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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. |
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Not included in that is fixing everyone else’s lives. My **** sister slings enough of that my way I don’t need anymore. Quote:
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
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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". |
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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. |
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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.
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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.
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Watts made a great little movie with Kevin Bacon called ‘Cop Car’ before Spider Man.
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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. Quote:
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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. |
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