>Kevin Goetz, the founder of Screen Engine, which studies audience behavior, pointed to Marvel’s sense of “elevated fun” to explain why it gets people to the theatre: “They’re carnival rides, and they’re hefty carnival rides.”
>Marvel’s success, he added, has “sucked the air out of” more human-scaled entertainments. Whole species of movies—adult dramas, rom-coms—have become endangered, since audiences are happy to wait and stream “Tár” or “Book Club: The Next Chapter,” or to get their grownup kicks from such series as “Succession” or “The White Lotus.” Yet even prestige television has become overrun with Marvel, “Star Wars,” and “The Lord of the Rings” series, which use the small screen to map out new corners of their trademarked galaxies. Hollywood writers, who are currently striking over the constricted economics of streaming, also complain of the constricted imaginations of TV executives: instead of searching for the next “Mad Men,” they’re hunting for Batman spinoffs.
>Detractors see the brand’s something-for-everyone approach as nefarious. An executive at a rival studio, who called the MCU “the Death of All Cinema,” told me that the dominance of Marvel movies “has served to accelerate the squeezing out of the mid-range movie.” His studio’s comedies had been struggling at the box office, and he groused, “If people want a comedy, they’re going to go see ‘Thor’ or ‘Ant-Man’ as their comedy now.”
For me, If I go to the theater to watch a movie, I want it to be a big spectacle that is truly worth seeing on the big screen like Avatar 2, or something that is just absolutely kino. No one really wants to go to the theater to see dramas or comedies when they can just watch them on netflix or whatever in a few months
Theaters are dying anyway, the only reason that most people go to them are either 1) because they're film buffs or 2) they are using them as an excuse to spend time with friends/romantic partners/family (this second reason is much more prominent than the first). Anyone who is relying on theater releases to make money at this point is a fool, watching from home isn't even the future it's the fricking present and audiences are clearly very receptive to it. Everyone has a computer or streaming device.
Now you can buy a giant 4k screen for cheap, what's the point of spending $15 to watch a film in a room where you can find unruly kids or annoying buttholes more often than not.
Look I hate capeshit and haven't watched a superhero movie since the Nolan Batman trilogy, but it's not the reason why "adult dramas" and "rom-coms" have receded.
>” or to get their grownup kicks from such series as “Succession” or “The White Lotus.” Yet even prestige television has become overrun with Marvel, “Star Wars,” and “The Lord of the Rings” series, which use the small screen to map out new corners of their trademarked galaxies.
Maybe because I don't follow Star War, Marvel and Lord of the Rings, but I thought the shows bombed and no one cared. Am I wrong?
>I thought the shows bombed and no one cared
Yes, but that won't stop the studios producing them from investing in yet more series of shit that no one asked for and no one watches, rather than investing in some new original dramas
The same thing happened with video games. AAA games killed the AA game. During the 6th generation the AA game was king and a AAA game was something that only came out a few times a generation (back then they were called "killer apps"). Thanks to Call of Duty the industry became "go AAA or go home" and many notable game developers actually went out of business betting everything on being the next call of duty, and then years later, Fortnite became the new Call of Duty.
Marvel did to movies what CoD did to video games and I will always hate them for that. There is a silver lining, though. Eventually indie games rose up out of the ashes of the mid-budget games, and now the technology and tools have gotten so good that a mid or even low budget game can offer an experience that's superior to whatever crap the AAA slophouses are shoveling up, and even some larger publishers are taking chances on mid budget games again.
When the capeshit millhouse blows up the next few years are gonna suck, but there is something better over the horizon, you just have to wait for it and look for the small victories where you can find them.
The problem is the people who are making indie movies for the most part are incompetent nepo-baby hacks. There are some exceptions like Robert Eggers and S Craig Zahler, but for the most part you are not going to see equivalent hits to the vidya indie scene because the talent simply isn't there.
We'll have to wait and see. There are a lot of talented people who are burned out on the studio system and want to strike out on their own, and there are some who are actually taking chances. One that I'm keeping an eye on is Francis Ford Coppola's Megalopolis, because that is going to be a large scale test to see where the market is in the post-MCU movie industry. Coppola financed the movie himself and even sold his family vineyard to raise funds, so he is taking a tremendous amount of risk on it, but he's not someone to bet against. He's making a dystopian sci-fi epic with the budget of a major studio production, but it's his own money. If he pulls it off the studios are going to take notice that auteur experiences are still viable, and not everything needs to be an overproduced comic book adaptation. For any of that conversation to happen it has to actually be good first, though.
>dude balls with a hexagonal texture jammed into random shapes with a gritty building texture on it in a way that makes no sense architecturally or otherwise >SO FUTURISTIC
> Not someone to bet against
Are you high? He is clearly senile and hasnt made a tolerable movie for 30 years let alone a good one for something like 45. It will be total dumpster fire.
Have they considered making good movies with no woke shit? Even making decent movies with no woke shit would be a vast improvement. Top Gun Maverik was a shock hit, for Hollywood, because it's the only movie in years that Republicans saw.
>The MCU roster includes seasoned icons (Robert Redford, Glenn Close), mid-career stars (Scarlett Johansson, Chris Pratt), and breakout talents (Florence Pugh, Michael B. Jordan). It may be easier to count the conscientious objectors who haven’t gone Marvel, among them Timothée Chalamet, who has said that Leonardo DiCaprio once advised him, “No hard drugs and no superhero movies.” (This was after Chalamet auditioned for Spider-Man.)
>It can be dispiriting to see so much acting talent sucked into the quantum realm of the MCU, presumably for a tidy sum, but the paychecks alone don’t explain Marvel’s hold over stars. “At some point, you want to be relevant,” an agent who represents several MCU actors said. “Success is the best drug.” This year, Angela Bassett became the first actor to be nominated for an Oscar for a Marvel role, in “Black Panther: Wakanda Forever.” “Well, it’s so modern,” she told me in February. “We try and stay current, and they’ve got a winning formula.” Entire generations now know Anthony Hopkins not as Hannibal Lecter but as Thor’s dad, King Odin of Asgard. “They put me in armor; they shoved a beard on me,” he told me. “Sit on the throne, shout a bit. If you’re sitting in front of a green screen, it’s pointless acting it.”
>The result is a lot of hand-wringing over “the death of the movie star.” In an I.P.-driven ecosystem, individual stars no longer attract audiences to theatres the way they used to, with a handful of exceptions (Tom Cruise, Julia Roberts). You go to a Marvel movie to see Captain America, not Chris Evans. “It’s actually surprising to me how almost none of them have careers outside of the Marvel universe,” another agent said. “The movies don’t work. Look at all the ones Robert Downey, Jr., has tried to do. Look at Tom Holland. It’s been bomb after bomb after bomb.”
there's nothing wrong with the mcu in theory, certainly adult dramas and rom-coms are not better or more worth having around then the mcu is. The problem is at least as of late the mcu is shit and the movies aren't good.
Kevin Feige was just lucky. That's all. I think anyone with a passing knowledge of the comics would have did what he did. He is the Phil Jackson of film producers.
>asks a question >gets an answer refuting them >Low IQ brain freezes up "*error error* must respond with no u, or whataboutism or another empty deflection response"
11 months ago
Anonymous
>Anyone can do this! >Then why couldn't anyone do this? >Because it was a once-in-a-lifetime situation!
That's an inherent contradiction. You are not as smart as you seem to think you are.
11 months ago
Anonymous
it was a once-in-a-lifetime situation!
Yes aka lightning in the bottle. It's not a new concept zoomer. Big company sets a trend, everyone follows it and mostly everyone fails you are seeing it now in gaming with GaaS games.
11 months ago
Anonymous
If it was a once-in-a-lifetime situation, then not anyone could do it.
11 months ago
Anonymous
Yes DC dropped the ball and failed and they were the only ones that came close.
>individual stars no longer attract audiences to theatres the way they used to, with a handful of exceptions (Tom Cruise, Julia Roberts)
When was the last time Julia Roberts was actually a box office draw?
>You might picture arriving for your first day of work on a Marvel movie and being handed a leather-bound bible of character mythology. Instead, directors who are in the running for their first Marvel job are given a fifteen-or-so-page “discussion document,” distilled from corporate brainstorming retreats. Landing the job requires not slavish adherence to the document but a nifty approach to executing it. The movies are shot all over the world but edited in Burbank, on the same lot as Feige’s office. Each film’s creative team meets multiple times a week with Marvel’s upper management—until recently, a group known as the Trio, consisting of Feige, Louis D’Esposito, and Victoria Alonso. Filmmakers also receive notes from the Parliament, a group of senior creative executives who are each assigned to individual projects but review them all as a committee.
>All this corporate machinery may sound oppressive, but Marvel collaborators tend to describe their experiences as surprisingly free-form and hands-off. One editor referred to Marvel’s oversight as a “pinkie on the steering wheel.” “There wasn’t anything dictated at all,” Joe Johnston, who directed the first Captain America film, told me. Erik Sommers, who co-wrote the Spider-Man trilogy, recalled that Marvel assistants had put together a document that explained the difference between a “universe” and a “dimension.” But otherwise, he said, “it’s not a giant diagram of preëxisting dots that need to be connected in a certain order.”
>A few directors—Patty Jenkins, Edgar Wright—have quit Marvel projects, after battling for creative control. “The only times we’d run into problems is if we got a filmmaker who said, ‘This is what I want to do,’ and then showed up and wanted to do something completely different,” a former Marvel executive told me. “So then you hear people saying, ‘Kevin Feige came in, and he took over the process!’ But, if you know what the game plan is, you end up having a ton of creative freedom at Marvel, because we’re working inside the box.” Martin Scorsese would shudder.
>Feige has a reputation as an all-knowing Oz, but collaborators describe him as a comic book savant who pops in and offers story fixes culled from his encyclopedic Marvel knowledge and delivered with a gee-whiz fanboy enthusiasm. “Anytime somebody pitches him something, he imagines himself in a theatre with a tub of popcorn,” Yost told me. A spitball session might result in tectonic maneuvering. When the Russos pushed to base the third Captain America movie on the Civil War storyline—a crossover series involving a toybox’s worth of heroes—Feige worked for months to get the actors and the I.P. aligned. Anthony Russo recalled, “He opened up the door one day and poked his head in and said, ‘War is coming!’ ” But Feige’s zeal belies a cannier managerial skill. “He’s really good at getting what he wants, but at the same time making everybody feel like they got what they wanted,” the former executive said.
> “The only times we’d run into problems is if we got a filmmaker who said, ‘This is what I want to do,’ and then showed up and wanted to do something completely different,”
>When the Russos pushed to base the third Captain America movie on the Civil War storyline
>60 years from now >country is burning, no one is working, government collapsed civil and racial wars are breaking out on the street >"maybe diversity isn't our strength"
>Israel
They won't go there, they'll go to whatever host they think is the most powerful and will have them. It might be China, or it might be some other up and coming power that hasn't really hit anyone's radar yet.
This is what liberals literally think diversity is like: >be me >in a work meeting >we are stuck on a big problem and no one knows how to move on >Somalian immigrant coworker stands up and tells us a story >"in my village of Qwanki I had a job where I have to run to the neighboring village of Kukai to deliver packages and every time I run a lion chases me. One day my friend tried to do my job and the lion almost mauled him to death. After that we called my friend "kinjo" which in my language means foolish. Don't be like kinjo." >"oh wow amazing story Naheed and wow that was just the answer we needed to solve this marketing issue thank you"
The Democratic partly is to blame for this diarrhea of capeshit that has flooded the market these past few years because their bumbling operatives in Hollywood made several movies that were riddled with blatant, boring woke propaganda. They self-destructed.
Actually it’s you guys. Batman V Superman, the greatest superhero film of our age, stood at the precipice of capeshit movies and society rejected it. Why should companies bother with anything that isn’t Marvel style schlock? Clearly audiences don’t care for anything other than self aware upbeat ironic products with plentiful jokes.
Bvs for better or for worse represents the baseline for auteurist capeshit. Since it was critically rejected studios have no incentive to cross the line and take risks on artistic takes. Just look at how homogenized mcu the mcu is.
>Everything needs to be a franchise >Movies made by committee >Cheap 3rd world CGI >Cast directors for nearly finished films >Use IP's as a shield to push propaganda
Always said the MCU bubble would eventually burst, but for the longest time, these movies were never true art. They're were always specificially crafted commercials setting up an Avengers event, but each individual entry had no legs to stand on their own with no cultural impact or innovation. They were always extremely overrated.
>A few directors—Patty Jenkins, Edgar Wright—have quit Marvel projects, after battling for creative control. “The only times we’d run into problems is if we got a filmmaker who said, ‘This is what I want to do,’ and then showed up and wanted to do something completely different,” a former Marvel executive told me. “So then you hear people saying, ‘Kevin Feige came in, and he took over the process!’ But, if you know what the game plan is, you end up having a ton of creative freedom at Marvel, because we’re working inside the box.”
This sounds like something a battered housewife would say, what is this insane spin they're trying to pull. None of these movies are meaningfully different from each other, they either let the same producers handle everything or explicitly hire limp-wristed directors with no real personality, but the end result is the same shit for 30 movies
>Kevin Goetz, the founder of Screen Engine, which studies audience behavior, pointed to Marvel’s sense of “elevated fun” to explain why it gets people to the theatre: “They’re carnival rides, and they’re hefty carnival rides.”
>Marvel’s success, he added, has “sucked the air out of” more human-scaled entertainments. Whole species of movies—adult dramas, rom-coms—have become endangered, since audiences are happy to wait and stream “Tár” or “Book Club: The Next Chapter,” or to get their grownup kicks from such series as “Succession” or “The White Lotus.” Yet even prestige television has become overrun with Marvel, “Star Wars,” and “The Lord of the Rings” series, which use the small screen to map out new corners of their trademarked galaxies. Hollywood writers, who are currently striking over the constricted economics of streaming, also complain of the constricted imaginations of TV executives: instead of searching for the next “Mad Men,” they’re hunting for Batman spinoffs.
>Detractors see the brand’s something-for-everyone approach as nefarious. An executive at a rival studio, who called the MCU “the Death of All Cinema,” told me that the dominance of Marvel movies “has served to accelerate the squeezing out of the mid-range movie.” His studio’s comedies had been struggling at the box office, and he groused, “If people want a comedy, they’re going to go see ‘Thor’ or ‘Ant-Man’ as their comedy now.”
For me, If I go to the theater to watch a movie, I want it to be a big spectacle that is truly worth seeing on the big screen like Avatar 2, or something that is just absolutely kino. No one really wants to go to the theater to see dramas or comedies when they can just watch them on netflix or whatever in a few months
Theaters are dying anyway, the only reason that most people go to them are either 1) because they're film buffs or 2) they are using them as an excuse to spend time with friends/romantic partners/family (this second reason is much more prominent than the first). Anyone who is relying on theater releases to make money at this point is a fool, watching from home isn't even the future it's the fricking present and audiences are clearly very receptive to it. Everyone has a computer or streaming device.
My grandmother said when she went to theaters it was less than a dollar and sometimes they would go there just because it was air conditioned
Now you can buy a giant 4k screen for cheap, what's the point of spending $15 to watch a film in a room where you can find unruly kids or annoying buttholes more often than not.
I hooked a cheap desktop to my pc and using the TV as a monitor so I go between shit posting on watching media here I don't even need cable anymore
Indiana israelite audience is 40+ older, so yeah
Look I hate capeshit and haven't watched a superhero movie since the Nolan Batman trilogy, but it's not the reason why "adult dramas" and "rom-coms" have receded.
>” or to get their grownup kicks from such series as “Succession” or “The White Lotus.” Yet even prestige television has become overrun with Marvel, “Star Wars,” and “The Lord of the Rings” series, which use the small screen to map out new corners of their trademarked galaxies.
Maybe because I don't follow Star War, Marvel and Lord of the Rings, but I thought the shows bombed and no one cared. Am I wrong?
>I thought the shows bombed and no one cared
Yes, but that won't stop the studios producing them from investing in yet more series of shit that no one asked for and no one watches, rather than investing in some new original dramas
The same thing happened with video games. AAA games killed the AA game. During the 6th generation the AA game was king and a AAA game was something that only came out a few times a generation (back then they were called "killer apps"). Thanks to Call of Duty the industry became "go AAA or go home" and many notable game developers actually went out of business betting everything on being the next call of duty, and then years later, Fortnite became the new Call of Duty.
Marvel did to movies what CoD did to video games and I will always hate them for that. There is a silver lining, though. Eventually indie games rose up out of the ashes of the mid-budget games, and now the technology and tools have gotten so good that a mid or even low budget game can offer an experience that's superior to whatever crap the AAA slophouses are shoveling up, and even some larger publishers are taking chances on mid budget games again.
When the capeshit millhouse blows up the next few years are gonna suck, but there is something better over the horizon, you just have to wait for it and look for the small victories where you can find them.
member when Minecraft was an indie game? I do.
The problem is the people who are making indie movies for the most part are incompetent nepo-baby hacks. There are some exceptions like Robert Eggers and S Craig Zahler, but for the most part you are not going to see equivalent hits to the vidya indie scene because the talent simply isn't there.
We'll have to wait and see. There are a lot of talented people who are burned out on the studio system and want to strike out on their own, and there are some who are actually taking chances. One that I'm keeping an eye on is Francis Ford Coppola's Megalopolis, because that is going to be a large scale test to see where the market is in the post-MCU movie industry. Coppola financed the movie himself and even sold his family vineyard to raise funds, so he is taking a tremendous amount of risk on it, but he's not someone to bet against. He's making a dystopian sci-fi epic with the budget of a major studio production, but it's his own money. If he pulls it off the studios are going to take notice that auteur experiences are still viable, and not everything needs to be an overproduced comic book adaptation. For any of that conversation to happen it has to actually be good first, though.
>dude balls with a hexagonal texture jammed into random shapes with a gritty building texture on it in a way that makes no sense architecturally or otherwise
>SO FUTURISTIC
That's not concept art from the movie, it's a random illustration from Google.
i don't care
> dystopian sci-fi epic
Dead on arrival people don’t want to go get depressed when life is already depressing.
> Not someone to bet against
Are you high? He is clearly senile and hasnt made a tolerable movie for 30 years let alone a good one for something like 45. It will be total dumpster fire.
no one asked
go back
Wrong board
Have they considered making good movies with no woke shit? Even making decent movies with no woke shit would be a vast improvement. Top Gun Maverik was a shock hit, for Hollywood, because it's the only movie in years that Republicans saw.
>The MCU roster includes seasoned icons (Robert Redford, Glenn Close), mid-career stars (Scarlett Johansson, Chris Pratt), and breakout talents (Florence Pugh, Michael B. Jordan). It may be easier to count the conscientious objectors who haven’t gone Marvel, among them Timothée Chalamet, who has said that Leonardo DiCaprio once advised him, “No hard drugs and no superhero movies.” (This was after Chalamet auditioned for Spider-Man.)
>It can be dispiriting to see so much acting talent sucked into the quantum realm of the MCU, presumably for a tidy sum, but the paychecks alone don’t explain Marvel’s hold over stars. “At some point, you want to be relevant,” an agent who represents several MCU actors said. “Success is the best drug.” This year, Angela Bassett became the first actor to be nominated for an Oscar for a Marvel role, in “Black Panther: Wakanda Forever.” “Well, it’s so modern,” she told me in February. “We try and stay current, and they’ve got a winning formula.” Entire generations now know Anthony Hopkins not as Hannibal Lecter but as Thor’s dad, King Odin of Asgard. “They put me in armor; they shoved a beard on me,” he told me. “Sit on the throne, shout a bit. If you’re sitting in front of a green screen, it’s pointless acting it.”
>The result is a lot of hand-wringing over “the death of the movie star.” In an I.P.-driven ecosystem, individual stars no longer attract audiences to theatres the way they used to, with a handful of exceptions (Tom Cruise, Julia Roberts). You go to a Marvel movie to see Captain America, not Chris Evans. “It’s actually surprising to me how almost none of them have careers outside of the Marvel universe,” another agent said. “The movies don’t work. Look at all the ones Robert Downey, Jr., has tried to do. Look at Tom Holland. It’s been bomb after bomb after bomb.”
there's nothing wrong with the mcu in theory, certainly adult dramas and rom-coms are not better or more worth having around then the mcu is. The problem is at least as of late the mcu is shit and the movies aren't good.
Kevin Feige was just lucky. That's all. I think anyone with a passing knowledge of the comics would have did what he did. He is the Phil Jackson of film producers.
Then why did DC, Fox, Sony and Universal all failed to reproduce his success?
Google "lightning in a bottle"
Google "moving the goalposts"
>asks a question
>gets an answer refuting them
>Low IQ brain freezes up "*error error* must respond with no u, or whataboutism or another empty deflection response"
>Anyone can do this!
>Then why couldn't anyone do this?
>Because it was a once-in-a-lifetime situation!
That's an inherent contradiction. You are not as smart as you seem to think you are.
it was a once-in-a-lifetime situation!
Yes aka lightning in the bottle. It's not a new concept zoomer. Big company sets a trend, everyone follows it and mostly everyone fails you are seeing it now in gaming with GaaS games.
If it was a once-in-a-lifetime situation, then not anyone could do it.
Yes DC dropped the ball and failed and they were the only ones that came close.
He was simply a guy high enough in the food chain that also knew a decent amount about superheroes
Yup and he was attached to the fairly successful x-men movies so it was just a timing thing.
I love how suspect his credentials are. You look at wikipedia he went to college then nothing then bam big time producer wow what crazy luck.
>individual stars no longer attract audiences to theatres the way they used to, with a handful of exceptions (Tom Cruise, Julia Roberts)
When was the last time Julia Roberts was actually a box office draw?
Her romcom opposite George Clooney last year had a respectable box office.
This article is about 7 years too late. I can almost guarantee that this publication praised Black Panther and Captain Marvel too.
>You might picture arriving for your first day of work on a Marvel movie and being handed a leather-bound bible of character mythology. Instead, directors who are in the running for their first Marvel job are given a fifteen-or-so-page “discussion document,” distilled from corporate brainstorming retreats. Landing the job requires not slavish adherence to the document but a nifty approach to executing it. The movies are shot all over the world but edited in Burbank, on the same lot as Feige’s office. Each film’s creative team meets multiple times a week with Marvel’s upper management—until recently, a group known as the Trio, consisting of Feige, Louis D’Esposito, and Victoria Alonso. Filmmakers also receive notes from the Parliament, a group of senior creative executives who are each assigned to individual projects but review them all as a committee.
>All this corporate machinery may sound oppressive, but Marvel collaborators tend to describe their experiences as surprisingly free-form and hands-off. One editor referred to Marvel’s oversight as a “pinkie on the steering wheel.” “There wasn’t anything dictated at all,” Joe Johnston, who directed the first Captain America film, told me. Erik Sommers, who co-wrote the Spider-Man trilogy, recalled that Marvel assistants had put together a document that explained the difference between a “universe” and a “dimension.” But otherwise, he said, “it’s not a giant diagram of preëxisting dots that need to be connected in a certain order.”
>no sexiness allowd
frick this homie. I'm not adovocating for full on cheesecake but c'mon now.
>A few directors—Patty Jenkins, Edgar Wright—have quit Marvel projects, after battling for creative control. “The only times we’d run into problems is if we got a filmmaker who said, ‘This is what I want to do,’ and then showed up and wanted to do something completely different,” a former Marvel executive told me. “So then you hear people saying, ‘Kevin Feige came in, and he took over the process!’ But, if you know what the game plan is, you end up having a ton of creative freedom at Marvel, because we’re working inside the box.” Martin Scorsese would shudder.
>Feige has a reputation as an all-knowing Oz, but collaborators describe him as a comic book savant who pops in and offers story fixes culled from his encyclopedic Marvel knowledge and delivered with a gee-whiz fanboy enthusiasm. “Anytime somebody pitches him something, he imagines himself in a theatre with a tub of popcorn,” Yost told me. A spitball session might result in tectonic maneuvering. When the Russos pushed to base the third Captain America movie on the Civil War storyline—a crossover series involving a toybox’s worth of heroes—Feige worked for months to get the actors and the I.P. aligned. Anthony Russo recalled, “He opened up the door one day and poked his head in and said, ‘War is coming!’ ” But Feige’s zeal belies a cannier managerial skill. “He’s really good at getting what he wants, but at the same time making everybody feel like they got what they wanted,” the former executive said.
> “The only times we’d run into problems is if we got a filmmaker who said, ‘This is what I want to do,’ and then showed up and wanted to do something completely different,”
>When the Russos pushed to base the third Captain America movie on the Civil War storyline
contradiction within one paragraph lol
Pitching something is not the same as agreeing to do something and then wanting to hard-swerve into something else.
They announced Captain America 3 as something completely different and then hard swerved into something else
No, they didn't.
movies and tv are for women and children
real men watch online streams and listen to podcasts
real men are outside building tables and not consuming anything, moron. the philosophy of Cinemaphileners is ass-backwards and warped.
>real men are gay shutin loser zoomers who listen to gay discord troon streams
no
>speak up only now that they're flopping left and right
Journos can't die out soon enough.
>60 years from now
>country is burning, no one is working, government collapsed civil and racial wars are breaking out on the street
>"maybe diversity isn't our strength"
when the semites start leaving en masse for Israel, you will know the end is near
>Israel
They won't go there, they'll go to whatever host they think is the most powerful and will have them. It might be China, or it might be some other up and coming power that hasn't really hit anyone's radar yet.
California is the real Israel
>Israel
You mean greater Khazaria right? You think you are done paying for their empire?
More like 6 years
YOU DON'T UNDERSTAND IT'S ALL ABOUT EXPERIENCES AND PERSPECTIVES.
This is what liberals literally think diversity is like:
>be me
>in a work meeting
>we are stuck on a big problem and no one knows how to move on
>Somalian immigrant coworker stands up and tells us a story
>"in my village of Qwanki I had a job where I have to run to the neighboring village of Kukai to deliver packages and every time I run a lion chases me. One day my friend tried to do my job and the lion almost mauled him to death. After that we called my friend "kinjo" which in my language means foolish. Don't be like kinjo."
>"oh wow amazing story Naheed and wow that was just the answer we needed to solve this marketing issue thank you"
>We will therefore sell franchise for business in Chicago to the locals so they bear the shrinkage and arson costs and not us.
They aren't wrong.
lel
what's ironic is that the comic book industry has been in decline since the late 90s
>Disney Marvel repeats every mistake Marvel Comics made
Why learn from mistakes when you can repeat them?
All I learned is Kevin Feige is the right man for the job.
The Democratic partly is to blame for this diarrhea of capeshit that has flooded the market these past few years because their bumbling operatives in Hollywood made several movies that were riddled with blatant, boring woke propaganda. They self-destructed.
Actually it’s you guys. Batman V Superman, the greatest superhero film of our age, stood at the precipice of capeshit movies and society rejected it. Why should companies bother with anything that isn’t Marvel style schlock? Clearly audiences don’t care for anything other than self aware upbeat ironic products with plentiful jokes.
>Batman V Superman, the greatest superhero film of our age
Good morning, sir!
Your comment doesn't make sense in any way
Bvs for better or for worse represents the baseline for auteurist capeshit. Since it was critically rejected studios have no incentive to cross the line and take risks on artistic takes. Just look at how homogenized mcu the mcu is.
>How the big israelite ate the smaller israelites
>Everything needs to be a franchise
>Movies made by committee
>Cheap 3rd world CGI
>Cast directors for nearly finished films
>Use IP's as a shield to push propaganda
Always said the MCU bubble would eventually burst, but for the longest time, these movies were never true art. They're were always specificially crafted commercials setting up an Avengers event, but each individual entry had no legs to stand on their own with no cultural impact or innovation. They were always extremely overrated.
>A few directors—Patty Jenkins, Edgar Wright—have quit Marvel projects, after battling for creative control. “The only times we’d run into problems is if we got a filmmaker who said, ‘This is what I want to do,’ and then showed up and wanted to do something completely different,” a former Marvel executive told me. “So then you hear people saying, ‘Kevin Feige came in, and he took over the process!’ But, if you know what the game plan is, you end up having a ton of creative freedom at Marvel, because we’re working inside the box.”
This sounds like something a battered housewife would say, what is this insane spin they're trying to pull. None of these movies are meaningfully different from each other, they either let the same producers handle everything or explicitly hire limp-wristed directors with no real personality, but the end result is the same shit for 30 movies