EVERYTHING #1: Why You’ll Never Look at a Mall the Same Way

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EVERYTHING #1, coming out this Wednesday from Dark Horse Comics, is an amusing twist on consumerism and the dangers of mega malls.

Just what everybody needs; a disturbing mall owner in their lives.

***SPOILER***

Everything #1 is the start to an all-new series that’ll make readers question everything they thought they knew and loved about mega malls. Or perhaps not. Any employee stuck working in a mall will gladly tell you that it’s never as perfect as it seems.

This series is so retro in so many ways and eerie and disturbing in others. It makes for an oddly brilliant combination – one that we’ve seen work in a few other famous instances. Though there’s a good chance that none of the others were quite as vibrant as Everything is proving to be.

Everything #1 starts off on an alarming note. But on the bright side, it’s sure to catch the reader’s attention. And once caught, it holds onto it with both hands. Christopher Cantwell certainly knows how to write an introduction. From there, the series takes no time to introduce three completely different leading characters.

Lori is a unique soul. She’s depressive and a bit of a downer – the sort of person you tend to avoid at work when possible. Rick is from out of town, and he also has his issues. Including a potential phobia of insects that may or may not be real. And finally, Remo. He’s a teenager desperate for a job, and quite possibly a way out as well.

You’ll notice that this list isn’t including the woman who owns the mall. And that’s because we still don’t know where she stands. There’s a good chance that she’s not even human. And only time will reveal the truth of this whole situation.

The artwork for this series is exactly as bright as the cover hints at – there’s a lot of bold shapes and colors, with scenes that bounce back and forth between the mundane and incredibly intense. It’s a solid balance, though one clearly designed to disorient the readers.

I.N.J. Culbard is the artist behind the series. Their style is unique, and since they’re the only artist on the project, that gave it a certain sense of cohesion. Considering how intentionally disjointed other elements are, this was a good call.

Steve Wands provided the lettering for this issue, and the attention to detail shows with the font choices and placements. In many ways, the font made the issue have that retro feel they were looking for.

Everything #1 was a strong yet odd start to a new series. The creative team worked hard at grabbing the reader’s attention – while also leaving us in the dark as much as possible. It’s an interesting balance, one that leaves readers with more questions than answers. But that’s not a bad thing.

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How the Series is Wrapping Up in GIANT DAYS #54

By

Cat Wyatt

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GIANT DAYS #54 is out this Wednesday from Boom! Box is the second to last issue in the beloved series, and the nostalgia is real with this one.

This cover captures everything about the impending graduation.

***SPOILERS***

It’s hard to believe that Giant Days #54 is the second to last issue in the series. But it is the sad truth. The series is not intended to run past the 55^th issue – but at least fans are getting a chance to say goodbye, as all of the storylines are properly wrapped up.

Daisy and Esther’s graduation day is upon us, with Suzie stuck in school for a couple more years (thanks to her choice in degrees). That means the series must finish. The series wouldn’t be the same if our chaotic girls’ tales continued through their adulthood – though it would surely be entertaining.

One of the last of these will be seeing for the series…

John Allison wrote the second to the final issue in this delightful escape from reality. And he has done his best to give fans a genuine chance to say goodbye. While our leading ladies were the focus, some of the secondary characters we know and love made their appearances as well. Everyone from parents (and grandparents) to Ed and McGraw, it’s bittersweet but certainly better than not seeing everyone one last time.

Of course, this series wouldn’t be the same without a few extra moments of drama and interpersonal issues are thrown into the mix – nothing else goes perfectly for these girls. But they always make it work. Their quirks shined through in this issue, for this exact reason.

The conclusion of this issue was an interesting choice – there’s a slight jump in the future, which is unexpected. Many fans thought the series would be over upon the graduation. But it would seem that there’s one last story for us to see.

Esther is acting (and packing) just as expected.

The artwork in Giant Days #54 felt exactly as it should have. The iconic style stayed the same, while also showing us some minor character changes – all hints towards the future these three (and others) face.

There were a lot of characters to portray in this issue, and not much time to fit them all in. But they somehow managed to make it work. Even if not everybody had a whole lot of screen time, so to speak. That’s where the artwork had to work hard – showing us what couldn’t be spoken. In this element, in particular, the artwork stood out.

Max Sarin provided the lines for all of the artwork mentioned above, with Whitney Cogar providing the iconic color palette we all know and love. Jim Campbell provided the lettering for this issue, which was also extremely iconic to the series.

We’ve got to give Daisy the win on that debate.

It’s sad to think that the series has only one issue left now. It leaves us wondering, what will the next series be? Will there ever be anything that feels quite like Giant Days?

The series will be concluded in Giant Days: As Time Goes By #1. So make sure not to miss it!

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How Our Girls Can Recover From Anything in HARLEY QUINN & POISON IVY #1

By

Cat Wyatt

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HARLEY QUINN & POISON IVY #1 is the start of a new series from DC Comics, hitting the shelves this Wednesday. This miniseries will follow our dynamic duo as they create more chaos for themselves.

Yep. This looks about as chaotic as expected.

***SPOILERS***

Harley Quinn and Poison Ivy are back together for their own miniseries – one that’s set to last for six issues. These events directly follow what happened to Poison Ivy (and Harley) during Heroes in Crisis. So there will be spoilers for that event. Consider yourself warned (assuming you’ve been able to spend any time online lately and miss spoilers for that series).

Harley Quinn & Poison Ivy #1 brings us back to a fan favorite pair; only things aren’t quite the same. Ivy is changed, and she’s struggling to deal with those changes. And we all know that Harley would do anything for Ivy, but what happens when there’s nothing she can do to help?

The title for this first issue has perhaps the most appropriate name ever, ‘Pushing Daisies.’ We know that not all fans received some aspects of the whole Heroes in Crisis plot too well, so it is refreshing to see some fun being made of it.

A split page cover! Scroll down to see the other half.

Jody Houser took the reigns for this new plot, and she did a great job weaving multiple arcs and premises together. This issue had to go through a lot – covering the past (see above), touching upon the current DC event, and of course, giving us a little bit of our favorite couple.

That’s a lot to balance out, but this issue managed to do so. And it had some fun in the process – because our girls are nothing if not chaotically humorous. Though one could argue that this issue had a slightly darker tone than usual, given the circumstances, this is understandable.

This plot looks like it’s going to be touching upon some of the more fascinating sides of Ivy’s character. Parts that are frequently overlooked and ignored (or at least, not shown as often as her fans would like). For that reason alone, this series is going to be one worth watching.

Ivy’s redesign is looking good in the other half of this split cover.

The artwork in this issue was bright, despite the slightly darker tones. It had fun when it could, but also went all out in showing the organic and flora whenever possible. So it indeed was perfect for a plot revolving around Ivy and the woman she cares about more than anything.

Adriana Melo was the lead artist, with Mark Morales doing the inks. Together they created a striking template. Here bold lines met organic in a way that’ll make readers stop and appreciate their work.

Hi-Fi’s colors perfectly supported the lines – they tended towards bold when possible, and even the duller colors seem to have so much life and vibrancy to them. This fit both of our leading ladies very well. Finally, Gabrielle Downie provided the lines – and the little extra touches she threw in really brought it all together.

harley quinn poison ivy dc comics review — A quick rundown of what’s been happening to our girls.

Harley Quinn & Poison Ivy #1 is an exciting start to this miniseries, and there’s no doubt that the next five issues are going to be a hectic ride. That’s what this pair is best known for, after all. The somber elements were appreciated, as were the pure Harley moments that balanced them out. Now we just need to see where this plot is going to lead us. Any theories?

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AMAZING SPIDER-MAN: GOING BIG #1 – Welcome Back To The 90s

By

Brandon J. Griffin

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This week Marvel throws you into a web-filled time machine back to the 90s for a handful of Spidey stories. AMAZING SPIDER-MAN: GOING BIG #1 is a serving of the Good, the Bad, and the Ugly of 90s Spider-Man comics.

SPOILERS LIE AHEAD

If you’re a longtime Spider-Man reader, you may recognize the creative forces being sold to you with this special issue. If not, this should be a fun exercise in what your favorite web-slinger was like during the 90s.

First up we have veterans Gerry Conway and Mark Bagley on their very first collaboration. Both have many years with the character separately, it’s kind of crazy that this is the first time they’ve worked together.

“Field Of Fire” is by far the best story of the bunch in both plot and art. We’ve been seeing a lot of Mark Bagley’s Spider-Man work lately (Spider-Man: Life Story, Venom) and he’s still got it. This is probably some of his best work on a web-head book out of the past few years.

There’s a fluidity to the layouts that serves the story well and delivers us a Spider-Man that we’re all familiar with. Conway’s script is great, taking full advantage of the shorter format telling a self-contained story to completion. The “mystery” of who the sniper is could be solved by a coma patient in the first bit of dialogue–but it doesn’t make it any less fun.

Our second story is an ultra-short tale written by Ralph Macchio and Todd Nauck on art. Poor Ralph Macchio and his comic book writing aspirations, he’s been given a few short story opportunities for Marvel recently and none of them have struck a chord at all.

“Life Lessons” is a forgettable and boring three-page story that we’ve all read a thousand times before. Macchio seems to do fine as an editor, but his writing credits are lackluster at best. Maybe he doesn’t have anything to say with these characters or maybe he’s not given enough rope. Either way, this is the weakest of the bunch for AMAZING SPIDER-MAN: GOING BIG #1.

The third and final story is the big draw, longtime Spidey creator Erik Larsen returns to tell a quick story about Spider-Man and Nightshade (long forgotten Spidey villain)–also a bit with Pete and MJ’s attempt to see a movie.

NO NOT MAN-WOLF, THE OTHER WEREWOLF BASED SPIDEY VILLAIN WE ALL KNOW AND LOVE

Larsen’s art hasn’t changed much, Laura Martin’s coloring gives it a bit of new life. Mostly, this another forgettable exercise in nostalgia. It’s quite jarring sometimes when a book striving to look like the 90s is telling a modern day story. This would be a great example of that.

Spidey looks just like he did all those years ago, but Nightshade and her werewolf cronies look awful. Larsen’s Spider-Man dialogue attempts to immediately tap into the attitude of way back when but it doesn’t translate well. Rather than be our lovable cornball attempting humor at the worst possible time, Peter comes off as an annoying Deadpool-ripoff.

AMAZING SPIDER-MAN: GOING BIG #1 isn’t all bad, but it definitely goes downhill drastically after the first story by Conway and Bagley. This is a one-shot issue that leaves you with nothing in the end unless the only Spider-Man you’ve ever cared for was the 90s.

Especially considering this is a $4.99 book, you’re better off avoiding this one.

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Review: DOOMSDAY CLOCK #11 Sets Up the Finale in a Big Way

By

Jose "Jody" Cardona

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Doomsday comes closer with one last set up!

It’s been another long while since the last issue of Doomsday Clock where we left on a big reveal. The entire issue followed Doctor Manhattan’s journey to the DC Comics Earth. Using an actor as a tether, the blue god-like metahuman observed the timeline and experimented with it. This all came about when Manhattan saw Superman for the first time and sensed the world’s timeline was connected to him.

His first attempt to remove the Man of Steel ended up delaying Clark’s eventual arrival and his connection to the Justice Society. The second attempt messed with the Legion of Superheroes. The final push had Doctor Manhattan remove the past and future to create the New 52 timeline. After Wally returned in Rebirth #1, Manhattan realized that this was going to lead to the confrontation between him and Superman. Will this battle end the world or just the Blue Metahuman?

**Some Spoilers Below**

Story:

After Doctor Manhattan defeated the heroes on Marse, he comes to Earth to see it go to hell. From the gang war started by Mime and Marionette against the Joker to the Anti-Superman riots in Washington D.C., the world has become more like the Watchmen’s World more than ever. Ozymandias, correctly guessing this would happen, watches on from a bunker, explaining to Saturn Girl how this was all a part of a master plan to save both worlds.

Meanwhile, our trinity has been hard at work to stop doomsday from happening. Batman rushes to stop nuclear launches all over DC, asking Alfred to find the new Rorschach to help. Wonder Woman continues her fight against Black Adam’s forces at the United Nations, while the Amazons plan to go to the mainland to get her. Finally, while Superman plans to join Diana, Lex Luthor shows a certain time anomaly that has been appearing throughout the DC timeline. It turns out whenever Manhattan alters time; he leaves behind a copy of his photo, proof that he had done it.

It’s hard to admit it, but this is definitely the weakest of the issues. After coming off an entire issue where we get a ton of exposition on how Manhattan has edited the DC Timeline, and now a good chunk of this one is an exposition on how Lex knows. Other characters that started in the series have been completely tossed aside with dropped plot points. Mime and Marionette with the Comedian? Pointless. New Rorschach? Given up hope. Even Saturn Girl and Johnny Lightning have been pushed off to the side.

That being said, there are still plenty of positives in this book. The conflicts of the Trinity kept me on the edge of my seat. Diana’s battle against Black Adam’s forces while seeing Batman fighting to stop nukes from going off actually had me question how doomsday could be prevented. Even Lex Luthor’s story, despite it being Manhattan’s story from another angle, is incredibly interesting. To top it all off, we have the ultimate Cliffhanger to lead us into the final issue. This reviewer isn’t sure when that next one will come, but it definitely has the potential of being a powerful finale.

Art:

It isn’t clear if Gary Frank’s art is the cause of the delays, but it certainly forgives them. Every panel is a masterpiece, and with Brad Anderson’s colorwork, it brings the book to life. It’s hard to praise something you’ve enjoyed with every passing issue. The best part, however, has to be the little nods to past DC comics sprinkled in, including the Planet Krypton restaurant from Kingdom Come. If the story hasn’t captured the readers, the art of Doomsday Clock will.

Conclusion:

As we come to the penultimate issue of the series, it still continues to amaze this reviewer how captivating it is, despite delays. While there are definitely parts that feel rather pointless, a good portion of the issue will have readers on the edge of their seats. The art helps the issue with its incredible detail in line and colorwork, detailing the final battles to come. Add a nailbiting cliffhanger, and the finale promises to be an epic as the Doomsday Clock clicks to midnight.

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HOUSE OF X #4 – High-Octane Devastation

By

Brandon J. Griffin

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HOUSE OF X #4 drops this week from Marvel Comics. Jonathan Hickman and Pepe Larraz deliver a pulse-pounding issue that doles out multiple gut punches.

HOUSE OF X 4 CVR — GET READY FOR THE HURT

SPOILERS LIE AHEAD

If there was ever an issue that would bring to light why the reading order for both House Of X and Powers Of X, this would be it. Where this story takes us and where it leaves us by issue’s end makes everything fall into place.

The reading order for this two-series story is crucial, it’s trade collection NEEDS to be one book. These last two issues of House Of X are about this commando mission the X-Men are on to destroy a Mother Mold being rebooted in space.

All of our brave mutant heroes on this mission lose their lives in a successful but devastating effort to stop the Mother Mold. We are most likely in another one of Moira X’s lives when we thought we were all caught up. Unless they find a way to resurrect all the mainstays that were just killed, Moira will be starting anew in next week’s Powers Of X.

House Of X #4 is a masterful work in terms of pacing and motion. Readers may find themselves in a bit of a sweat as they see the drama unfold. This issue is packed to the brim with emotional action and substantial sacrifices on every other page.

Every one of these heroic moments where we lose a member of the team is devastating. Their final moments crafted and executed flawlessly–totally within each of their very own distinct characteristic ways as well. The final page shows a tearful Professor X claiming “no more” and it’s an extremely impactful image.

Hickman’s way of building a world in sometimes excruciating detail may be painful for some readers, but these last two issues were all about payoff for those along for the ride. I can’t see this issue making any sort of sense without a full grasp on the rabbit hole that Hickman is leading us down.

That being said, this issue is extremely satisfying for anyone who has taken the time to absorb each little detail and chart that’s been shared so far.

Artist Pepe Larraz dazzles with these pages, making every single action sequence and facial expression matter. Every important action carries weight and feels immediate, demanding your attention and leading into whichever emotion he wants you to feel in that moment.

The panel where Cyclops meets his untimely demise stands out as highly creative and memorable.

Marte Gracia once again fills your eyeballs to maximum capacity with color. A lot of the emotional weight and danger can be extracted from the color alone but it never becomes overbearing.

Marvel has made a lot of promises over the years to sell their comic books to old and new readers. Thank the maker that this time they were absolutely right in the amount of hype they were stirring up. Hickman and his art teams between these two titles have been nothing short of spectacular and bold.

House Of X #4 takes readers places they probably did no expect to go with five issues left in this story to kickstart the new era of X-Men comics. We’re left in a place where we have no idea what’s around the corner.

Aside from making the X-Men interesting and important again, Hickman has also managed to keep readers on their toes with a beloved franchise that was built on soap opera drama and tired tropes. This Dawn Of X era should be able to satisfy both oldschool fans desperate to love X-Men comics again and those who never cared much for them.

Bless you Jonathan Hickman, you brilliant man.

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How Black Widow Falls Back to Basics in WEB OF BLACK WIDOW #1

By

Cat Wyatt

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An all-new miniseries about the one and only Black Widow launches this Wednesday, in WEB OF BLACK WIDOW #1. This one is for all of the long-standing fans of this conflicted heroine.

Black Widow is back! And she’s ready for action!

***SPOILERS***

Web of Black Widow #1 is the first part in a five-issue miniseries, all focused on one of the most complicated and conflicted heroes in the Marvel Universe. We are, of course, talking about Black Widow.

This miniseries follows several major events to happen in the world, including Civil War II and Infinity Wars. But don’t worry – fans that skipped that should be able to follow along without much of a problem. Just know that somebody is digging up Natasha’s past – and she’s understandably unhappy about it. The other detail worth knowing is that Natasha is still struggling with some events of her past, most specifically her death and resurrection.

The Black Widow imagery is strong with this page.

Jody Hauser was the author for this issue, and you can tell she’s trying to do right by our character. Here we delve into Black Widow’s past, but it’s done uniquely. The whole issue is a series of mirrors – the present reflecting the past in ways that Natasha can’t deny. The real question is, what’s it all leading to?

It was an interesting – and smart – call to include Black Widow’s struggle with the events that have happened to her relatively recently. Even in the comic book world, it can’t be easy to get over one’s death, regardless of how impermanent it ended up being. In a way, this struggle reminded us of Natasha’s humanity. It was poignant and respectful. And for that we’re grateful. It’s certainly a nice touch for any fans that are still grieving after the events of the latest movies.

Natasha is looking good on this page of Web of Black Widow #1

Web of Black Widow #1 had some brilliant artwork backing up an intriguing plot. The style leaned more towards elegant and dark, but if that description doesn’t entirely fit Black Widow, then we don’t know what does.

The panels making direct comparisons between the past and the present were exceptionally well done. It would have been easy to go overboard on these scenes, but our artists toed the line – making the point clear, while still holding something back.

Speaking of our artists; Stephen Mooney was the lead artist for this issue, with Triona Farrell providing the colors. And finally, VC’s Cory Petit did the lettering. Here’s hoping this team stays on for the next four issues as well.

Things are coming full circle in this tale.

This issue was a solid start to a new miniseries about one of the classics. It’s always nice to see somebody like Black Widow getting her own storyline – too frequently we see her relegated as a supporting character to other arcs and events.

Having this plot be both exciting and respectful was an excellent touch. It’s sure to draw out the fans of our beloved Black Widow. Leaving many wondering what she’ll do next.

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Review: A Life-Changing Bad Day in ABSOLUTE CARNAGE: SYMBIOTE SPIDER-MAN

By

David DeCorte

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Absolute Carnage: Symbiote Spider-Man, out this week from Marvel comics, isn’t the most graphic or twisted chapter of the Absolute Carnage story thus far. However, it may prove to be one of the darkest, drawing from a forgotten pair of pages from old Spectacular Spider-Man backissues to tell a story of surprising emotional gravitas.

Judge Len Elkhart is a regular, upstanding member of his community. Everything changes, though, after one really bad day pushes him over the edge, sending him down a sinister path that can only end with his destruction.

The Writing

Absolute Carnage: Symbiote Spider-Man is an unorthodox approach to a Spider-Man story. That’s namely because, aside from a brief cameo, the book doesn’t actually feature Spider-Man. Even the symbiote in the book’s title takes a backseat, only really becoming relevant in the last few pages. Instead, we’re introduced to an unfamiliar new character, Len Elkhart, who is briefly hijacked by the symbiote suit while visiting New York.

The book is not really an action story. Rather, it’s more of a drama detailing the sad events that led our protagonist where he is. The book offers an extended flashback explaining how one man comes to welcome death.

Writer Peter David does a fantastic job drawing the reader into Absolute Carnage: Symbiote Spider-Man. Despite having limited space with which to work, he manages to weave a compelling and emotionally-resonant narrative. Elkhart’s pain and regret are palpable, generating pathos and capturing the reader’s interest.

The book features thematic elements drawing on other classic stories in comics history. Focusing on an ordinary individual as our protagonist, rather than the heroes occupying this world, has hints of Marvels. The narrative, however, borrows from other sources; Len’s life unravels because of a few bad choices and happenstance. “That’s all it takes. One excuse,” he says at one point, closely paralleling The Joker’s “one bad day” thesis from The Killing Joke.

Overall, the writing is tight, efficient, and incredibly compelling from beginning to end.

The Artwork

Francesco Mobili’s illustrations in Absolute Carnage: Symbiote Spider-Man perfectly capture the tense, mournful tone of the story. The work makes repeated use of closely-cropped panels focused on Len’s face as he recounts the story, showing the lines and imperfections carved into his skin after years behind bars. His gaunt appearance contrasts with his lively, younger self, driving home how heavily the events of the book weigh on him.

Mobili maintains a consistent approach throughout the book. He tends to keep panels tightly-focused on characters’ faces, pulling back into wider images primarily for impact or to enhance the mood. This allows him to play with different angles, constantly changing the perspective without making the page feel cluttered or confusing.

Java Tartaglia and Rain Beredo share color duties for Absolute Carnage: Symbiote Spider-Man. Their work suits the style of the book well, providing a subtly washed-out look for much of the flashback sequence, contrasting with the sharp, dark tones of the present day.

Final Thoughts

Absolute Carnage: Symbiote Spider-Man is a surprising entry in the Absolute Carnage storyline. While the connection to the larger event is tenuous, it’s a well-crafted story and is definitely a must-read chapter in the tale.

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Review: MIDSOMMAR Director’s Cut Offers More Context And Is More Rewarding

By

Eric Trigg

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Interview: Karl Mostert, The Artist Of THE MAN WHO F#%&ED UP TIME

Midsommar, Ari Aster’s sophomore feature re-released this past weekend in select theaters with thirty minutes of additional footage. If the original cut that was released this July wasn’t uncomfortable enough for you, Midsommar’s extended cut is certainly going to provide several more moments to make audiences feel uneasy, and disgusted with themselves.

Just like the theatrical cut, Midsommar follows a group of graduate students that travel to Sweden for a festival that occurs every ninety years, but they find themselves caught in the ritualistic practices of a pagan cult. Written and directed by Aster, the film stars Florence Pugh, Jack Reynor, William Harper, Will Poulter, and Vilhelm Blomgren. At the center of this pagan cult film are Dani (Pugh) and Christian (Reynor), two people involved in a very toxic relationship. Everything that unfolds in Midsommar feels like some weird drug trip, which is what Aster intended.

Similar to his previous hit Hereditary, Aster has written a very detailed film that requires the viewer to pay attention in order to fully understand what is occurring. The screenplay for Midsommar purposely illustrates what will unfold, but many will overlook these details until they view it for a second time. The film also gives an intense look into grief and mental instability, just like Hereditary. Dani, the film’s heroine spends most of the runtime struggling to cope with a tragic event and Christian, her uncaring boyfriend, doesn’t make the situation any better. In fact, Christian is illustrated as more of an awful boyfriend and a jerk in this extended cut. There is an additional scene in the Swedish village that showcases just how toxic Dani and Christian are for one another.

Pugh’s performance as the distraught protagonist Dani is amazing to witness, as she undergoes nearly every emotion possible until the film’s final shot. It’s made apparent early on that Dani is very clingy, and she has a bit of a history with mental issues, which are just a few reasons why Christian wants out of the relationship. Pugh perfectly embodies the pain and grief Dani is enduring, and while her co-stars do what they can, none of them stand out like Pugh. In fact, outside of Dani and Christian, most of the characters aren’t fully developed to get invested in what happens to them.

Aster has crafted a visually stunning film and this extended cut is more rewarding in many regards. Midsommar is more of a discomforting treat with this extra footage and it is still going to leave several viewers pondering on what they just witnessed. The cinematography by Pawel Pogorzelski is stellar and a visually satisfying component that brings the horrific nightmare to life. This extended cut nearly reaches three hours, but it never overstays its welcome. The pacing is very well done and every moment in this deeply dark film will have you invested in the madness unfolding.

midsommar cult — (Center) Isabelle Grill. Photo by Csaba Aknay, Courtesy of A24.

By the time the credits roll, an emotional catharsis will come for both the viewers and Dan, as we are all finally released from our conflicting emotions. As a follow-up to Hereditary, Midsommar showcases just how talented Aster is as both a writer and director. It is apparent that he takes his work very seriously, and while this extended cut offers a lot more, many other moments Aster wanted to leave in are still missing.

Midsommar’s extended cut is just as entertaining as the previously released theatrical cut, but this version offers more context for the relationship that is going to hell between Dani and Christian. If you weren’t prepared for the bizarre activities that ensued during the first release of Midsommar than don’t expect this trip to be any different.

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11 Potential Ways To Introduce The X-Men Into The Marvel Cinematic Universe

By

Kieran Freemantle

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September 3, 2019

Due to Disney buying 20th Century Fox the X-Men and all the mutants are coming to the Marvel Cinematic Universe. Which means some of the most popular Marvel characters are going to be in the same cinematic world as The Hulk, Thor, and Captain Marvel. But the world of the X-Men is extensive, and the series is known for its social commentary. There would be a logistical problem for the MCU to introduce so many superpowered characters suddenly. If there is a will, than there’s a way; here are a few possibilities to bring the X-Men into the MCU.

11. The Memory Wipe

An idea that has been suggested by some fans is that mutants have always existed in the MCU but Charles Xavier has wiped the world’s collective memory about them. To me, this is one of the worst of ideas to introduce mutants into the MCU and should only be used as a last resort. But let’s humor the idea because any story idea could work with imagination and good writing.

If the MCU did use this idea, it would turn the X-Men into the Marvel version of Men in Black. In this scenario Charles Xavier would find out about mutants around the world, tries to recruit them and whatever the outcome he would erase the memories of the people would have seen mutant power use – whether it’s blowing up a water tower or freezing a school. Or the MCU could go down a similar route as Heroes where a shadowy organization finds and track mutants and erases the minds of ordinary people who were exposed to them. Claire Bennett’s mother always had her memory erased.

The risk of this story is it would act as a big retcon in the MCU, leading to questions like why didn’t the X-Men or mutants get involved when Loki invaded New York City or Thanos snapped half of life out of existence. Plus for the story to work the numbers of mutants are small up until the start of the MCU X-Men movie and the press would have been involved in any cover-up.

Weapon X

In the Ultimate Comics series it was revealed that mutants were actually created through genetic experimentation. In the comics Nick Fury Sr. and James Howlett were arrested for looting when on tour during the Second World War and experimented on to recreate the Supersoldier formula. Howlett ended up becoming the first mutant, getting his healing factor and adamantium claws, and the experiment ended up causing more mutants to be created. The US and Canadian government covered up their involvement.

Like the Memory Wipe, using this idea would be the nuclear option: it could only be used if there are no other story ideas. One of the big themes of the X-Men franchise is that people are discriminated against because of a quirk of nature, something that naturally happened. This would be lost if it turned out that mutants were just the result of science run amok.

9. Storm in Wakanda and Other References

A backdoor way to introduce mutants would be to use one character to appear in a non-X-Men film. One of the most obvious candidates would be Ororo Munroe AKA Storm. Storm has a history with Black Panther: she even marries him in the comic. Black Panther 2 could find a place for her, even if it’s just a cameo or reference to a teenage girl or a woman in Wakanda who can control the weather. This idea could even snowball to other references in other films like reports of a Canadian soldier during the Second World War who had rapid healing abilities, or a news story about a teenager with extraordinary powers.

8. The Snap

Another popular suggestion from fans is that The Snap caused the creation of mutants. At the end of Avengers: Endgame the Avengers were able to reverse The Snap and bring 3.5 billion people back to life. Because of the stress of being resurrected the X-gene gets awakened in people and unlocks their mutant powers. The idea would be influenced by the first Deadpool movie where Wade Wilson is tortured so that his mutant powers would be activated. It could be stated in a news report, similar to the opening of Spider-man: Far From Home and allow any MCU X-Men film to jump straight into the action.

7. The Multiverse

Marvel is clearly building up the idea of the multiverse. In Avengers: Endgame The Ancient One stated that if a past event changes then it would create a new timeline and Mysterio said he was from another alternative Earth. One of the films in Phrase Four is titled Doctor Strange in the Multiverse of Madness. Because of this, the multiverse could be used as a way for the X-Men and mutants as a whole coming into the MCU. They could either be in their own universe and through a bit of inner-dimensional travel are about to travel to the MCU or seek refuge in the MCU.

The Multiverse could act as a backdoor for the MCU to keep the 20^th Century Fox cast, particularly James McAvoy, Michael Fassbender, and Hugh Jackman. Sure, Jackman has retired from the role of Wolverine but don’t underestimate Marvel’s powers of persuasion. The Multiverse could also be used to explain the timelines within the X-Men film series.

Within the comics characters from alternative futures have joined the X-Men. Bishop and the Old Man Logan version have both ended up in the main comic series.

6. Wanda and Magneto

In the comics, Magneto was the father of Scarlett Witch and Quicksilver. This wasn’t the case in the MCU because the franchise didn’t have the movie rights for Magneto and other mutants. This has obviously changed now Disney has bought Fox.

In Avengers: Age of Ultron Wanda and Pietro were orphans who harbored hatred toward Tony Stark because they blamed him for their parents’ deaths. This could change with a simple retcon and Wanda finding out her birth father was really Magneto. It could be done because it has been established in other media that Magneto had children out of wedlock and never raised the children himself. It was done in X-Men: The Animated Series and Fox’s prequel films.

Marvel would have two-story possibilities if Marvel decides to use Magneto as a way to introduce mutants. The first would be a revenge story because Magneto would go on the warpath if he finds out his daughter was experimented on by a secret Nazi cult. It could be a way for Marvel to create its own version of the proposed X-Men Origins: Magneto story and modernize his ideology and background.

The other would be Magneto showing more villainous/selfish intends because he uses Wanda’s powers or the research that was done on her as a way to find mutants or awaken the X-gene in people around the world.

5. Rise of the Sentinels

Within the Marvel Cinematic Universe, there have been some examples of amazing technology like helicarriers, nanobots and robotic suits. There are also greater threats in the form of aliens and beings with superpowers. In this scenario, the US government or an alliance of nations may look to take their security in their own hands – especially after the loss of The Avengers. A way they would do that is to use Bolivar Trask to lead the Sentinel Initiative which would fend off any threat.

This base idea could go two ways. The first would be Trask arguing that the Sentinels could be used to face a new but growing threat: mutants. The other is the Sentinels gain self-awareness and see mutants as a threat to the public, so go on the offensive. The driving force could be a rogue mutant launch a terrorist attack which The Sentinels stopped, but this action would lead to a crackdown against mutants and force the X-Men into action.

The problem with this story is that it has similarities to Age of Ultron and Civil War.

4. Avengers vs. X-Men

The “Avengers vs. X-Men” was a huge crossover event back in 2012. In that storyline, the Avengers and X-Men go to war because the X-Men were protecting Jean Grey/The Phoenix while the Avengers see her as a threat that is too great for the world. As evident in that description that storyline sounds similar to Batman vs. Superman: Dawn of Justice and MCU would be foolish to use the Phoenix in their first film, so the film should just use the title and some basic ideas like what happened with Avengers: Age of Ultron and Captain America: Civil War.

In the comics, various cartoons, and the Fox movies Charles Xavier has taken in scared runaways who have been rejected by their family and friends, trains them up, gives them uniforms, and gets them to act as a paramilitary force. From the outside looking in, Xavier could look incredibly dodgy as he is amassing an army of superpowered teens and The Avengers believe he needs to be stopped.

The other way this story could work is simple and more personal. During a mission to stop a supervillain, Captain Marvel ends up getting her powers taken by Rogue, leaving her crippled or in a coma. Xavier would offer Rogue refuge which leads to Avengers and X-Men towards a headlong collision.

The risk with this storyline is Marvel has already done it with Captain America: Civil War. The sudden introduce the X-Men could lead to the MCU having their own Batman vs. Superman, by having two sets of heroes into conflict so early on.

3. Messiah Complex

One of the biggest impacts in Marvel’s “House of M” storyline was mutants were nearly eradicated and only 300 remained. The “Messiah Complex” was a major storyline published from October 2007 to January 2008. In that storyline, the first mutant child is born since the event, and the various mutant factions set out to be first to find him/her.

For this story to be adapted for the MCU, it could be stated that mutants were a phenomenon that was born for a few generations, but none had been born for years. It could be used as a way to explain mutants were in the MCU in say the ‘70s or ‘80s but retreated because the sudden decline in birth numbers. When it’s discovered a mutant child is born and the X-Men race to find it before Mister Sinister, Anti-Mutant extremists or the US government.

For the story to work in the MCU, it would require reducing the number of characters and factions. This story would be the Marvel version of Children of Men where the X-Men have to protect the hope for mutantkind, which would be awesome because Children of Men was a great film. The risk of this story is 2017’s Logan had similarities to Children of Men.

2. Reverse House of M

One of the most popular suggestions on how to introduce the X-Men into the MCU is to do a reverse “House of M” story. In Brian Michael Bendis’ “House of M,” Scarlett Witch uses her reality-warping powers to create a perfect timeline for mutants. When Scarlett Witch puts the world back to normal, she utters the words ‘No more mutants,’ and with one fell swoop, she depowered most of the mutants in the 616-universe. This storyline aimed to reduce the number of mutants in the comics because they got so big.

The Reverse “House of M” story would obviously bring about an explosion of mutants. There a few ways to bring about this event. One could be Magneto reveals himself to be Wanda’s birth father and gets to awaken the mutant gene in people. If Marvel Studios wants to save Magneto they could come up with another event like a genetic discovery that awakens the mutant genre. This could be similar to Y: The Last Man where Dr. Mann impregnates herself with a clone, leading to the sudden death of male mammals around the globe.

This sort of storyline has been explored in other shows. In the third season of The Legend of Korra people suddenly became airbenders after the Harmonic Convergence, leading to the rebirth of the Air Nation. And in Heroes characters gained their powers after an eclipse.

If the MCU went down this route, it could lead to an exciting look at the impact on society if thousands of people suddenly gained superpowers and a new group gets discriminated against.

1. A small but growing mutant population

One of the most organic ways to introduce mutants into the MCU is simply the mutant population is small but growing. It would prevent Marvel from needing to have a major retcon or event to explain the sudden appearance of mutants.

For this scenario to work the number of mutants around the world would be no more than a few thousand. And most of these mutants would be in their teens. Because of the growing numbers, there would be news reports of people with extraordinary powers, scientific studies, and a growing sense of unease towards younger people.

There would still be older mutants like Xavier and Magneto and legends like of a being known as Apocalypse. Because of the presence of Xavier, he would seek out and protect mutants by offering them places at his school for Gifted Youngsters.

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Doomsday comes closer with one last set up!

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The Writing

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Final Thoughts

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