Follow us on Google News
Get the latest updates directly in your Google News feed
The oneShe-Hulkpost-credit scene that has the power to divide the entirety of the Marvel fandom is not just about the irrelevance of those few seconds that we won’t ever get back. It is the manifestation of every single upsetting, disappointing, frustrating, and I-don’t-understand-what’s-happening-right-now moment that MCU has served up in the past two years. The twerking was the breaking point for most in the fandom, for others, it added to the variable flavor of the franchise.
Also read:“Martin Scorsese was right”:She-Hulk‘s Latest Episode With Megan Thee Stallion Twerking Leaves Internet Divided, Fans Defend Jen Walters’ Characterization Amidst Over Sexualization Claims
She-Hulk Bids Farewell to the Days of Tragic Heroism
One of the aspects that made Marvel what it is today is the liberal distribution of Aristotelian tragedy in its character-building. The days of getting beat down in the alley, and rising as America’s hero only to be puppeteered as a circus monkey, and rising again to the occasion against all odds, only to lose it all in a devastating few seconds — where is the story that builds drama, makes you wish for hope even when all hope is lost?
Also read:MCU Head Writer Would Be ‘Shocked’ if She-Hulk Didn’t Join the Avengers inSecret Wars
The origin of Marvel was a cinematic recreation of the definition of tragic heroism. The martyrdom of its heroes fanned the flames of love and devotion among its disciples. With the descent of Phase Four into a chaotic neutral identifier, all of that is gone and its characters only serve to momentarily patch up the holes at the bottom of a sinking ship, until Phase Five can pull the franchise out from its dregs.
Also read:“Remember how Marvel fans got mad at Snyder fans for Peacemaker?”: DC Fans Call Out Hypocritical Marvel Fans for ClaimingShe-HulkDebased the Hulk and Daredevil
Fans Draw Deadpool Into the Mix as Criticism Continues
Marvel’s first comedic success story was built on the backs ofRyan Reynoldswho fought tooth-and-nail for over a decade to get it into production. When the film did ultimately get approved, the timing was right for aDeadpoolsolo since now the fan base had enough global reach and the CGI was definitely better than 2009’sX-Men Origins: Wolverinedays. But the entry ofShe-Hulk: Attorney At Lawwasn’t the right finale to a saga that dealt with experimental solos likeMoon Knight. Phase Four was a sugar crash of comedy, and too much of something all at once is never good.
https://twitter.com/captnmarvlussy/status/1565733950450008065?s=21&t=o9bQHmWeqbjUP-vYgZ5OoQ
Also read:“They’re doing the same things they were preaching against”:She-Hulk‘s Latest Episode Draws Controversy As Fans Call it Hypocritical For Having Megan Thee Stallion to Further Sexualize Women
The comparison between Deadpool and She-Hulk comes due to the fact that both characters are unfiltered in their eccentricities. They both break the fourth wall. But the utterly bizarre post-credits that Reynolds delivers make his viewers happy whereas the She-Hulk ones draw criticism and anger. The former succeeds in its attempt of hitting comedic gold because Deadpool stays true to the character’s incentives and his (somewhat) misplaced ideologies (for eg, using Cable’s device to travel back in time to kill infant Hitler) while She-Hulk introduces this Earth’sMegan Thee Stallioninto Earth-616 as herself only to twerk with her for 8 seconds.
She-Hulk: Attorney At Lawis now streaming on Disney+
Source:Twitter
Diya Majumdar
Senior Writer
Articles Published :2409
Diya Majumdar is a Senior Content Writer at FandomWire with over 2000 published articles on the website. Since 2022, she has been working as an entertainment journalist with a special focus on films and pop culture.Among the countless genres and themes of Hollywood, the ones that particularly favor Diya’s tastes include Game of Thrones, DC, and well-aged thrillers and classics.
