Wonder Man 1x4: Identity and Function

Marvel has a thing for starting in the middle, then revealing how it all began mid-season. Episode 4 is the play within the play. It’s presented like a classic black-and-white movie, complete with classic title fonts, although the time period is contemporary. It introduces “Doorman” Davis (Byron Bowers), the reason people with powers are literally gatekept from working in Hollywood — Simon’s biggest hurdle in getting a major role. Under that kind of spotlight, Simon would be hard-pressed to hide his abilities, but that doesn’t stop him from aiming high anyway. Although the events in Episode 4 happened recently, the Doorman Clause is a black-and-white dealbreaker law, and for Simon, it might as well be a long-established canon event — hence the black-and-white presentation.

This episode is all about Doorman, a name Davis is called because of his function as a doorman at a popular Hollywood bar where ordinary patrons get to rub shoulders with the stars. Josh Gad, as himself, drops by in person and entertains the crowd with his rendition of Olaf’s song about a snow-person’s expectations of chilling out on a summer vacation. So timeline-wise, we are in the post-Frozen era.

After hours, Doorman has a heart-to-heart talk with his boss, who asks whether he has any ambitions beyond being a doorman at her bar. Doorman shares that despite his low-wage position, he is happy doing his job, in which his identity and function align perfectly. That night changes everything. The ever-present Roxxon company negligently causes an industrial accident that empowers Doorman by turning him into a literal walking, talking, human-shaped door. A bit like the Spot in Spider-Man: Across the Spider-Verse, but non-multiversal and less malignant. Now Doorman’s identity and function are totally fused into each other.

The very next day, Doorman becomes a hero, saving the patrons — and Josh Gad — from a fire in the bar. A grateful Josh immediately employs Doorman as his personal assistant, mainly for quick escapes from uncomfortable social encounters. Later, Josh convinces him to play a side character in his heist movie, telling him that all he needs to do is say a line and otherwise be himself — as a door. Trevor would cringe at such advice on acting, but Doorman follows it and becomes an instant success.

From this point, Doorman is on an upward trajectory of fame, wealth, and social clout. But the star he becomes is far removed from what made him happy in the first place. His identity and function are now split between how his audience sees him and how he sees himself. He realises he has zero talent for acting and that he only gets jobs because of his unique ability to become a door on command. He makes up a catchphrase — “Ding, Dong” — which makes him instantly identifiable and endearing at first. However, his fans grow tired of hearing it, so he takes acting lessons. He falls flat when he tries to show off his new skills on a talk show, attempting some serious Shakespeare, but knowing he cannot finish the line with conviction, he falls back on “Ding, Dong” to make the audience laugh instead. As a star, Doorman is just a one-trick pony.

Doorman’s downward spiral is just as rapid. From no longer getting job offers to addiction and poverty, Doorman’s identity and function completely separate. Doorman the doorman: alignment was bliss. Doorman the Hollywood star: a personal disaster rolled into an identity crisis. At this point, Josh Gad returns to offer Doorman a chance at a comeback — reprising his role in a sequel to the heist movie that made him a star. In the meta, it’s a comment on milking a formula by making a sequel in hopes of recapturing lightning in a bottle. The scenario is the same as before: master thief Josh Gad needs a quick exit; Doorman is there to provide one. But this time it doesn’t work.

At a critical juncture, Doorman loses his function as a door, and Josh doesn’t reappear on the other side. Earth-616’s Josh Gad variant, for all intents and purposes, vanishes from the world — perhaps stuck in the non-space that exists between an egress and its exit. Ironically, Josh Gad mirrors what would have happened to his Frozen alter ego had he persisted in enjoying the summer.

With this single catastrophic incident, Doorman is taken into DoDC custody. Superpowers are deemed too dangerous to have a place in moviemaking, and so the Doorman Clause takes effect, ostensibly barring Simon from being employed at all, let alone becoming the big star he dreams of being.

The irony is stark in this episode. Fame is fickle. Fans latch onto a simple thing — like a dumb catchphrase — and someone with no real talent rockets to stardom. Meanwhile, truly talented people who are absolutely dedicated to the craft, like Trevor, spend years in the industry and, despite perhaps one or two career high points, are still looking for their big break.

Wonder Man 1x3: Permissions and Approvals

Continuing with the exploration of social theatre, Episode 3 focuses on family drama: the matriarch's birthday celebration.

The episode begins with a flashback of Simon being examined by a pediatrician. He has survived a kitchen fire completely unscathed. When questioned, his Mother overacts her relief -- clearly she knows Simon has powers, but keeps it hidden from the doctor, claiming a miracle. Simon also appears to lie about the cause being his fault for improperly operating a stove. His powers are an internal affair, for good reason.

Back to the present, we get an unsavory reflection of the US prison system and the budgetary philosophy that if there's a prison, it must be filled. This pretension (also pre-tension) sets the motivation for the DoDC's pursuit of Simon Williams with the presumption of guilt predicating the search for evidence to convict him.

Under threat of being returned to prison himself, Trevor sets up for his latest "act" with Simon by putting on the DoDC's wire. We see him rehearsing his opening "line" -- gratitude for being invited to the party -- in front of a mirror. Armed with foreknowledge, Trevor feigns surprise when Simon announces he needs to go to Pocoima for his mother's birthday, and gets a reluctant invitation to tag along -- as Simon's buffer.

Once again, the most sincere conversation between the two is when they quote lines of classic plays to each other. Simon talks about his ambition to be "everywhere", while Trevor affirms Simon's talent and that he has what it takes to succeed. Simon also agrees that he should stop seeking permission to be, instead of waiting on someone else's approval -- something he realizes he has been doing all his life.

Simon's new resolve is immediately undermined the moment he arrives at his mother's. Competing for Mummi's approval, Simon's more successful brother has made himself the head of the household. While he disparages Simon's career in acting, Eric is quite the performer with his big gestures, loud proclamations, and scripted lines everybody can repeat as an expected crowd participation refrain. He makes a dramatic flourish, revealing the hidden chopping board in the kitchen island he built to a pair of impressed guests. Simon, on the other hand, is not competing, and not acting when it comes to his relationship with Mummi.

Simon gets a further taste of disapproval from his peers as they chat about his job as an actor. They snigger about how three auditions and an acting class  constitutes a whole working week for him, while commenting in Creole how shabby his clothes look, as if he doesn't understand the language he grew up with.

Trevor, plays his role striking conversations with the party guests. While he can't get much information from anyone, he completely breaks character when one auntie absolutely refuses to go according to script, preferring to talk about Eric over Simon. Although there's no subtitle, I assume she comments under her breath in Creole that Trevor is such a fake.

The party comes to a close with everyone singing the birthday song, a real-life ritual that is in fact an elaborate musical number with the celebrant taking centrestage for a camera/audience that is sometimes present, and sometimes invisible. Simon is part of the pageantry, but his expression shows that he knows how much of an act it all is.

Alone in the kitchen at last, Trevor gets to see what Simon's family is really like. Nice guy mask off, Eric forces Simon to confess that he lost the American Horror Story part Mummi was so proud of. Eric continues to undermine Simon in front of Mummi by reminding everyone that Simon's birthday gift, and really his general upkeep were paid for by Eric. When Simon mentions his potential callback for the Wonder Man movie, Eric likens it to getting a second interview for a job he might not get. Trevor's comment that the value of an actor is not measured in money gets no response.

Trevor gets the irrefutable evidence the DoDC is looking for when the pressure gets too much for Simon. In his rage, Simon shatters the kitchen island Eric is so proud of, though he causes no harm to the people around him. It is still sufficient evidence to classify him as a danger to society and justification for locking him up.

On the drive back to LA, Simon is on the verge of giving up. At an improvised rest stop, Trevor drops the curtain on his act with Simon. Excusing himself with the need to pee, Trevor removes his wire and breaks it. I imagine the audio is not stored on the wire but recorded somewhere else, but this is Trevor saying I'm done -- damn the consequences. Time to get real.

Upon Trevor's return to the car, Simon has news: they both got callbacks. The episode closes on Simon's vindication.

Wonder Man 1x2: Side Quests and Distractions

Episode 2 begins with Trevor presumably returning from China, having survived the events at Ta Lo in Shang-Chi and the Legend of the Ten Rings. The continuity is less important than its thematic parallel. The conflict in China arose out of Shang-Chi’s dad being deceived into thinking his wife was imprisoned by her own people, making him chase an empty final mission — a tragic end for someone reputed to be immortal, and otherwise always got his way. Anyway, we get where Trevor’s been as he is on a plane talking to a Chinese woman, recounting to her how his mom set him on his life’s mission to be a great actor someday.

Trevor’s mission is once again sidetracked when, at the airport, he is tackled to the floor by the DDC for being the terrorist he only thought he was playing. He takes a deal to play under the direction of DDC’s P. Cleary in the act of deceiving Simon into revealing evidence of superhero powers.

At this point, let’s take a detour to explore the DDC. Damage Control debuted as a comic book, but it set a much different tone and function from the DDC in the MCU. Comic book Damage Control was a pure comedy of non-powered office workers and engineers impossibly tasked with cleaning up and restoring the damage caused by superpowered activity — a common occurrence in New York 616. Essentially, Damage Control represented stagehands and set builders for the Marvel Comics “theatre,” resetting the stage for the next violent encounter, though less like conventional theatre and more like Toho Studios, famous for its weekly Godzilla rampages. This conceit explained why New York always looked pristine before it got wrecked again in another powered clash.

The MCU’s DDC is cast more like present-day real-world immigration control, dealing more with the superpowered beings themselves rather than the damage they cause (though we did see their engineering department in Spider-Man: Homecoming). Nothing funny about them — they seem like self-righteous, officious a**holes.

OK, back to the series.

Simon’s agent, Janelle Jackson (X. Mayo), diverts his attention from Wonder Man to make a self-video audition for another movie project, hinting that it might increase his chances of being cast in the role he really wants. Simon tries to make the video at home, but the stress of having his girlfriend walk out on him, combined with his inability to get into character, causes him to lash out with his powers (possibly telekinetic) and damage his apartment.

When Simon reaches out to Trevor for help, Cleary sees an opportunity for Trevor to get evidence from Simon’s apartment. Cleary gives Trevor a device that can clone Simon’s laptop. Trevor’s job looks easy-peasy to us — the evidence is all there to be collected.

But Cleary’s plans get derailed when Simon decides not to shoot in his own apartment and instead rents a private studio. Here, Marvel shows us another way Hollywood auditions talent. OK, nice. At the studio, the camera operator proves so inept at reading the audition script that they abandon the effort altogether. It’s a bit of poetic justice. What Simon did to wreck his shoot last episode parallels what happens to him in this one.

Trevor has the brainwave to shoot the audition video at his old co-star’s house. Joe Pantoliano plays himself, reality bleeding into the fictional world. Here, we’re treated to some social theatre where past hurts and old grudges are smoothed over with politeness and platitudes. Trevor has lived a long time with the idea that Joe had backstabbed him in their long-ended hit series South Shore Hospital, but that “scene” had played out very differently from Joe’s point of view. When Joe tries to explain, it only rankles Trevor further. He breaks from social politeness and storms off, while Simon takes his side, insults Joe, and leaves too — his audition tape still not made.

Simon finally decides to shoot at home after all. Now everyone’s back on track with the main side quest — the audition tape. Cleary gets whatever his device has cloned from Simon’s laptop, and Trevor accomplishes his mission. Trevor also uncovers actual superhero damage inside Simon’s apartment, but for now we don’t know what he will do with that information.

Simon gets his video shot, with Trevor reading the co-dialogue. The bond the two have developed through their misadventures shines through. Simon has found his motivation and his character’s frame of mind. More than that, the scripted dialogue sounds so intimate and sincere that it feels as though the real-life actors, Yahya Abdul-Mateen II and Ben Kingsley, are speaking to one another in genuine respect and appreciation for the working partnership they have in the real world.

The theme of betrayal rings strongly in this episode: Shang-Chi’s dad betrayed by the “mega soul-sucker” as optional backstory, Trevor betrayed by Joe, and Simon in danger of being betrayed by Trevor. The layers and concentric circles blending reality and fiction are palpable here — not just as text, but as lived experience. And this is only Episode 2.

Wonder Man 1X1: The Hero's Backlot

Marvel has delivered another act of self-commentary in the new Wonder Man. It comes across as an understated Marvel superhero offering, but it is more about processes -- the overlap of a new hero's backstory and how a Marvel movie is made, where the behind-the scenes of movie production takes precedence over superhero shenanigans.

Let's see if I got this: we viewers are watching an actor (Yahya Abdul Mateen II) playing the main character, actor, Simon Williams, auditioning to play the main character of a remake of a movie "Wonder Man," a character with super powers -- but although Simon has powers, he pretends he doesn't, while auditioning to play a character whose identity is tied to the powers he openly wields. It is a washed-up actor looking to make a comeback, Trevor Slattery, played in real life by Ben Kingsley, who once thought he was acting as a terrorist, not knowing that actual acts of terror in the MCU were being carried out in the name of the Mandarin, the character he thought he was playing. Trevor has put Simon on this path to play Wonder Man, Simon's childhood hero, but the audition itself is a sham, an act Trevor is perpetrating on Simon on behalf of P Cleary (Arian Moayed), agent of the Department of Damage Control. It's Trevor's "Mandarin" role all over again -- smaller, scaled-down and this time fully complicit in the deception.

In summary, we have overlapping layers of actors playing characters thinking they are being themselves, but are really playing characters in someone else's theatre. That is some rabbit hole. The overarching premise, it seems to me so far, is that Marvel is lifting the curtain on the process of making a superhero movie in the real world, but depicting the process in a world inhabited by superheroes, where the actors -- for contractual reasons or because they are hunted by DDC -- have to pretend they don't have powers if they do.

What drives this opening episode is the first step in the actor's process of being cast, the audition. Simon is an actor who overthinks his roles, even when all he needs to do is say a line then lie dead in a moonbeam. Yes, Simon is at the time we are introduced, a Day Player. An extra. A "calafaire", however it's spelled in my region of the world. For Simon, there is no small role. His impulse is to take over his entire shot and build a reality around his character who merely exists as an afterthought for the rest of the crew. But in building his character's reality, he destroys the real reality of the shoot -- time, budget, goodwill and patience -- that his shoot gets cancelled and his reality as he envisions it never gets made.

Having been politely fired, Simon goes to a screening of "Midnight Cowboy" (a movie about a man pretending to be a cowboy, eventually finding meaning in human connection, not performance -- an ironic mirror to Simon's life) and enters Act 1 Scene 1 of Trevor's play which involves implanting in Simon the idea to audition for "Wonder Man". At this point, we get the inkling of a fake friendship that could possibly evolve into a very real one eventually. The situation here is seemingly foreshadowed in the audition script for "Wonder Man" that Simon is to read. It is the character of Wonder Man monologuing about refusing to abandon his friend, possibly mentor, while making a last stand against hostile aliens.

Episode 1 takes us through the audition process, from the interaction with Simon's long-suffering Agent, to Simon finagling an audition spot at the last minute, to the door where he signs in to receive his script (and declare that he does not have super powers), to the queue of hopeful auditionees. We get to observe Simon's nerves under pressure and his breakdown, but Trevor (Act 1 Scene 2) meets with him to steady his nerves and give him tips on how to audition successfully: "don't think, just do" which is the very opposite of Simon's method. And when Yahya Abdul Mateen II delivers that monologue at Simon's audition, this scripted speech lands as the most heartfelt and sincere lines spoken in this episode.

This is going to be a fun series, but I anticipate maybe not for the hardcore superhero fanboys. Is it a documentary? A mockumentary? A superhero schlockumentary? I don't know yet, but this series so far pings big on my metafiction radar.

Focus on POTUS in MCU's Captain America: Brave New World

MCU's Captain America movies usually have some political statement to make. Brave New World, Cap's 4th outing, draws a parallel between newly elected POTUS, Thaddeus Ross (Harrison Ford) and the real-life current POTUS. Both have done and are still doing morally questionable things, and although much of their misdeeds are public knowledge, they have still been given the mandate to be the country's top decision-maker.

What's different about Ross is that his misdeeds are misguided attempts to keep the country safe by all means necessary, including the use of deadly force resulting in heavy collateral damage -- a callback all the way to the MCU's second movie, The Incredible Hulk. That legacy carries over to his initiation of the Sokovia Accords resulting in the unintended(?) disbanding of the Avengers during the brutal Civil War conflict. By this time, Ross is convinced that regardless of his political success, he would never win back the love of his daughter, Betty (Liv Tyler). As such, he seeks to redeem himself by negotiating a global peace treaty over the fair and equitable distribution of a new element that seems to have more potential than even vibranium. This new element is found in the body of Tiamut, the Celestial that arose in the Indian Ocean, but whose full emergence was prevented by the Eternals in their own movie.

Current real-world POTUS has opposite designs for national self-sufficiency at all cost. 'nuff said.

The mantle of Captain America now falls on Sam Wilson (Anthony Mackie), formerly Falcon. He bears the shield with a sense of inadequacy, feeling that Steve Roger's boots are too big to fill. Moreover, Wilson does not have any super-soldier enhancement, and clearly cannot match OG Cap's physical prowess and abilities. Wilson does have the advantage of aerial combat and makes use of his natural empathy to deescalate tense situations. Without enhancements, Wilson has his own approach to dealing with powered individuals, preferring to use words over fists, although fights can end a bit anti-climactically for a hero-fest. It's not that he can't use his fists to end a fight -- as he does with Sidewinder (Giancarlo Esposito) -- but he prefers not to.

BNW is a straight up comic-book movie. There's enough action and fighting through a varied palatte of threat levels to keep the pace breathless. But because Wilson is already such a good guy from the start, his character arc doesn't have that many legs. By the end, he's gained a little more confidence in himself as Cap's successor, but we already knew that he was worthy. His costume design is also busier than I like, but that's an aesthetic quibble. It was President Ross who kept my attention for this movie. He had the broader character arc with more to redeem himself from and more to seek forgiveness for. His resolution is a bit of wish fulfilment for us in the real world, but it is in taking personal accountability and responsibility for his past missteps that finally brings Ross peace.

Overall, while political enough, I feel that the previous Captain America movies had more emotional depth and higher stakes. BNW tried to create a bit of a besties dynamic in the Sam Wilson-Isiah Bradley (Carl Lumbly) pairing, but the Wilson-Bradley friendship doesn't run so deeply that the audience roots for them as we did with Steve-Bucky. The biggest impact of BNW on the greater MCU is the tying up of some loose ends from previous movies while vaguely pointing the way forward with the discovery of a new element to exploit, and a cryptic prophecy delivered in the sole end credits scene. Generally a good movie, but seeing as the supporting character stole the show, it doesn't top any of the previous installments of MCU's Captain America movies, at least for me.

Deadpool & Wolverine review: more super than human

[Minor spoiler warning]

The long-awaited, much-promised Deadpool & Wolverine is finally here! I loved the first two of Deadpool's movie outings because of the very personal emotional stakes driving them. But with D&W, the scope went so broad, trying to cover so much ground that the overall flavour fell flat for me.

There's a lot to like about the elaborate set-pieces, spectacular fight choreography, and the always on-point sound and music design. There's plenty of fourth wall breaking, some quips eliciting 'ooh's from the audience for the burns delivered to all and sundry. Fight scenes were impactful, with I'll-burn-in-hell-for-laughing use of improvised weaponry, and every punch, stab and slash so viscerally sold, it's breathtaking. And when you have two main characters whose main super thing is healing fast, the action is non-stop, save for brief periods of exposition, and sometimes for interactions with an impressive list of cameos returning to the MCU stable.

What seems off about this latest Deadpool movie is that seeks to accomplish too much. It gives loads of flash and bang, but less of the heart and pathos that previously kept us sympathetic and rooting for what would otherwise be the erratic, annoying psycho that he is. For one thing, the colour palette really pops in D&W, making a clear departure from the moody, muted, grainy look of the earlier Fox-produced iterations. In addition, the stakes in D&W are set so high that it's easy to lose focus on the really important issue that's driving the plotline. Deadpool was a 'love story', Deadpool 2 was a 'family movie'. The unlikely narrative threads eventually and deftly wove themselves into exactly what each story promised to be. But in D&W, the foundational element wasn't clear, or if it was there, I didn't notice it.

The human element also took a backseat in D&W. The Deadpool franchise had strong supporting human characters -- Vanessa, Blind Al, Dopinder, Weasel, and Peter, but while they featured in the 1st act (minus TJ Miller's Weasel), their presence was mostly reduced to a photograph Deadpool would look at now and then to remind himself and us what was 'real'. Instead, D&W tended to focus more on the superpowered folk, which is it's own kind of fun, but it's disappointing when there's more super than human in this sort of narrative.

Of the three Deadpool movies so far, I'll say that the first two have tied for first place as my favourite, while D&W clocks in as a close second. It's fun, there's lots of verbal and visual humour in the ridiculous situations D&W get involved with, there's lots of exciting 'whoa'-inducing scenes, and it's still not a movie to bring small children to, which is a big plus. Still, I wish it had more of a point other than being a celebration of itself as the latest arrival in the MCU.

Audience Miss match #themarvels

A fairly long interview with Disney CEO, Bob Iger, but I'm mainly commenting on the sound bite between the 13-15th minute in which he blames The Marvels' box office disappointment on 1) the Disney+ streaming platform, and 2) the lack of executive supervision during the production process.

I agree with #1 in that The Marvels was not billed enough as a significant event that would get people out of their homes and into the cinema. Doubly so when the audience knows that we'll be accessing it on Disney+ not too long after its movie premiere. Nothing particularly important happens in this movie that shakes up the MCU other than a few seconds of mid-credits scene that we had to sit through an entire movie for. Nope. Most people would rather save their money and catch it on D+ as and when it shows up. There was no urgency to be first in line on opening day, and many, like myself, didn't even know when opening day was. Both the pandemic, and the actors/writers strike were factors in the lack of hype for this movie: nobody knew what the stakes were, or even who the villain was. Truth be told, I still don't.

Which leads me into #2. Iger doesn't elaborate on what he means by executive supervision, but it sounds to me like corporate meddling with the creative process. I think corporate should have said something before green lighting the movie in the first place. While I enjoyed the movie, like I generally enjoy most media releases, I'm now looking at this project from a marketing standpoint. Who was supposed to be the target audience? While there are Marvel fangirls like Iman Vellani, a.k.a. Ms Marvel, herself, the vast majority of audience who throw money at MCU movies are the guys who drag their girlfriends and wives along to watch great high stakes superhero battles. Was the battle depicted in The Marvels high stakes enough? I suppose on the cosmic scale it was big, but it didn't hit hard emotionally. It was fun, yes, but it didn't feel like our heroes were going to lose at any point. It was cool, but it also felt like a missable chapter in the MCU timeline. Nothing changed -- until the movie was literally over.

If the target audience was supposed to be women, the characters of Captain Marvel, Ms Marvel, and Monica Rambeau, aren't particularly well known to most women besides the die-hard fangirls, whose audience share simply does not compare to the MCU's male audience demographic. Droves of women are not likely to drag their boyfriends and husbands to watch The Marvels just because three women they don't know, and have never grown up with are the main characters. The Barbie Movie was a very different vibe, and was a huge box office success because Barbie is a character familiar to almost every girl in this and even previous generations. Barbie told a story that resonated strongly with its female target audience, and surprised the males who accompanied their significant others with an absurdly relatable story as well. The Marvels, on the other hand told a story that might have resonated more with a male audience, with all the punching and shooting, but the protagonists were female. Perhaps this story might have done better if it featured Rocket, Groot, and maybe introduced a new character like Nova, or someone similar (Adam Warlock?). While I appreciate the attempt at representation and diversifying the audience pool, representation for the sake of representation does nothing for the box office.

Expecting a hit out of The Marvels with female characters who are relatively unknown to its paying audience is like making a movie featuring Ken as the main character, in hopes of attracting a male audience waving lots of cash, yelling 'take my money!!!' From the marketing perspective, The Marvels made little sense from the start.

The Marvels: Generally satisfying, with some inconsistencies

I didn't even know The Marvels had been released last week. With so much talk and rumours of release dates being pushed back, I stopped paying attention. If not for a chance mention on my socials, I might not even have got a ticket for today.

Warning: spoiler-y review ahead.

The Marvels unfortunately has had the lowest opening weekend of all MCU movies, and quite undeservedly so. It was a fun story (I liked it better than Quantumania), but perhaps the stakes were hugely disproportional to the battles that were mostly fought hand-to-hand in a champion takes all contest. And since there were three heroes against one villain, it didn't really seem like a fair fight. And for the most part, the villain was sort of fighting with one hand tied behind her (yes, her) back. Perhaps that was the point. Dar-Ben's backstory puts her in a position to want to do something to save her people, the Kree, from an impossible situation, but the odds are very much stacked against her. I understand the heroic courage that drives her, and the desperation plus revenge motivation behind her awful choices, but her approach to grand theft cosmos was doomed from the start. You can't save your people's homes by destroying other people's homes -- a very pertinent message for the crisis in Gaza right now.

The movie begins in utter confusion, reflecting the Marvels' own sense of what-is-going-on as they abruptly switch places with each other. Like us, they get dropped into situations with no context, either in the midst of hostilities, or bringing hostiles into previously peaceful locations -- specifically the Khans' living room which gets gratuitously wrecked in the process. It's fun to watch Mom and Dad Khan tag-teaming to fight off two fully trained Kree warriors, and not being very successful at it. In the aftermath, their house has a new skylight which wasn't there before. It's ok, Nick Fury's SABER will pay for the damage, I'm sure.

The confusion gets some clarity when people stop punching and shooting each other and start talking. Everything has to do with Kamala's family heirloom, the twin of which Dar-ben has found and is using to open unstable portals in space-time to aid her nefarious plan -- like Dr Strange stealing forbidden books from Wong's library, but on a much grander scale. It's the energy from these unstable portals that causes the location switching, which eventually they learn to coordinate and turn into a fighting advantage, leading to some interestingly choreographed fight scenes.

They are too late to save the first of Dar-Ben's targeted worlds, and it's uncertain if they do save the second or not -- a disturbingly unresolved plotline. It's also the world with what I felt as a silly, unnecessary Bollywood type culture thrown in just because. Gratuitous. Carol has personal ties with this planet just to raise the stakes a little, but I don't see that the Marvels did enough to save it. I hope we'll find out in time to come, but if that world perished, it'll be one more thing on Carol's conscience.

Of course, Dar-Ben targets Earth next, and it's for all the marbles. Monica does a heroic thing, and Carol gets a redemption. I thought they might use Carol's redemption act to de-power her so that she can be less OP enough to fit into the new MCU team-up storylines moving forward, but she still looks none the worse for wear after her cosmic feat of strength. And while Kamala gets to go home with a souvenir after her space adventure, Nick Fury (especially after the events of Secret Invasion) is going to be very unhappy with two new alien populations living on Earth, one of which he knows about, and one which he doesn't... yet.

But it's Monica's epilogue that is probably going to trigger the next phase of the MCU, if you stay and watch the end credits. There is one final end credits scene, but in my screening the screen went into screen saver mode and there was only sound. I couldn't see a thing, but the sound was unmistakable. Was it important? Probably not. Stay for bladder-holding bragging rights, if you want.

GotG Vol 3: Parent terrible

In Vol 3, the Guardians are finally free of Mommy and Daddy issues. But without our parents' guidance, who are we? The Guardians, individually and collectively discover that they have to find out on their own.

This adventure mainly focuses on Rocket's (Bradley Cooper) backstory. Making a statement against the cruelty of animal testing, this movie takes us into the labs of the High Evolutionary (Chukwudi Iwuji), a being who believes his manifest destiny is to evolve all life to its maximum potential, making him the ultimate out-of-control control freak of a parent who is constantly dissatisfied with the monsters he makes out of his 'children'.

In his experiments on Rocket, which Nebula (Karen Gillan) describes as 'worse that what Thanos did' to her, the High Evolutionary creates some true horrors, including some who eventually become Rocket's friends whom he had to tragically leave behind to escape HE's intended fate for 'Batch 89'. All this exposition is told in flashback, as having sustained a life-threatening injury when Adam Warlock (Will Poulter) attacks Knowhere early in the movie, Rocket's life literally flashes before our eyes.

The Guardians spring into action to save the life of their friend, which means having to infiltrate HE's base of operations to obtain Rocket's tech specs without which any attempt to operate on him would prove immediately fatal. Of course, parent terrible HE takes not too kindly with corporate espionage on his most prize creation, Rocket, and enacts his own counter-plan to retrieve what he considers to be stolen property.

Hope that recap wasn't too spoiler-y. In between, as always, are glorious action sequences punctuated with internal squabbling among the Guardians, including a massive hallway set-piece that sets the bar way up high if you like Netflix's 'Daredevil' hallway punch-ups. I'll need to watch it again to see if it was all done in a single take, but if it was... wow!

Amidst the fighting and the relentlessly escalating crisis that they face, some Guardians really come into their own, while others feel the need to go find themselves, or reforge long-lost connections of their own. As parents, we really should learn to let go and let the children develop into their own beings, rather than force them into some predetermined blueprint of perfection, which will ultimately disappoint you, and screw them up for life. Either that, or die.

Anyway, the Guardians group, as put together by Director, James Gunn, go their separate ways, ending the three-story arc that turned a bunch of largely unknown Marvel properties into some of its best-loved characters today.

She-Hulk 1X9: They went there

Episode 9 is the finale to 'She-Hulk: Attorney at Law'. It presents an unexpected, yet perfectly on-point conclusion to a show that has consistently kept its focus on the human aspect of life in the MCU, superpowers notwithstanding. This episode centers on a key argument that Jen has with Nikki. Given what Intelligencia had done to Jen in betraying her trust, violating her privacy, making her look like a monster to everyone she loves and respects, and legally depriving her the use of her She-Hulk power, Jen has a very strong revenge motive that, regardless, she insists on seeking a legal resolution for. Nikki, however, wants to punish the group "by any and all means", though she defers to Jen with a wry "boring".

"Boring" sums up the entire season, and is the whole point of the show. In a universe that boasts an ever increasing menagerie of people -- including the protagonist -- who possess a diversity of incredible powers, this show wants us to see life from the normal, non-powered perspective. The real heroes of this show are Nikki and Pug who represent the power of friendship at all cost; and Jen's dad who wields the formidable power of family acceptance and support. Mallory Book, and to some extent, Emil, help Jen with perspective and balance. These are powers that are easily taken for granted, but they are real and accessible to us since there's no way in our universe that we can get hold of any conceit (like She-Hulk blood) that will grant us superhuman ones.

So when the big showdown between Intelligencia and She-Hulk occurs, and the scene degenerates into unintelligible chaos, reminiscent of Titania bursting into the courtroom for no reason in episode 1, which she does again here, along with Nikki, Pug and Bruce to face off against Abomination and Todd-Hulk, Jen has had enough. Jen invokes another superpower unique to She-Hulk that she used in her John Byrne comic book run c.1985: her ability to crossover from her universe into her writers' and artists' workplace to complain about their crappy writing and editorial choices.

One thing Marvel is not shy about is how it parodies itself. Here, Jen confronts her writers portrayed as a bunch of noodle-heads discussing a cringey plotline for "season two", all beholden to Kevin, or K.E.V.I.N. as they reverently refer to him. K.E.V.I.N. possesses the algorithm that churns out "near-perfect" Marvel properties, though it leaves quality ratings to the Internet. K.E.V.I.N. knows that the fans want big action, high stakes, satisfying conclusions, and spectacle. The problem, Jen points out, is that while the formula been highly profitable so far, it has become worn and transparent. For the narrative she wants to tell, the formula shoehorns in a lot of extraneous elements that distract from the key narrative: that of a normal person learning to live with and incorporate a physical disability into a normal existence. Boring.

That K.E.V.I.N. relents and renders the Hulk blood plotline into a red herring is good news. This move suggests that future Marvel projects could rely less on crowd-pleasing formula, and support more original, more creative stories, yet remain resolutely focused on the human element, which is the core of how Marvel has always Distinguished itself from its Competition.

"Who's show is this?" It's Jen's. Having regained control of the narrative, Jen resolves her issue with Todd and his hate group in a normal human way. "I'll see you in court". There is no resolution in this outcome. Given Jen's track record in the courtroom, Todd and company could still win and get off scot-free. We don't know as the season ends just before the trial begins. This ending is unsatisfactory to us, but it is non-formulaic. It is also very human in that Justice is never a foregone conclusion, but a process that we make our best effort to pursue. Justice is attained not on a battlefield, but in a boring court of law.

I've always held the notion that comic books aren't just for kids. It's interesting then, that this TV series based on a comic book has seen lots of kids leaping to their feet, flailing their hands, and screaming, "yer tellin' it wrong!!!" To which I respond, ok. I'm sure y'all have had fun doing that too.

She-Hulk 1X8: She who wears the suit

It's taken 7 painful episodes getting to know Jen Walters, slowly peeling away at her character and discovering what makes her tick. The human Jen Walters, that is, who up until now has carried her special ability like it was a terrible disability, although she occasionally found ways to use it to her advantage.

But honestly, who needs roughly three and a half hours of runtime to get to know a person? In the Spider-Man movies, how long did we need to get to know Peter Parker? Less than an hour, maybe? Then he's already off in his costume fighting the big bad guy.

Getting to know Jen in She-Hulk: Attorney at Law was an arduous journey. It was like watching Peter Parker using his new powers to show off, make money, and pick up girls while never having to face his Uncle Ben moment, at least not for a long while. And for Jen, it has taken a very long time, and she still has yet to learn that 'with great power, comes great responsibility', but she is just starting to.

Episode 8 features three costumed main characters, all connected by a common thread, Luke Jacobson, who has made each of their outfits.

The first is the character of Leap-frog, who is essentially a straw-man inhabiting an empty suit. He is a relatively unknown entity in the MCU so he comes with little baggage. He has no skill, generally embarrasses himself, and the only thing special about him is his suit. We see him as a nobody, no backstory, no motivation. We first see him fighting a couple of burglars. Is he a hero? He styles himself as a crime-fighter, so maybe. But because he is really just an ego in a costume, when he makes his heel turn later in the episode, we don't question the sudden twist. When it happens, we're like, whatever. We have no investment in him whatsoever.

The second is Matt Murdock, who makes his long-awaited appearance. His courtroom attire makes him a confident professional both in the courtroom, and in Legal Ease, all the lawyers' favourite bar. His transformation into Daredevil is eagerly anticipated, and it feels so rewarding when we are treated to his signature Netflix hallway fight sequence after the show has delayed our gratification for 8 weeks. Matt is clearly a hero, whether he is in a business suit, or in his 'mustard and ketchup' devil suit. We also remember how much of a ladies' man Matt is when he gets out of it. This character needs no introduction. He has had a long history in the comic books, and a number of seasons on Netflix, so we know who we're getting, and despite some expected artistic licence, is still the same person we know and love. He represents the constant we measure a hero by, and Leap-frog doesn't make the grade.

But it's Jen's show. By Episode 7, Jen has finally learned to embrace She-Hulk as part of herself. She has now earned the confidence to don her super suit which she does. She-Hulk, the superhero, runs off to rescue her client, Leap-frog, from an unknown assailant. But She-Hulk's first ever attempt at being a superhero is embarrassing. She picks a fight with the wrong person, causing much collateral damage in the process. Jen underestimates her control over her She-Hulk persona. For She-Hulk in fight mode, the ends justify the means. She tears up a parking lot, hurls an expensive car and wrecks several others while fighting Daredevil. Par for the course for a Hulk, but irresponsible and willful damage of property for a lawyer. Which is why Jen chooses to talk Leap-frog out of breaking any more laws, while Daredevil fights off the goons.

Needless to say, Jen's most special ability is to invoke Murphy's Law upon herself. She attends a gala for 'Female Lawyer of the Year' hosted by... the organiser's name is never mentioned, but it is a shady operation. The host makes some backhanded compliments about the recipients, and the award is condescendingly handed out like participation trophies to a number of notable female lawyers. Jen is, of course, a recipient though as far as we've seen, she hasn't won a single case yet this entire season. Very sus. It's a trap! Intelligencia makes its move, publicly exposing the cloned contents of Jen's phone along with revenge porn of her and Josh, provoking her to Hulk out in view of her family and her legal fraternity, thus fulfilling another of Bruce's predictions that the world will see her as a monster. Compared to the Matt Murdock hero constant, She-Hulk falls off the charts at this point. But it's because we've seen Jen deconstructed and reconstructed as a person over several episodes that this new transformation into monster Hulk is devastating.  

This season started with Jen on the outside of Blonsky's cell as his lawyer. It has taken Jen on a journey in which her credibility as a lawyer diminishes step by step until, inevitably, she will see life from the inside of a Hulk-proof cell. Will this be Jen's Uncle Ben moment? I don't know, but one prediction of Bruce's remains unfulfilled: being a Hulk puts a target on those she loves. Perhaps episode 9 could end in tragedy, and no one will be laughing then.

A deeper dive into She-Hulk 1X7: 'The Retreat'

The show has been criticized for being 'man-hating', and of pushing a 'female' agenda, but episode 7 clarifies that it is doing neither. It's not because of a simple inclusion of a few identifiable 'good' guys whom we'll probably never see again. There's a much stronger undercurrent, the foundations of which have become more apparent since the previous 'wedding' episode.

First, this show is very good at manipulating the audience through misdirection, and pushing, not an agenda, but emotional buttons. Episode 6 looks like it's a wedding. It is, rather, a look at Jennifer Walters as a high school student, but without breaking the timeline via a flashback to over a decade ago. No offence to Tatiana Maslany, but she would not pass off as a high school student if she were surrounded by a teenage cast.

A high school reunion would have been too obvious, but a wedding is the perfect occasion to bring all her high school friends back together and treat Jen like they used to way back then. Lulu is the queen bee who doesn't want anyone else to steal attention from her, while her 'mean girls' entourage continue to dump on Jen, who back then would have been happy to get any attention at all. Despite their age, Lulu and friends are written as high schoolers, with their obsession over boys (Lulu only wants to know about Jen's dating status), and her friends still talk about Team Edward or Jacob, which is what they would have been talking about a decade or so ago. Titania shows up as the school bully, and the fight is as juvenile as the characters they are symbolically playing. At the end, the bully defeats herself, which is usually how it plays out. And worst of all, no Daredevil in sight! Audience response: the wedding episode sucks. It's a horrible wedding because it doesn't feel important to the MCU storyline, and why tease DD when he's not going to show up? Rawr!

The show also occasionally brings up online sh*tposts from supposedly "hateful man babies", which are roughly analogous to people in our real world who identify themselves as 'incels'. The impression is that the show is making fun of its own of insecure, comic book reading, male fanbase, and that is a fantastic misdirection that draws the ire of the audience. Yes, the show is baiting the audience to hate it. In that red mist, what we overlook is that Jen, too, can be considered a female incel. Jen is unpopular, nerdy, and bullied in school. In adult life, she is insecure, unable to get a date, and seemingly defines herself by the lack of men in her life. The few who do date her put her down, none interested in a second time. These are all traits that resonate with people who identify as 'incel'.

Jen is plausibly about to give up dating when she meets Josh who likes Jen for Jen, and not for She-Hulk. But after a few dates, Jen, um, opens herself up to him, and he ghosts her immediately after. Jen's experience at Blonsky's 'Summer Twilights' retreat in episode 7 explains much of this show's philosophy, showing us how meta it gets. The emotional state that Jen is in when she joins Blonsky's therapy group mirrors ours by this time. Like Jen who ignores the group to look for a phone signal, we've also got better things to do than watch this boring show, but since it's on we'll just put it in the background. We've been promised an MCU fest, but we got an awful 'lawyer show' which has little 'lawyering' and a lot of one whiny woman griping about how unfair life has been for her. When Jen identifies the Wrecker in the group, she feels as attacked by him as we feel attacked by whatever agenda this show's been pushing that isn't to our liking. We feel as betrayed by the 'M-she-U' for making us watch this garbage as Jen feels betrayed by Josh ghosting her.

So what do we do? Do we, like Jen, instinctively Hulk out and immediately rage on the Internet, pouring out our hate and disappointment at this poorly written TV show? Do we make personal attacks on the female writers who care nothing for the source material and are themselves probably drunk, depressed, and are pushing a 'woke' agenda? Or do we sit in the 'calming chair' and work through our personal issues, and the real issues that this show raises for us to think about?

Like, can we spend time to listen to what another human being has to say about their pain, instead of valuing them only for how much they entertain us, make us laugh, or enact our revenge fantasies on our behalf? Can we empathise with them, accept them for themselves, and support them, instead of wishing She-Hulk would hurry up and punch something, but ignore Jen because her life is uninteresting?

And speaking to those in the audience who are feeling as lonely as Jen, She-Hulk is to Jen what Josh is to, well, someone who identifies as an incel. Josh is attractive, confident, successful, able to strike up and continue a conversation with their target, even from a cheesy pick-up line. But in the closing flashback, the show asks if we really want to be that guy, to use another human being and leave them confused and emotionally devastated once we've got what we want from them? Instead, the show assures us that there are people who will accept us for who we are, even if they look weird, or smell, or may even have attacked us once before. They may be awkward in how they express themselves to us, but their support is heartwarmingly genuine, if we, in return, accept them for who they are.

The huge MacGuffin in the room is Hulk blood, which @HulkKing is after. This group, I believe, is hiding behind a 'hateful man baby' mask. Their agenda is not against women, but against super-powered individuals, and it's just that She-Hulk is coincidentally a woman whom they are targeting. We don't know yet if this group wants to create more Hulks with Jen's sample, but this show has been hugely successful at making a lot of its audience Hulk out at their keyboards. How better to create an immersive narrative that encourages mass audience participation illustrating IRL the very themes it wants to raise for discussion? It can't get more meta than this. 

She-Hulk 1X7: laying it bare

I wonder how many items of clothing Luke Jacobson made for Jen? Nikki mentioned a business suit and a supersuit in the previous episode. In this episode, Jen for the most part seems to be wearing a casual ensemble comprising a light top and capris. Jen is called on by Blonski's parole officer to check on Blonski's inhibitor which has malfunctioned. Jen goes as Blonski's lawyer and also as the parole officer's muscle, so it's the perfect opportunity to showcase an outfit that caters to both contingencies.

Jen is still exploring her duality in this episode. She may have embraced her inner Hulk, but it's still not yet a comfortable fit. Her trip to Blonski's meditation retreat plays around with this discomfort as we know from the previous episode that there are elements that wish to do her harm. On the premises there is neither phone nor WiFi connection to the outside world, suggesting that she is cut off with no backup if something untoward should happen to her. The parole officer makes no effort to hide his paranoia and flees immediately after his mission is easily completed.

Jen wants to leave too, but two superpowered brawlers wreck her car while they are working out their issues with each other. With no signal and no transport Jen is trapped under suspicious circumstances. What if the whole visit was set up by the Intelligencia as phase two of their plan? Could Jen possibly fight off a handful of low-grade powered villains led by the Abomination if that is their plan? When the Wrecker shows up unexpectedly, Jen recalls him as the leader of the Wrecking Crew which attacked her in episode 3, and as She-Hulk proceeds to do some wrecking of her own. Blonski is able to calm her down and gets her to sit in on their group therapy session before too much damage is done.

Within the circle, the men share their vulnerabilities openly. Blonski maintains an atmosphere of trust which eventually allows the only masked member of the group, Porcupine, to remove his mask to reveal... no one we know. In this safe space, Jen feels comfortable to open up about her insecurities with her She-Hulk persona, saying that it 'feels like cheating' as she has the ability to whip out this huge advantage over other people to get ahead. She also opens up about Josh whom she had been dating for a week, slowly building enough trust to finally be intimate with him and immediately after he ghosts her. Saracen, the wannabe vampire blurts out that perhaps Josh was only after her blood -- an innocent statement that should set off alarm bells for us.

When the tow truck finally arrives, Jen is able to leave Blonski's retreat unharmed, and has made some new friends. The obvious threat has proven to be not only harmless, but also enriching for her. But in a flashback to Josh and Jen's last night together, Josh carries out phase ONE, and reports his success to @hulkking. The person Jen was most openly vulnerable with turns out the be her biggest betrayal. Which leaves phase two open: if not for piercing She-Hulk's impenetrable skin, then the gigantic needle from the previous episode is for whom? Since Bruce is off planet, my guess would be the Abomination.

A note about the recent lack of post-credit scenes: The post-credit scenes in the first four episodes were frivolous fun moments that had little to do with plot advancement. These final scenes have since become incorporated into the main storyline, and serve as a clear transition to the next episode.

Finally, going by the pattern of Jen's Luke Jacobson wardrobe, I'd expect to see her in her business suit next. It won't be until the final episode of this season that Jen is fully incorporated enough, mind and body, to wear her supersuit, and in so doing bear the mantle of a superhero at last. Which probably means no Matt Murdoch appearance next week either. I'm fine with that. I'm here to watch She-Hulk, not Daredevil. I know whose show this is.

She-Hulk 1X6: the clothes maketh the woman

People watching SH:AaL are disappointed that the show hasn't featured huge, monumental showdowns with the fate of worlds in the balance. There have been no jaw-dropping set-pieces, no inspirational moments, no stakes worth beating people up for. True. It's not that kind of show. So far, the series has dealt with internal conflict within the body and mind of Jennifer Walters as to who is in control of that very same body and mind. But now that that conflict has been largely resolved, we expect that we would be moving on to larger, more consequential conflicts within the MCU environment... but it was still not to be in this episode. Episode 6, aptly entitled "Just Jen", takes us on a much deeper dive into the person of Jennifer Walters -- who Jen is at the very core of her being.

Jen is whisked away from courtroom drama and into a wedding celebration. Jen reluctantly accepts the invitation to be a bridesmaid at her high school friend's nuptials, not because she wants to, but because she doesn't know how to say 'no'. She arrives like a superstar in her glamorous Luke Jacobson designed party outfit, and takes everyone's breath away. Lulu the bride, is of course pissed and makes Jen promise to revert to just Jen for the wedding. Feeling bad, Jen doesn't say 'no'. When Lulu's wedding planning staff quit on her for being a Bridezilla, she imposes all the staff chores to Jen -- general cleaning duties, and ironing the groomsmen's shirts -- while everyone else continues to enjoy the party. Jen is even assigned to walk with a canine partner down the aisle, while everyone else has a human partner. This story piles on aggravation after aggravation to make Jen Hulk out, but Jen resolutely stays just Jen. Even when her courtroom nemesis, Titania, makes an appearance as a wedding guest, Jen simmers internally, but doesn't boil over.

Bruce is wrong about what triggers the Hulk in Jen. Rage and fear may trigger his 'other guy' to come out, but Jen's trigger is different. It's not that she has more control, it's that she's a pushover. She avoids conflict and making a scene. She sucks it all up because she is submissive and compliant. We'll revisit this point later.

Having changed out of her Luke Jacobson, she wears the uniform of the other bridesmaids, which seems like she is one of them, but because the cut is She-Hulk sized, Jen once again looks puny and bully-able. It's likely that this was also the type of relationship she had with Lulu and her entourage all through high school. Jen may have been taken advantage of, but at least she had friends.

Not being able to stand up for herself is probably the reason she wants to be a lawyer. In this profession, she can stand up for others who can't stand up for themselves. Her business suits are armour that give her the confidence that Lawyer Jen has, that just Jen does not. This motivation is also why Jen is so reluctant to give up being a lawyer to train as a Hulk on Hulk beach with Bruce. Jen is invested in the totality of being Jennifer Walters: Attorney at Law, and becoming She-Hulk:Attorney at Law challenges her self-identity irrevocably. If the show hasn't been interesting for some viewers, it's probably because Jen avoids that conflict until the last straw culminating in episode 5. There is no superhero show if there is no conflict to resolve.

The 'B' story strongly parallels the 'A' story. It gives Nikki the opportunity to truly shine as a negotiator. We've already seen her negotiate with Pug, and the boba cafe barista in episode 5, but in episode 6, she negotiates a complex divorce case involving Mr Immortal, who has run out of several marriages by faking his own death, thus getting away from unpleasantness and alimony. Like Jen, Mr Immortal also pathologically avoids conflict, but by actually killing himself, then resurrecting and taking on a new identity once the messy paperwork has been settled.

In reviewing Mr Immortal's latest suicide attempt in a video posted online, Mallory and Nikki discover Intelligencia, a website dedicated exclusively to cancelling She-Hulk. Some posts on this site even go so far as to target her with death threats. This group is likely to be her new antagonist, taking her conflict from internal to external, moving forward.

The slap fight Jen has with Titania is a bridge between these two conflicts. Titania provokes Jen to become She-Hulk at the wedding. We learn that Titania is not a bully as she has no quarrel with Jen, but she views She-Hulk as competition for the attention of her 'Titaniacs'. The fight is for very low stakes, and it's quickly over when Titania accidentally faceplants herself and she literally 'loses face' in front of an Instagramming crowd. What we learn about just Jen is that her transformation into She-Hulk is not as seamless as confident Lawyer Jen's. Just Jen has to put in some effort to make that transformation, even 'forgetting' how to do it on her first attempt. It's not that she is in that much control over her 'other guy', but rather that her threshold for engaging in conflict is so high that it takes a lot of energy to work herself up that much.

Edit: Another way we could read Jen 'forgetting' how to turn is that she manipulates Titania into standing in front of her so that when She-Hulk does her ground-stomp, the shockwave hurls Titania onto the dance floor into full view of everyone. Since Titania wants to destroy She-Hulk in public, She-Hulk brings the fight to the public instead of keeping the battle outside where no one's watching. It's a tactical move showing how much meek just Jen needs to wear her She-Hulk persona when she needs to literally put her foot down.

The episode ends with an organisation that is active on Intelligencia, putting a plan in motion to kill She-Hulk, or at least steal her blood with a huge-bore needle... probably made of vibranium? Todd was asking some very suspicious questions before calling her a 'specimen' in episode 4. But if this needle is the 'next' phase, what could the previous phase be? It's heartwarming that after Jen's Kamikaze courtroom session in episode 5, someone called 'Josh' would be equally interested in both just Jen and She-Hulk. But who else would have better access to Jen's entirely penetrable human skin? But unlike Mr Immortal, Jen/She-Hulk won't be resurrecting if this group of 'hateful man babies', as Mallory describes them, gets its way.

And in the meta, this show, unlike just Jen, is clearly spoiling for a confrontation with the real world's She-Hulk hating mob. In making them an antagonistic character for She-Hulk to fight, the show not only breaks the 4th wall, but drags them in, potentially provoking a war both on-screen and off. It's the show saying 'we know you're trolling us on social media out there. You want to cancel us? Bring it, bros!' That is some meta-sh*t!

She-Hulk Season 1 mid-season review

The true persistent villain in She-Hulk: Attorney at Law has been literally in our face for the first 5 episodes of Season 1. Her name is Jennifer Walters.

Until the end of Episode 5, She-Hulk is denied by Jen, repressed by Jen, and emerges only to be taken advantage of by Jen, whether it's for her new job, or for protection from thugs, or to get dates. Because Jen fears the destructive potential that She-Hulk represents, Jen adamantly controls She-Hulk, an ability she is so proud of and throws in Bruce's face right in the beginning, in Episode 1. But control over 'the other guy' is not what Bruce is teaching her to do. Jen's training montage begins on Hulk's beach resort, but it continues all the way through to episode 5 once she learns Bruce's main lesson: to integrate both halves into a singular being he calls, 'Smart Hulk'. It's a name other people called him, and it stuck, so now he proudly owns it.

Smug Jen, however, believes control over her Hulk self is enough, and so the first half of the series focuses not on the rise of She-Hulk, but on the complete and utter destruction of Jennifer Walters as an Attorney at Law, gradually degrading her courtroom status episode by episode from confident Assistant DA to an intimidated plaintiff who can't even speak at her own counter-suit against Titania for a frivolous trademark infringement. Even 'genius' cousin Ched gets to 'explain her own area of expertise', Trademark law, to her, and she knows she deserves it for her rookie mistake.

Simultaneously fighting Titania to regain her She-Hulk name, and accepting to wear the same clothes that 'suit' both personas in episode 5 is a huge step in reconciling Jen and She-Hulk. When a severely humbled Jen acknowledges the she and She-Hulk are one and the same, she finally relinquishes the 'Jennifer Walters: Attorney at Law' title -- which she insists on calling her 'lawyer show' -- and comes to terms with the 'She-Hulk: Attorney at Law' title, which is the actual title of the series.

Just as Donny Blaze in episode 4 uses 'cheap human tricks' to bamboozle his unimpressed audience, this show revels in using similar tricks of misdirection, such as the Wrecking Crew, their mysterious boss, and Titania, to hide the chief antagonist in plain sight. Jen Walters, a.k.a. She-Hulk is her own worst enemy.

This show has picked up a lot of largely undeserved negative comments from a section of its viewing audience. They view it as episodic, and lacking in a clear direction as each episode seems to deal with inconsequential issues with no major overarching threat that needs to be dealt with. But they are missing the woods for the trees. Perhaps this show is simply too clever for its own good, but under the hood, it's one of the most consistently and tightly-written pieces of meta-fiction I've ever watched on TV. Really looking forward to the remaining 4 episodes in which, I expect, the real superhero-lawyer show begins.

She-Hulk 1X5: Own the name

It's taken 5 episodes and the exact half way mark of a 9 episode series for its title to truly be "She-Hulk: Attorney at Law". Jennifer Walters had previously insisted that her human persona would be the main interest, and it's taken up till now for that persona to finally relinquish control of the narrative and let the rightful titular character, She-Hulk, take over.

Over five episodes, we have watched Jen's human persona being systematically destroyed, at least as far as the "Attorney at Law" title goes. By episode 5, Jen Walters is a client of the law firm she works for, and not even representing herself is the smart move. From prospective DA, to defence lawyer, to character witness, to client making a counter-suit over her own identity, the normal human being she wants to be is visibly shrinking smaller and smaller, just as the character is disappearing into the bland, oversized, corporate suit that She-Hulk wears to work.

To win her case, Jen must prove that she had consistently used the name 'She-Hulk' to identify herself before Titania trademarked it for her cosmetics line. In the previous episode, Jen had used the name She-Hulk to get dates on her dating app, and suffered some very awkward encounters. But despite how badly their dates ended, the guys prove decent enough to testify on her behalf. Their testimonies make it painfully clear that the dates only happened because she presented herself as She-Hulk in name and appearance, meaning that Jen's human persona would not have been as successful. The way Jen humiliated Dennis in court in episode 3, she suffers the same humiliation fourfold here, the undertext being that Jen couldn't get a date to save her life.

Sidenote: Just because we, the TV audience, see human Jen portrayed by the delightfully lovable Tatiana Maslany, the people of MCU Earth-616 probably see a different person, perhaps somewhat more akin to a mousy corporate drone with zero charisma and no appeal. Anyway...

The 'B' story involves Nikki and Pug embarking on a hilarious and embarrassing quest to find She-Hulk a tailor who makes apparel for an exclusive superhero clientele, further underscoring that Jen Walters doesn't dress herself well, either for work, or her social life. It takes some convincing, but Luke (MCU version of Edna) is intrigued by the challenge of making a suit that fits both Jen's tiny frame and She-Hulk's statuesque one. The secret isn't Spandex, but stretch wool, and lots of it. When both 'A' and 'B' stories connect, it's when Jen has won her case and her name, She-Hulk, back from Titania, and is fully prepared to embrace her She-Hulk persona instead of constantly denying and rejecting it. Her new outfit will fit both personas as needed, and hopefully make her look good, whichever persona is wearing it. Luke's genius will only be revealed in the next episode, presumably, so we can only speculate at this point.

Human Jen isn't gone. She, after all, comes up with the winning legal strategy, and is brave enough to character assassinate herself so that She-Hulk can come to life and have agency -- rather than be treated like "a thing that happened" to her -- and the show's title can make sense moving forward. Episode 5 is likewise brave enough to endure fan backlash by 1) having no fan-favourite cameos, and 2) no end credits sequence, suggesting that the show is now confident enough to stand on its own.

Still, we are teased with Luke hastily covering up a familiar horned helmet that's been negligently left exposed. Perhaps the highly anticipated cameo from the trailer is on his way at last!

She-Hulk 1X4: Dennis Bukowski is all of us

There's a repeating pattern in the first four episodes of She-Hulk. Whomever is made the butt of the joke in the odd numbered episodes, Jen becomes in the subsequent episode.

In the first cycle, Jen makes fun of Bruce, then becomes Bruce in the next episode. In the second and current cycle, Jen gleefully takes a huge dump on Dennis for believing that Megan Thee Stallion would date him, but Jen Walters can't even pull herself a mediocre date when she uses a similar dating app in episode 4. Not only that, but the date she does get is too interested in his phone to pay attention to the woman in front of him, and even skips out on paying for their drinks when he cuts their date short. While Dennis rates himself a 'New York 10, and an LA 11' Jen gets an impersonal, in her face (though not to her face) rating of '6, maybe'.

The point episode 4 raises is that everyone is as ridiculously self-entitled and delusional as Dennis, and this fantasy disappoints us when we wake up and see reality for what it is. Let's start with Jen. Seeing as she is having no joy matching anyone at all, she tries her luck using She-Hulk as her profile. Instant success! So many men think they have a shot at dating this fantasy woman, and the ones who do are treated with Jen/She-Hulk's subjective disdain. No one except this hunk of a doctor, who listens to her more than talks about himself piques her interest.

The rest of this episode's cast are living a fantasy too. Failing magician, Donny Blaze, aspires to create real magic. His meagre stint at Kamar-Taj has given him enough magic and a sling ring to do parlour tricks, though he is messing with powers he has no comprehension of. He unwittingly unleashes a demonic infestation, and only when confronted with the reality of how dangerous his powers are does he agree to at least abide by the terms of the injunction brought against him by Wong.

Wong's fantasy is more mundane. He wants to use American law to put an end to Donny Blaze's irresponsible use of real magic. Here we see the first indications that current laws that govern human behaviour are inadequate when governing superhuman activity. Actually, no. We already saw that in shapeshifter Runa's chaotic mockery of the legal process in the previous episode. And in any case, is Wong even entitled to bring a lawsuit against an American citizen? Because 1) is Wong an American citizen himself? and 2) isn't Wong a fugitive from the law for admitting to breaking Blonsky out of his secure facility? There's a difference between real entitlement and self-presumed entitlement.

As for She-Hulk's dream date, he is unbelievably patient when she is suddenly called to an emergency just when they are about to She-Hulk smash! He reads feminist literature while he waits. Such a dream. But when he wakes up and is confronted with the reality of the very human Jen Walters who has kindly made him breakfast, he's outta there. 'Hot doctor' turns out to be just a fantasy for Jen, as She-Hulk is for him.

It's possible that this fantasy theme extends to She-Hulk haters as well. Everyone thinks they understand She-Hulk (and Hulk) better. Everyone knows they can write a better screenplay, keeping better faith with the bi-syllabic monstrosity we all know and love. Everyone knows that they can write more compelling, even more "rousing" courtroom drama than Jessica Gao and her team can, and they even have their fanfics pinned to their refrigerator doors to prove it. But the reality is that it's not their scripts but Gao, et. al.'s they get to watch on DisneyPlus, which proves to be the most galling. This idea is summed up in the closing scene of this episode in which Titania is suing She-Hulk for the use of the 'She-Hulk' moniker as Titania claimed legal copyright over the name first. It's a way for the writers to break the 4th wall from our side to say that they may not be better writers, but Marvel picked their pitch first. Sorry, everyone else!

Madisynn brings quite a contrast to the other characters in this episode. She may be stoned and drunk out of her mind, but she is tuned into reality like no one else, having no fantasies of her own. Donny Blaze unintentionally sends her on this fantastic journey via the portal he opens, not caring what's on the other side, but she just goes along for the ride accepting the reality of all the bizarreness around her, even treating the pact she made with a demon so that she can go home as matter of fact. That she Netflix and chills with Wong later is oddly sweet. She makes no judgements about the company she keeps, and though she annoys him, Wong gives us a glimpse of his human side, watching TV with a date. They are the only couple in this episode who are really together, while the others, including Jen, are really only in it for themselves.

She-Hulk 1X3: Controlling the narrative

Ep 3's linchpin moments are when Jen no longer insists on having her 'lawyer show' but instead just tries to remind us that despite several characters who keep reappearing, it's still Jen's show. Ever supportive, in a later scene, bestie Nikki underscores that Jen needs to 'take control of her narrative'.

Easier said than done, though. She-Hulk has become a media sensation and everyone is running with She-Hulk, while Jen's story goes on the backburner. Despite securing Blonsky's parole release, the media cares nothing of Jen's triumph, but instead presses her on rumors about her Avengers status and her origin story (the "Mafia hit" being a callback to She-Hulk's actual origin story from the comic books). When Jen takes Nikki's advice to control her narrative on a TV news channel, all she is asked about is She-Hulk's diet and exercise regimen. At this point, is this show still about Jennifer Walters?

In her first 4th wall break of the episode, Jen is in her car but suddenly takes her hands off the wheel to talk to the audience. By now, she knows she is symbolically and literally not in control, and despite being in the driver's seat, she really is just a passenger on her show. Jen is also somewhat resigned about her story branching off into Dennis Bukowski's lawsuit, breaking the 4th wall once again at her favourite bar to observe that the two story threads are reintegrating. When Pug asks her to testify on Dennis' behalf, she gladly agrees as she has a story to tell about Dennis that she does have control over. This story will have an impact but, ironically, Jen will be telling it not as a lawyer, but as a character witness.

But many other characters in this episode too have lost control of their narratives. After all, everyone is the hero of their own story. Dennis was 'delusional' enough to believe he was dating Megan Thee Stallion. He regains control by suing Runa, shapeshifting Light Elf from New Asgard for impersonating the latter, hoping to get back the money he had spent on her. Megan Thee Stallion makes an appearance in the courtroom, a victim of identity theft, hoping to see justice done. Runa, believes she has 'diplomatic immunity', defends her actions as  'role play', and impersonates both Dennis and the Judge in a desperate attempt to overturn an unfavourable outcome when the case clearly turns against her. And Wong's story to save Blonsky at his parole hearing inadvertently gets Wong in trouble with the law.

Which brings us to the Wrecking Crew, a gormless quartet of criminals themed as construction workers, wielding powered weapons of some kind. Believing they have a chance to rob Jen on a dark street, they meet She-Hulk instead, much to their regret, 'nuff said. We'll circle back to them in a bit.

Like Jen, none of these characters' narratives they tell themselves lead them to their desired outcome. That's because their narratives are incongruous with their realities. Jen lies to herself that she will regain her 'normal, anonymous' life once 'this is over'. Dennis lies to himself that he is 'a NY 10 and an LA 11'. Megan Thee Stallion is a victim of Runa's lies, while Runa flat out lies. But the Wrecking Crew are lied to! Clearly, some mystery villain knows the power of Hulk blood and wants to get hold of some as part of perhaps a grand scheme to control the overarching narrative, but that's a story for another time.

If there is one narrative that does result in a desired outcome, it's Blonsky's. Blonsky claims to be reformed, and has his Abomination self well under control. The parole board, seeing a demonstration of such control approves his release. Could it be that Blonsky told the truth, and as such got the outcome he wanted? And would that mean Wong somehow lied, seeing as his story backfired?

Perhaps there is one more winner in this episode: the meta narrative. It preempted the IRL She-Hulk internet hate, giving the audience a laugh at the toxic comments aired and posted on the in-show interviews of, uh, persons with a beef against female versions of superheroes. Remember the rumor that She-Hulk got her powers after a botched Mafia hit which was the story in the comics? The TV show reminds us that it's a very different entity from the comics, and what the traditionalist fandom wants, they're not going to get. Reflecting negativity and hate back at itself is really an effective way to control the narrative.

She-Hulk 1X2: Jen learns the difference between ability and agency

 or, just because you can, doesn't mean you, uh, can.

Jen's hubris hits her hard with the greenest of fists to the face. Everything she had chided Bruce for in the previous episode happens to her in this one. Her life as Jennifer Walters has been taken away, though she is still fortunate enough to have family.

The name, "She-Hulk", derives from a quippy newscaster's sound bite, as her new green giant persona begins to take over. Everyone wants She-Hulk at Jen's usual bar, so she must enter as She-Hulk. But her boss is too intimidated to fire She-Hulk, so he asks her to revert so he can fire Jen. Holliway, from GLK and H offers Jen a job, but while he wants Jen's lawyer skills, he wants them hidden behind the physical presence of She-Hulk. She-Hulk attempts to do her job meeting Emil Blonsky, but the Damage Control guard insists she can proceed only as Jen in human form.  Even the post-credits scene shows Jen back in She-Hulk form helping her dad with chores around the house. While Jen demonstrated to Bruce how ably she could change forms at will in Ep 1, in Ep 2 every transformation she makes is not her choice, but due to another person's man's whims.

Although in Ep 1 Jen gleefully departs from Bruce's multi-year Hulk training regime, fully confident of her control over the Hulk in her, by this episode, her office and business cards are gone when she gets fired from the DA's office. After multiple rejections, Jen has given up hope of finding another job as a lawyer as she browses though Buzzfeed-like listicles of unusual jobs like Swiss village mascot. The only lifeline that opens for her via GLK and H is based less on Jen's merit, and more on She-Hulk being the "face" (rather than the Head) of the firm's new superhuman division. Because of the She-Hulk, Jen has lost control over her Jennifer Walters, Attorney at Law narrative.

Talking in the meta, Round 2 clearly goes to the superhero narrative putting the kibosh on Jen's "lawyer show". The former puts Jen through what she acknowledges Bruce had gone through as the Hulk. She has no agency over her transformations, and has lost control of the normal life she was desperately holding on to. But at least she hasn't destroyed a city yet. And the superhero narrative goes a step further by informing us the audience that Bruce has gone off-world, taking away the only person who knows what she is going through and can mentor her through it. This is knowledge that Jen is not privy to, and although she will suddenly find herself abandoned by her mentor, she may never know why.

She-Hulk strong, meta narrative stronger!

 A few hours remaining before the 2nd episode of She-Hulk: Attorney at Law drops. I thought the 1st episode was highly amusing, thoughtful, nostalgic, and complemented with some low-stakes violence, setting the tone for a series that is more light-hearted than usual, and relatable more on a human scale. I'm also very interested in the meta story, and how it shapes the narrative as told by Tatiana Maslany's Jennifer Walters (or Jen) who desperately wants her series to be a "fun lawyer show" rather than a superhero flick.

Jen is probably the first character in the MCU who rejects and denies her powers. Her concerns are entirely human. It's all about job, and recognition for her competence. Friends, and work rivals. And maybe in later episodes, her insecurities dealing with relationships. Perhaps her obsession with Captain America suggests some projection on her own love life -- but I'm speculating here.

As such, when she recaps her origin story to the audience, breaking the 4th wall as she does so, she is a terribly unreliable narrator. Afraid the audience will be distracted from her amazing lawyer super power, she hastily acknowledges her Hulk-ness, reassuring us that she is coping well, and that her condition will not be a further distraction from the courtroom drama she wants to tell. As such, her origin tale is perfunctory and rushed. Accusations that she is a "Mary-Sue" are entirely warranted, because that IS the tale she wants to tell. In the training montage with Cousin Bruce, she passes all her tests with flying colours because she refuses to tell us every painful detail of her learning journey, just enough to justify her return to her law firm and the case she is working on. Her flashback also features cartoonish characters, like the overly helpful bathroom ladies and the pervy males she meets at the Ideal Sports Bar. These people are told from her subjective point of view, and once again, she skims over the details that might have added more nuance to those encounters, while exercising her prerogative to be the hero of her own story. After her recap she reminds us once again that we are watching a "lawyer show".

The "lawyer show" however quickly degenerates into a pile of utter nonsense. Before Jen can even commence her closing arguments on a nondescript case, Jamila Jamil's Titania randomly bursts through a wall Kool-Aid Man style causing havoc. Her ridiculous outfit gives no indication of her identity, her motivation is undefined, and she attacks the biggest, greenest thing she sees, after it declares itself as "Jennifer Walters, Attorney at Law". The whole attack ends with a single punch from Jen, and that's it. Jen reverts to lawyer form, and in her disheveled state announces that she is ready to deliver her closing arguments... immediately cut to black. The "lawyer show" never once gives Jen a chance to shine as a lawyer.

Who is Titania (if you didn't already know who she was, you would never have known who she was)? What does she want? Who does she work for? How evil can she be? None of these questions are answered and the main antagonist in this episode is summarily dispatched with ease. It doesn't matter. In this establishing episode, whomever she was, she is not the most significant villain Jen is facing. Torn between the lawyer that she wants to be and the She-Hulk who keeps getting in the way of her lawyer-ing, Jen's true conflict is against her own narrative.

Is Jen a good lawyer? Her interactions with Bruce do suggest that she has impressive skills. She keeps getting the better of him not because she is a better Hulk, but because she is a "better lawyer than she is a Hulk". Unfortunately for her, her narrative, her story, is equally determined to prove otherwise.