Why?

There was nothing to hate about her because the showrunner didn't have anything for her to do but to be "the bad guy".

There wasn't any character development at all. We don't know about her parents or siblings or what led her to create this underground army of people that was concerned about repatriating 20 million people.

I mean, if you look at this scenario logically, displacing only 20 million people after 3.5 billion returned is a pretty damn good stat. Why kill people and risk your life over 20 million people that you don't even know?

The entire series was senseless and could be summed up in a 3 paragraph Wikipedia page. There is absolutely no compelling reason it to even exist, let alone, dump $150 million into.

The fact she was a sock puppet for social justice is enough reason to hate her.

I didn't hate this as bad as some of you. It was pretty badly fumbled, but I could sit through it to endure the good parts. There is talk that COVID made them shitcan some of the storyline. Hopefully that's true. This was pretty well a hamfisted mess, but if they stuck stuff in that should be on the editing room floor because they had to edit their story line, I can kind of see it. (at least I HOPE that's what happened)

Anyway, here's the way I see it.

The Good
Pretty much every non-fighting scene with Bucky. Stan did a really great job here. Mind you with not a ton to work with. The stuff he did emotionally dealing with his shit worked. He was charasmatic when he needed to be, which was great - with the old man, on the date, with Sam's nephews, flirting with Sam's sister (ROFL). Especially his banter with Sam. I'm a pretty big Mackie fan and watch most everything he's in, but Stan really nailed this one. I need more jokes!

I really enjoyed Walker's redemption. Maybe I'm a heel and should have expected it, but I was expecting Sam/Bucky to have to fight him AND the flag smashers. I was surprised at how much I enjoyed that. I'm kind of anxious to see if they can do something with JLD and him and make it work.

It's dumb, but I love GSP

The Meh
Sharon Carter. Meh. My wife was super pissed because she tarnished Peggy's name, but I was meh. I saw it coming. It was underdeveloped, didn't make a ton of sense. Emily VanCampen trips my trigger though. So, Meh.

The Social Justice stuff was pretty poorly done. There is probably a story to tell there, but damn it, do better than this. I mean, damn, man. Race relations are a thing. And Frankly I expected Green Book to be this, but it was great. It told a real feeling story, with real stakes, and real emotion. That is how you tell a race related story. And I like the idea of governments having problems after the blip, but the Star Wars Prequels could build more interesting political intrigue than this. There were some really good components there, but you have to do better than that man. If you're going to tackle something like that, you have to get it right.

The Bad

All the technical components sucked. Pacing, writing, editing, music (to the extent that I can speak on it) sucked.

There was pretty much no nuance anywhere except Sharon Carter and Bucky's guilt. The government went full reerun in a way the MCU has avoided to date.

The Flagsmasher stuff was pretty much exclusively dumb. I get their movement. I can even hand wave the number of people they had and how easy they built a mob. Whatever. All of their motivations were transparently only to advance the the narrative. The book seasons of GOT were excellent showcases of having a story have independent moving pieces that interact to tell a story. This is the opposite of that. The Flagsmashers were merely an excuse to have Sam and Bucky do stuff. Dumb.

Moreover, they were supposed to be punk kids who took super soldier serum. But when Walker and Bucky who should be of comparative strength, they are magically technically and tactically sound fighters? **** off. In real life here, when someone doesn't know how to fight, they pretty much exclusively get their asses kicked by people who know how to fight. Bucky and Walker know how to fight. Both those dudes walk into a fight with these guys they're going to properly use spacing, technique and leverage and wax these dudes. Dumb.

Which leads me to the biggest disappointment of them all. Bucky's fights. Winter Soldier fight scenes are some of the best in the MCU. I know I've posted this before, but the fact that this guy was being sold as the same guy in this series is criminal. Bucky in the movies is fast, precise, and tactical. Bucky in the series just magically forgot how to fight and relies on brute strength. I encourage everyone to watch the clip I keep posting.
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I'm even open to the argument that some of that was the Winter Soldier programming, but in this clip, he's Bucky, not the Winter Soldier, and he still moves, is fast, attacks angles, and his tactics are specifically to attack a weakness.

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To me that is the biggest disappointment. :(

Completely agree with the bucky fights. Biggest disappointment for me as well.

Put me down for meh too. Underwhelming as ****.$150 million for this? Don't feel a need or care to see more of this shit.

This was pretty convincingly the "least good" thing the MCU has done to this point for me, and that includes Captain Marvel and probably Thor 2. Shame, too - they had a stacked cast and near unlimited funds for this project.

On to Loki.

ROFL ROFL - apparently if you want a spoiler on Elaine Benes



And the reason we know this is effing reeruned

Yeah, I similarly had a problem with this. How is Karli walking away from a fight with super soldier Walker in that episode let alone winning it? Took me out of the episode for a moment.

Meh, but more entertaining than WV unfortunately

Also...

EVC > Alien Olsen triplet

Just one of the worst villains of all time.

Whoever wrote this crap should never be allowed to play in the MCU sandbox ever again.

We watch comic book movies to escape from this crap, not to have it shoved down our throats in about the most hamfisted way possible.

Yeah, she was dreadful. It legitimately took both Bucky and Sam’s full effort to take Walker down the previous episode but then she is suddenly able to do it with relative ease. Just silly.

I will say I really started disliking her in the end, although I’m pretty sure that’s not what the writers intended.

The fighting and action scenes overall were bad the whole series. Sam got his ass kicked in basically every fight he was in the whole series. The opening sequence in episode 1 was the best he looked all series even after he turned into Captain America. His whole progression made zero sense. I guess that fight was just to hook people into the show and he got nerfed after that.

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LMAO

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"except the top of his head where his brain is" LMAO

Hehe. Yea, what are the chances that a senator on board that chopper was a full blown experienced pilot?

Not sure what you are referring to, but there are several currently serving US Senators who are experienced pilots. The chances aren't that bad.

Now that it's been a few days, what about that stupid Power Broker reveal?

LMAO

If that character isn't a Skrull, I'll have serious doubts about the future of the MCU because that "turn" was just dumb as ****.

Was it really a "turn?" I mean I saw it a million miles away. Either she's the power broker or works for them.

One of the dork videos I watched pointed out some continuity errors and it could be the skrull thing.

Or it's shitty. :shrug:

Yea. I mean, who else was it going to be but Sharon? She’s the only one they specifically showed acting mysterious

It was way too obvious, IMO, which leads me to believe that it was a Skrull, especially considering that the cast for Secret Invasion is absolutely loaded with talent and should have a much bigger impact on the MCU than TFATWS.

If it wasn't a Skrull, it makes zero sense. Like I had mentioned earlier, this is a person who's the niece of the founder of SHIELD, who put her life on the line for Captain America and the country, yet the government disavows the character completely?

Like most of the series, it just made no sense. I'm seriously shocked that Kevin Feige allowed this absolute nonsense to air AND double down with the announced of Captain America 4, which is definitely a Disney+ watch for me and not a theatrical, especially considering I basically had to beg my kids to watch the series with me after Episode 1.

Sharon Carter is a terrible character.

She's certainly a strange character to add to the overall Captain America lore.

First, she's secretly spying on Cap by pretending to be his neighbor and apparently at the behest of none other than Peggy Carter herself, Cap's lifelong love.

Then, after the reveal, Cap and Sharon make out, which was "overdue". Cap decided to stay back in 1945 or whatever and have a life with Peggy Carter, despite the fact he had the hots for her niece and would have given her the Captain's Stabbin' had there been more time.

Overall, she's just a weird character to include in the MCU.

That was one of those storylines of the MCU that got completely abandoned, much like the Black Widow-Hulk relationship.

They so easily could have added resolution to the latter storyline in Endgame (especially after referencing it in IW), but just... didn't?

I think this was mostly a vestigial organ from the comics. Sharon was Cap's classic love interest in the comics* and so that was shoehorned in even though it didn't really make sense for the MCU.

*And yes, more so than Peggy. Peggy wasn't actually in the comics in the 40s, she was added via retcon in the 60s as part of Sharon's backstory. Sharon and Peggy actually both make their first appearance in the same issue.

Captain's Stabbin. ROFL Well done.

Maybe Sharon is a shield bunny and will get it on with Flying Cap in 4.

Virtue signaling-SJW lovefest-shitshow was shit. Hopefully Loki is better.

The Captain America trilogy are probably my favorite MCU movies, but I have no interest in seeing part 4 after this series.

LMAO

So does anything new start this week?

No. Unless you want to get caught up on The Mighty Ducks or Big Shots.

Star Wars: The Bad Batch airs Episode 1 on Tuesday, May 4th with subsequent episodes airing each Friday thereafter.

Loki debuts on July 11th and while What If? is slated to run at some point this summer, no release date has been announced.

Is this worth the watch or should I just watch the “New Rockstars” breakdowns to get caught up? Wanted to wait until all the episodes dropped but I’m still finding it difficult to get hyped for multiple hours of The Sam and Bucky Show.


Sent from my iPhone using Tapatalk

Some loved it, but if you look at the general consensus on here and elsewhere it was very meh at best. I watched every episode, but see zero reason to rewatch it. Very underwhelming to say the least.

I don't curse having watched it, but if you 'have trouble getting hyped for The Sam and Bucky Show,' I'd say that characterization is portraying the season in its best light.

Kind of like saying 'should I be a Chiefs fan in the 2020s, I've had trouble getting hyped about QBs and WRs playing catch.'

Go in expecting it to suck and it’s probably not that bad. I was epic hyped for it. I love the Wk get soldier stuff in the movies. Man I was ready to rock. Don’t go in with the expectations I did and it’s worth the watch.

I watched the second episode of “Avengers Assembled” which featured the making of TFATWS. Even though it gives away much of the story line and spoilers, it also offers perspective on the series from the producers, writers and directors, which frames the show as more of a “soul searching” drama than typical MCU fare.

I think my reaction to the series would have been different had I realized the intent of the series because I was expecting a continuation of typical MCU fare and not an introspective look at Sam and Bucky’s motivations.

That $150 million dollar price tag really skewed my expectations.

Agreed.

All they showed in the trailers were 1. Action, 2. Jokes. Which is what I expected.

Doesn't change the fact that they fumbled it pretty hard though. I'm on wax here after episode 1 not expecting it to be so heavy, but liking it. If they would have went down that road it could have worked, but it's like they didn't know what they wanted it to be. Had some good ideas on a storyboard, but couldn't get it on film as a cohesive piece.

Just finished this .....pretty disappointed. Who wrote this shit?

The Critical Drinker always puts it so eloquently.

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It was largely a crap, forgettable series.

And the color scheme of Sam’s new suit blows.

With lowered expectations, yes. Don't expect a re-watch down the line. Couple of fight scenes are epic, others are meh. The bad nemesis is for shit.

Was it a show runner issue? Who's getting the blame for the at best, underwhelming reaction, to the season? Is there a D&D to blame here?

Some of it was the issue of having to cut the original storyline about a virus. They Didn’t want to come off as insensitive after covid hit.

That rumor is false.

Marcus Spellman, the head writer of the series, was more interested in showing how difficult the Black experience in America would be for a Black man to assume the mantle of Captain America and as such, hired a writer's room with black writers only.

The series was a character study. The producers were more concerned about the dramatic details over typical MCU action fare, which is what we got.

If anyone "failed", it's the Marketing Department because the trailers and promos made the series look as if it would be a normal MCU entry but it was far from it.

The failure is in targeting an audience that doesn't exist for this type of Marvel fare. There simply isn't a large audience who wants what you describe from any series like this.

That's fine, but they also pretty much failed in this regard as well.

You don't have to look any further than Watchmen a few years ago for a far better character study involving superheros that touches on the Black experience in America.

I do not disagree.

It's difficult to believe that Marvel gave the same exact team carte blanche for Captain America 4.

I think they've misinterpreted steaming numbers for actual interest in the series.

That's a great comparison with Watchmen and TFatWS, actually. Both could have been amazing stories, but both got drug down into the SJW mud by the people setting the story up.

The ironic thing is that in the Phase 4 hype video, it starts off with Stan Lee saying how these stories are escapism, and how everyone is each other's brother and sister. Two very distinctly different messages being put out by Marvel to be sure.

This isn't a political statement by me, just an observation:

Marvel has apparently decided that it's best for certain ethnicities to run and write for specific characters. Notice how Black Panther had an all Black cast and crew (save for Ludwig Goransson, the composer). Anthony Mackie stated he thought that was more "racist" than just hiring the best people. Same thing happened with The Falcon & The Winter Soldier series in which the showrunner, producer and writer was Black, as was the entire writer's room.

Shang-Ti has an Asian cast and an Asian director. The Eternals has an Asian director and several Asian characters, along with an Asian lead in Gemma Chan (who is absolutely Hot AF!).

It's clear that Chloé Zhao is a very talented director because she dominated awards season and supposedly, Marvel is absolutely blown away by what she did with The Eternals. But Marcus Spellman (TFATWS & Cap 4) and Daniel Creston (Shang Ti) had zero experience directing $200 million dollar plus properties and from the outside, it looks as if they catered to the SJW mob who has been demanding that Asians can only direct Asians, Blacks can only direct Blacks while females can only direct females. We're seeing it with the upcoming TV series as well.

My post isn't meant to demean any of those people because if anyone knows how difficult it is to even get a movie made in this town, it's me. I just see it as somewhat of a concerning trend, especially since the Oscars, because they've now been calling for more female composers to score films. I tend to think that if there was the female equivalent of John Williams, Hans Zimmer, Alan Silvestri, Brian Tyler, Christophe Beck, et al, they'd have so much work that they'd need to pass it on to other composers.

Anyway, I just don't understand how Marvel can live up to the expectations set in Phase 1, 2 & 3 if they're not hiring the best people in the business to write, direct and produce their films and instead, are cowering to the "mob".

Agreed. I don’t know much about the industry so I can’t really comment. But the bolded is succinctly the way I feel.

This is business. We’re in it to win it. At least I am in mine.

As far as cowering yo the mob, this sounds more like dumbass HR policy than worrying about Twitter. But I could be all the way wrong on that one.

I don't think it's HR but I can't say for sure. Here's a segment of an upcoming Rolling Stone interview with Kevin Feige about Dr. Strange & WandaVision:

-------------

In an upcoming interview with Kevin Feige at Rolling Stone, Benedict Cumberbatch’s Doctor Strange was indeed set to appear. But then, something changed.

Feige says that the fictional commercials for products like “Toast Mate” and “Hydra Soak” during WandaVision were actually intended to build up to a Doctor Strange appearance. The ads were originally intended to be messages sent to Wanda from Doctor Strange, as he also attempted to break through her fake reality. Marvel had actually finalized a deal with Cumberbatch to appear in the finale until a late-stage rewrite saw him written out. Feige says:

“Some people might say, ‘Oh, it would’ve been so cool to see Doctor Strange. But it would have taken away from Wanda. We didn’t want the end of the show to be commoditized to go to the next movie – here’s the white guy, ‘Let me show you how power works.'”

---------
I kept wondering where the Dr. Strange 2 tie-in would occur but apparently, it was re-written at the last minute.

Considering they'd been hyping WandaVision as important to Phase 4 and specifically, Dr. Strange 2, it seems really odd that they'd ax it at the last minute, unless there was pressure coming from somewhere.

What a strange (no pun intended LOL) thing to say about one of your star characters.

****ing reerun.

Nonetheless that’s a troubling trend.

There is a substantial difference in the way in which Black Panther addressed race (positively, secondary to the story), and F/WS did (negatively, lecturing).

Frankly I don’t need any more of the latter in my life than I already have.

Oh yeah? Maybe you should, . . I dunno, . . . DO BETTER!?!?!

Well, it's not only that but most men are willing to invest in these movies knowing full well that our "Suspension of Disbelief" is a critical component, especially when watching non-super hero women beat the **** out of men that are not only trained in hand-to-hand combat but weigh 50 to 100 pounds or more than the female they're battling. It's silly fun, with the emphasis on silly.

But to drop Dr. Strange from the ending of this series, especially after those commercials were such a critical component of how the story would end, is absolutely ridiculous. I mean, Dr. Strange IS the Sorcerer Supreme and Wanda was just discovering her powers, so OF COURSE he's far more powerful than her at this point in time. Dismissing Dr. Strange, like Feige did in that interview, is not only ludicrous and insulting to both the character and Cumberbatch, it's insulting to the audience as well.

If this is the path they're preparing for Phase 4 and 5, I think they're going to lose a lot of viewers.

I'm going to have to disagree on this one. TFatWS definitely did (the Karli/Flag Smashers story line couldn't have been any more blatant in that regard and was very poorly executed), but Watchmen was incredibly well done (and while it was a very political show, which given the initial source material shouldn't be surprising, I don't think I would characterize it as too SJW either). Probably one of the best things I've seen the past 5 years or so. I'd try giving it another chance.

I was fine with the show not including him and still am, but if that was the actual reason...yikes. That sounds like someone scared about what the Twitter reaction would have been. Not a way anyone should be writing a series.

Yeah, well, there are a ton of things I need to do better.

Not included in that is fixing everyone else’s lives. My **** sister slings enough of that my way I don’t need anymore.

Agreed. Especially if they’re hamfisted about it. I think I mentioned before that I really enjoyed Green Book, which I fully expected not to for the reasons I didn’t like that aspect of this show.

So I’m not necessarily opposed to broaching the subject. But I don’t need to be lectured.

Same with DC, any woman-centric show, racially driven show, whatever. Just tell a compelling story and I’m in. MCU will come apart if they make too many Outings like this. I’ve always said I’ll give Marvel the rope to hang themselves with - and I still will. I just hope they don’t do it.

Black people don't even read comics LMAO

If the commercials had been filmed as is and the producers and showrunner decided that they didn't work for the story, fine. All good.

That said, it's quite obvious that the commercials were included in order to connect WandaVision to Dr. Strange 2, which is something marketing had been promoting since the series was announced.

While they weren't absolutely necessary to the overall story arc and character development, they now seem weirdly out of place, especially given Feige's "reasoning".

It's not exactly new for Marvel to hire inexperienced directors. Really they mostly hire inexperienced directors, the reverse is more of an aberration. Destin Daniel Cretton really isn't any less experienced than Joss Whedon was, or James Gunn was, or the Russo Brothers were.

Also Spellman has only been hired to write and develop Cap 4. I wouldn't be surprised if it passes into other hands before it gets made, if previous Marvel films are anything to go by.

While I'm at it I want to point out, Spellman isn't the showrunner of F&tWS in the traditional sense. Matt Shakman, who directed Wandavision, described showrunner duties on Marvel shows as being split between the head writer, director, and Feige, with Feige maintaining final say. The director of F&tWS (Kari Skogland) is a white woman, so two of the three people most directly responsible for F&tWS are white.

I think it's a glimpse into a larger issue going on in this country and the world at the moment. I do feel like they are trying to avoid angering and catering to the wokes, because cancel culture seemingly scares the shit out of mega corporations (or they use it to bolster and profit, maybe both). But you're 100% right - they will lose viewers over this if this is how it goes.

Watchmen is in its DNA socially powered, I'll agree with that, but it went mega woke with its story and there's no getting around it. I still enjoyed watching it, but it definitely beat you over the head with SJW messages (the "Klan", the most powerful creature in creation choosing to change his race, evil white led corporations, etc etc...). Like I said to Dane - this is where we're at right now, unfortunately.

You must be joking. Whedon co-wrote Toy Story, created several successful TV series over the years and was successful on many different levels as a writer, producer and director before directing the original Avengers movie.

James Gunn was a successful screenwriter and built a cult-following with his quirky movies such as Slither. He'd worked on successful properties in the past and was clearly the best choice for Guardians (and Suicide Squad). He has his own aesthetic and was a master of visuals long before Marvel.

The Russo Brothers carved out a successful career spanning decades of working in TV. They won a Prime Time Emmy for Arrested Development, wrote and directed feature films and created successful comedy series.

Now, compare that to Daniel Cretton's resume of three very, very small movies and one movie starring Michael B. Jordan. It's paltry and utterly ridiculous to compare him to people that had decades of success before being handed a Marvel project.

Then, compare the Russo's and Whedon to Malcom Spellman, who had like 8 episodes of Empire credited to his name, a few episodes of a bad Apple TV series and co-writer of a film 10 years ago.

Neither Cretton nor Spellman have even 1/50th the resume of Whedon, the Russo's or James Gunn, yet it's very, very clear why they were hired. To even remotely suggest that their career trajectories and credits are similar are similar in any way, shape or form is ludicrous and outright dumb.

I can understand if they were trying to avoid making Wanda look like a damsel in distress, but they still could have included him. Even a simple Back to the Future ending where he shows up at the cabin and tells her that her kids are in danger would have been nice. A simple, "didn't you get my warnings, or did you skip the commercials?" comment would have tied those up too.

He was one of a bunch of writers on Toy Story, and created two successful TV shows and a third that didn't make it out of the first season. He had directed a lot of TV and one feature. No experience close to "directing $200 million dollar plus properties".

He had only directed two movies, neither of which had a budget over $15 million.

12 years is "decades" to you? They had directed a lot of TV comedy, but you know as well as I do that's very a very different job from directing a feature. They didn't create the shows and weren't showrunners. The biggest thing they had done when Marvel hired them was direct You, Me, and Dupree, which had a budget of $54 million. And probably half of that was just to pay Matthew McConaughey and Kate Hudson.

He wrote and directed Short Term 12, which won a pile of critics awards (and was on basically every list of Oscar snubs that year). And the aforementioned Michael B. Jordan movie, which you're glossing over pretty hard.

Why? They didn't hire him to do the same job. Compare him to Nicole Perlman, who wrote the first draft of Guardians of the Galaxy as literally her first professional credit.

I think the facts show that premise is false, but even setting them aside, what about John Watts? He hadn't done shit when Marvel hired him to make Homecoming.

LMAO

You just have to be kidding, right? How can you be this obtuse?

It's pretty clear that Malcom Spellman had no business producing or writing TFATWS because it was a shit story with shit editing and looked a like Network TV show and NOT a Marvel MCU property worth $150 million dollars.

I realize that you can use Wikipedia or IMDB to "dispute" but your post is rooted in complete and utter nonsense.

The Russo's, James Gunn and especially Joss Whedon (who I actually despise) paid their dues for more than a decade before being handed a huge, expensive, blockbuster property. And IMDB doesn't account for all of those years spent as Writer's Assistants or PA's or any other type of work that's required to rise in the ranks.

JFC.

And Jon Watts, not "John" was a big time music video director with a certain visual style, along with graduating from NYU film school.

Watts made a great little movie with Kevin Bacon called ‘Cop Car’ before Spider Man.

Well, you can blame him for the story, but he wasn't the editor and didn't direct a single episode. He didn't even know they were going to put "Captain America & the Winter Soldier" in the end titles of the last episode until he saw it in the cut.

I'm not even defending Spellman really, I just don't think it's a fair narrative that he singlehandedly ****ed up the show. Or that's he's an inherently shitty writer who Marvel only hired because he's black.

Also I'd like to point out, we don't know to what extent they had to cut and paste the show back together to remove the virus subplot. The "shit editing" would indicate probably a lot. Especially considering the only editor credited on all 6 episodes is Jeffrey Ford, who edited all the Captain America and Avengers movies.

Facts are bullshit, good point.

Destin Daniel Cretton directed his first film 13 years ago.

IMDB does actually credit Writer's Assistants and PAs. None of these guys started out that way though.

Well, if we're being petty, you had "Daniel Creston (Shang Ti)" and "Marcus Spellman". Then you edited to fix the "Marcus" and still misspelled it "Malcom".

And was Watts a "big time" music video director? I think I've seen like two of these. But that's a tangent on Jon Watts that is beside the point. To reiterate, my point is Marvel isn't hiring minority directors who are way below the level of director they've hired in the past. Kevin Feige has even said publicly, they target young directors who have shown an ability to handle character, because they know the Marvel machine will handle the spectacle.

****, added to that they could've connected The Punisher's Microchip with John Walker too

Everything you've posted on this subject is ****ing worthless and outright ****ing stupid.

You're stating that it's standard M.O. in Hollywood to give anyone that's written a few episodes of a TV series a $150 million dollar Marvel project, which couldn't be any ****ing further from the truth.

There are tens of thousands of people in town that have decades writing for TV series and even feature films that will NEVER sniff a Marvel film, let alone, a TV series with a budget of TFATWS. That's an undeniable FACT.

I mean, ****in' A, man, if it was THAT easy to get a series, people wouldn't work their asses off for no money for years on end in order to at least get a break. And the worst part is, this isn't the first time you've pulled this shit. You're just some assclown in a small town somewhere in Missouri who thinks he's got it all figured out but you're unbelievably ****ing CLUELESS. And IMDB credits need to be entered by the individual and confirmed. Most people don't put the work they've done for FREE or as interns on their IMDB page.

Now, for the love of God, please SHUT THE **** UP.

That's not what I'm saying or what I said. Bold of you to strawman my argument when I literally just restated it in my last post.

Plus mixing up your customary appeal to authority with some ad hominem? As the kids say, *chef's kiss*.

You have absolutely no business discussing a subject that you clearly know absolutely nothing about.

I have a good friend that's written, co-written, produced and executive produced more than 800 episodes of network TV. I'm not talking Lifetime Network, I'm talking CBS, NBC and ABC. He's also written or co-written four different movies that have earned more than $150 million dollars at the box office, one of which earned more than $200 million.

Last Fall, I asked if he was working on anything cool during the pandemic, to which he responded "I'm working on a Marvel pitch". I was super excited for him and because of your stupid, uninformed and asinine posts in this thread, I reached out to him this morning to find out how it was going.

"Well, as it turns out, I have some juice in this town but apparently not enough to get a pitch meeting with Marvel".

I was floored but not surprised, considering the climate in Hollywood right now. A guy that's had 4 "winners" at the box office, a Netflix series on its 4th season who produced massive hit shows can't get a meeting with Marvel, most likely because he's a 57 year old white male. But Malcom Spellman and his 8 episodes of Empire can get a Marvel property and Daniel Cretton, with a couple of dopey films under his belt that didn't make any money, can get a Marvel property.

You're ****ing outright clueless to what's happening right now.

I had nearly forgotten Marvel hired Sam Raimi to make the Dr Strange sequel. He’s the ultimate ‘geek’ director.