic Storytelling

I published a new In the Frame piece at The Escapist this evening. With the release of the first three episodes of Invincible on Amazon Prime on Friday, I thought it was worth taking a look at what the new show means.

Invincible makes a big step forward for Amazon. As Warners and Disney continue consolidating their superhero content under their established brands, other studios are going to have to find ways to compete in the superhero content wars. Invincible is a fascinating testcase: a lavish adult-skewing hour-long animated series that aims to deliver superhero spectacle with a character largely unknown to the larger public. If the chow can make an impact, it bodes well for studios without their in-house intellectual property farms.

You can read the piece here, or click the picture below.

New Escapist Column! On Zack Snyder’s DCEU as a Joyride Through Comic Book History…

I published a new In the Frame piece at The Escapist this evening. With the release of Zack Snyder’s Justice League last week, it seemed like a good opportunity to dig into the movie’s portrayal of Superman.

One of the more interesting aspects of Snyder’s work on Man of Steel, Batman v.s Superman and Zack Snyder’s Justice League is the sense in which it offers a capsule account of a certain stretch of comic book history, effectively dramatising the characters’ journey from the “dark ‘n’ gritty” comics inspired by Watchmen and The Dark Knight Returns to the more aggressively and pointedly reconstructionist work of Grant Morrison on stories like Justice League or Final Crisis.

You can read the piece here, or click the picture below.

226. Zack Snyder’s Justice League (#86)

Hosted by Andrew Quinn and Darren Mooney, and this week with special guest Graham Day, The 250 is a fortnightly trip through some of the best (and worst) movies ever made, as voted for by Internet Movie Database Users.

This time, Zack Snyder’s Zack Snyder’s Justice League.

Following the death of Superman, Batman sets about putting together a team of superheroes to fight a threat that is charging at Earth from across the cosmos.

At time of recording, it was ranked the 86th best movie of all time on the Internet Movie Database.

Continue reading

New Escapist Video! On the Multiverse is the Way of the Future…

So, as I have mentioned before, I am launching a new video series as a companion piece to In the Frame at The Escapist. The video will typically launch with the Monday article, and be released on the magazine’s YouTube channel the following week. This is kinda cool, because we’re helping relaunch the magazine’s film channel – so if you can throw a subscription our way, it would mean a lot.

This week, we took a look at the emergence of the multiverse, which appears to be the future of various shared cinematic and television universe. Why is this idea suddenly so popular? What does it mean? What does it hold for the future?

New Escapist Column! On the Multiverse as the Future of Franchising…

I published a new In the Frame piece at The Escapist this evening. The past few months have seen a lot of attention directed at the multiverse, with a suggestion that both Warner Bros. and Disney would be embracing it as a storytelling model going forward.

This shift is interesting, given how much effort these companies have build into fashioning internally consistent shared universes, singular narratives unfolding across dozens of films building inexorably towards a climactic pay-off. However, this shift towards the multiverse feels like a logical response to any number of market forces: the shattering of the idea of the monoculture in the midst of the streaming wars, the pull of nostalgia, and the demands of the actors making these movies. It’s a new world. Actually, it’s several new worlds.

You can read the piece here, or click the picture below.

New Escapist Column! On How “The Snyder Cut” Went From Impossibility to Inevitability…

I published a new In the Frame piece at Escapist Magazine this evening. The big news this past week has been that Zack Snyder has been given $30m to finish his cut of Justice League.

This is quite a complicated matter. There’s a lot of discussion and debate around it, about what this means for the future of Hollywood. However, the news about the release of The Snyder Cut is down to a number of unique factors aligning in completely unpredictable ways, meaning that a project like this one went from being the last thing that Warners would want to being exactly what they needed. In the course of a few months, the Snyder Cut morphed from seeming impossibility to inevitability. That is an incredible turnaround.

You can read the piece here, or click the picture below.

 

New Escapist Column! On What Modern Superhero Films Could Learn From Sam Raimi’s “Spider-Man”…

I published a new In the Frame piece at Escapist Magazine this evening. With the news that Sam Raimi is going to be directing Doctor Strange and the Multiverse of Madness, I thought it was worth taking a look back at his Spider-Man movies.

Sam Raimi’s Spider-Man movies helped to pave the way for the modern superhero blockbuster, arriving at a pivotal moment for mainstream blockbuster cinema. Along with Blade and X-Men, Spider-Man demonstrated that it was possible to accurately translate these heroes to screen. In the years since, the superhero genre has become the dominant form of contemporary blockbuster cinema. However, rewatching Raimi’s Spider-Man movies, it is immediately clear that the genre hasn’t always developed in the healthiest or most satisfactory directions.

What could the MCU learn from Sam Raimi’s Spider-Man movies? You can read the piece here, or click the picture below.