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The Patron Saint of Superheroes

Chris Gavaler Explores the Multiverse of Comics, Pop Culture, and Politics

Tag Archives: Alex Pappademas

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Is Marvel Entertainment evil?

I compiled commentary from twelve experts, and the results are not good for superhero fans.

“I’m not going to head off and do a Marvel film,” director Peter Jackson said on the eve of his Hobbit 3 release. “I don’t really like the Hollywood blockbuster bandwagon that exists right now. The industry and the advent of all the technology, has kind of lost its way. It’s become very franchise driven and superhero driven.”

Since Jackson’s Lord of the Rings marked that technology advent, and since Jackson made all six of the Tolkien franchise films, that leaves superheroes as his only objection. He doesn’t like them. Or at least he doesn’t like Marvel—which, despite Warner Bros’ best efforts, is the same thing.

Even Marvel’s own Iron Man Robert Downey, Jr. is sees the rust: “Honestly, the whole thing is just showing the beginning signs of fraying around the edges. It’s a little bit old. Last summer there were five or seven different ones out.”

Actually, there were only four superhero movies last summer, and though Marvel Entertainment produced only two (Captain America, Guardians of the Galaxy), the Marvel logo appeared at the start of the last X-Men and Spider-Man installments too. But you can’t blame Downey’s miscount. New York Times film critic A. O. Scott expressed a similar opinion after seeing Downey in The Avengers two year earlier: “the genre, though it is still in a period of commercial ascendancy, has also entered a phase of imaginative decadence.”

Alan Moore’s review was even more apocalyptic: “I think it’s a rather alarming sign if we’ve got audiences of adults going to see the Avengers movie and delighting in concepts and characters meant to entertain the 12-year-old boys of the 1950s.” Even The Avengers own director Joss Whedon acknowledges that audiences are tired of at least some aspects of the formula: “People have made it very clear that they are fed up with movies where entire cities are destroyed, and then we celebrate.”

And yet when a director attempts to shake-up the formula, Marvel fires them. Marvel’s Ant-Man went into production only because of Edgar Wright’s involvement, but when Marvel wasn’t happy with his last script, they rewrote it without his input, followed by a joint announcement that Wright was leaving “due to differences in their visions of the film.” Wright joined axed Marvel directors Kenneth Branaugh, Joe Johnston, and Patty Jenkins (as well as axed actors Edward Norton and Terrance Howard), all victims of similar differences in vision.

Is this the same risk-taking Marvel that hired Ang Lee to make his idiosyncratic Hulk? Is this the same Marvel that hired drug-addict Robert Downey, Jr. after Downey couldn’t stay clean long enough to complete a season of Alley McBeal? Is this the same Marvel that hired the iconoclastic Joss Whedon after his Buffy empire expired, his Firefly franchise flopped, and his Wonder Woman script never even made it into Development Hell?

Actually, it’s not.

Kim Masters and Borys Kit of The Hollywood Reporter explain:  “Marvel and Wright were different entities when they began their relationship. Marvel was an upstart, independent and feisty as it began building the Marvel Studios brand.”

marvel logo 80s

The Marvel I grew up reading, Marvel Comics Group, hasn’t been around since 1986, when its parent company, Marvel Entertainment Group, was sold to New World Entertainment. Technically, Marvel Comics (AKA Atlas Comics, AKA Timely Comics) ceased to exist in 1968 when owner Martin Goodman sold his company to Perfect Film and Chemical Corporation. The corporate juggling is hard to follow, but that next Marvel was sold to MacAndrews Group in 1989, and then, as part of a bankruptcy deal, to Toy Biz in 1997, where it became Marvel Enterprises, before changing its name to Marvel Entertainment in 2005 when it created Marvel Studios, before sold to Disney in 2009.

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The real question is: at what point did Hydra infiltrate it?

I would like to report that the nefarious forces of evil have seized only Marvel’s movie-making branches, leaving its financially infinitesimal world of comic books to wallow in benign neglect. But that’s not the case.

Marvel comics writer Chris Claremont, renown for his 16-year run on The Uncanny X-Men, is currently hampered in his Nightcrawler scripting because he and everyone else writing X-Men titles are forbidden to create new characters.  “Well,” he asked, “who owns them?” Fox does. Which means any new character Claremont creates becomes the film property of a Marvel Entertainment rival. “There will be no X-Men merchandising for the foreseeable future because, why promote Fox material?”

That’s also why Marvel cancelled The Fantastic Four. Those film rights are owned by Fox too, with a reboot out next August. Why should the parent company allow one of its micro-branches to promote another studio’s movie? Well, for one, The Fantastic Four was the title that launched the Marvel superhero pantheon and its subsequent comics empire in 1961.  Surely even a profits-blinded mega-corporation can recognize the historical significance?

Like I said: Hydra.

This is what drove former Marvel creator Paul Jenkins to the independent Boom! Studios: “It bugs me that the creators were a primary focus when the mainstream publishers needed them, and now that the corporations are driving the boat, creative decisions are being made once again by shareholders.” Former Marvel editor-in-chief Roy Thomas agrees: “There is a sense of loss because the tail is now wagging the dog.”

Compare that to Fantagraphics editor Garry Groth: “I think it’s a publisher’s obligation to take risks; I could probably publish safe, respectable ‘literary’ comics or solid, ‘good,’ uncontroversial comics for the rest of my life. I think it’s important, personally and professionally, to occasionally get outside your comfort zone.”

Marvel Entertainment is all about comfort zones. Even for its actors. “It’s all set up now so that you’re weirdly kind of safe,” says former Batman star Michael Keaton. “Once you get in those suits, they really know what to do with you. It was hard then; it ain’t that hard now.” New York Times’ Alex Pappademas is “old enough to remember when Warner Brothers entrusted the 1989 Batman and its sequel to Tim Burton, and how bizarre that decision seemed at the time, and how Burton ended up making one deeply and fascinatingly Tim Burton-ish movie that happened to be about Batman (played by the equally unlikely Michael Keaton, still the only screen Bruce Wayne who seemed like a guy with a dark secret).”

That’s the same Michael Keaton that just rode Birdman to the Oscars. How soon till Marvel’s Agents of H.Y.D.R.A. overwhelm that corner of Hollywood?

birdman

As Jack Black sang at the Oscars ceremony: “Opening with lots of zeroes, all we get are superheroes: Superman, Spider-Man, Batman, Jediman, Sequelman, Prequelman – formulaic scripts!”

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I fully acknowledge that The Avengers might suck. Anyone who’s seen Joss Whedon’s two half-seasons of Dollhouse understands that. (Though if you also saw the original pilot, which Fox never aired, you also understand how a network can thwart even the best of visions.)

I’m pretty sure when Alex Pappademas wrote last year in The New York Times Magazine that the superhero industry should be handed over to film auteurs, he didn’t have Joss Whedon in mind. Unless Pappadmas had also watched seven seasons of Buffy the Vampire Slayer, four seasons of the network-jumping spin-off Angel, and, my favorite, the brilliant half-season of Firefly followed by its equally brilliant if franchise-ending feature film, Serenity. (Again, I hold Fox responsible for grounding Whedon’s original Firefly pilot, not aired until after the show was cancelled.)

I’ve never read Whedon’s Wonder Woman screenplay (as far as I know, no one’s ever leaked it to the internet), but when both he and the project got the axe, I figured my favorite TV writer-director was down for the count. When I heard Marvel was handing him The Avengers, I cringe-laughed. As Whedon put it, his and Silver Pictures’ Wonder Woman visions were “non-sympatico.” That literally goes double for Fox. So it was simply a question of how long he would last before Marvel pulled his plug.

Of course I braced the same way when Marvel cast my favorite actor, rehab-rebounder Robert Downey, Jr., in Iron Man. The guy had compelled me to watch an entire season of Ally BcBeal, only to have him flame-out before the finale. This was also before the Sherlock Holmes franchise reboot, so people forget just how toxic Downey was even five years ago. Marvel actually made him AUDITION for the part.

So Whedon isn’t the first Fox discard Marvel has gambled on. Certainly Kenneth Branagh looked like the safer and more eye-catching choice for last year’s Thor. Sadly, it seems the Shakespearean auteur did most of his directing from the bed in his trailer. The best thing about Thor is the review it trigged from A. O. Scott. The poor guy was thrown into existential crisis by the film’s intentional mediocrity.

Which is also the likeliest outcome for The Avengers. Corporations are not auteurs. Either they broke Whedon, or Whedon broke them. Or, the least likely outcome, the two found a way to combine vision and finance to craft something that’s both intelligent and money-making. (Hey, I can dream.)

But even if The Avengers does suck, I’m still giving Marvel Entertainment some credit. Film series number in the hundreds, if not thousands, and spin-offs, while rarer, are nothing new. But no company’s produced an interlaced web of parallel films before. The Avengers is both the first in a series (The Avengers 2 is already slated for a 2014 release) and the sequel to not one but four simultaneous franchises: Iron Man, Thor, Captain America, and Hulk.

You can even count Hulk twice if you include the Ang Lee film, which nobody is. (And allow me a moment now to lament the firing of Edward Norton as Bruce Banner. I’m not sure if Whedon or Marvel is primarily responsible, but Norton is another of my favorite actors. Though largely because his kid sister was a student at my university. Ed even took her as his date to the Oscars. How cool a brother is that! Plus he only plays Jekyll/Hyde parts—Fight Club, Primal Fear, The Incredible Hulk. As far as I’m concerned Norton should star in ALL superhero movies.)

Anyway, the interconnections between the six Marvel titles is what made the original Avengers so much fun in comic book form. Stan Lee, unlike his competitors at DC, wasn’t interested in stand-alone heroes adventuring each in their private universe. The original 1940 Justice Society of America wasn’t a team, it was a marketing gimmick for a reprint omnibus of each character’s individual episodes. Things had changed by the time DC rebooted them as the Justice League in 1960, but it’s Marvel that invented “continuity.” Stan Lee actually included footnotes in his panels. Readers were reminded not only of previous events within a series but events from ongoing parallel titles, complete with issue numbers. The result was an interlocking web and the sense of an entire world in constant, interactive motion.

Pretty much what Marvel is doing now on screen.

One last side note: The Avengers is not the first Avenger film. That credit goes to Zorro. His team of masked caballeros dubbed themselves the Avengers in Johnston McCulley’s 1919 novel. When Douglass Fairbanks stared in The Mark of Zorro the following year, he made what is arguably the most influential superhero film in history. Without Zorro’s Avengers, I doubt Marvel’s would have ever been written.

That’s a high bar for The Avengers to match, but I’m looking forward to the attempt. I hear it opens next Friday.

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The box of 70’s comics in my attic includes a mangled copy of DC and Marvel’s first publishing team-up, Superman vs. the Amazing Spider-Man.  The battle should have lasted one panel. Little Peter Parker might have held his own against the less godlike 1938 Superman, but the 70’s Man of Tomorrow could have squashed Spider-Man like, well, a spider. The fight ends in a draw, but only because Superman pulls his one punch. His fist never makes contact, but the shockwave sends Spider-Man sailing across town.

Julie Taymor suffered the same fate earlier this year.

It requires a lot of ubermensch hubris to transform a comic book into a musical, and Bono, who co-wrote the lyrics for Spider-Man: Turn Off the Dark, and ex-director Julie Taymor, who co-wrote the book, share it. I noted last week the eugenic shadow Nietzsche casts over the songbook. Patrick Page’s Green Goblin is a 21st century Frankenstein breeding supermen into evolutionary supremacy. Bono never puts the phrase “God is dead” to melody, but it’s been the favorite refrain of supervillains for a hundred years.

In 1911, an American eugenics organization issued their first “Preliminary Report” for improving the human race. They recommended the prevention of “unfit breeding” through immigration restrictions, racial segregation, anti-interracial marriage laws, sterilization, and “euthanasia.”They envisioned a gas chamber in every Smallville, an idea Hitler liked so much he improved on it.

If God is dead, then the Green Goblins of the world are free to take control. Nietzsche thought that would be a good thing, a race of supermen rising to replace obsolete, god-hobbled humanity. Fortunately, Bono and Taymor swing to our rock ‘n roll rescue. Their Spider-Man is no superman. Instead of assuming the throne God left empty, Spider-Man: Turn Off the Dark restores the old world order.

Real old. The Broadway Spider-Man is an offspring, not of homo superior, but Greek mythology. This Peter Parker sings about Icarus and gives class presentations on the spider goddess Arachne. It wasn’t a random universe that transformed Peter into a web-slinging mutant. It was a divine plan. In the final song, Arachne, “the queen of dreams banished to a shadow prison,” reveals to him that she has been watching and waiting all along. “The fates have delivered you,” she intones. “The gift you’ve been given binds you to me.”

God isn’t dead. She was just sleeping.

Of course when Bono ended their Broadway team-up and punched the amazing Taymor across town, most of Arachne went with her (one reviewer estimates that actress T. V. Carpio’s role was snipped by more than half). Bono and the Edge composed a new song for their Nietzscheian Goblin to fill the god-shaped gap in the show’s running time, but Spider-Man still triumphs and the eugenic future is thwarted once more. Instead of striving for ubermensch excellence, the producers settled for everyman mediocrity.

Alex Pappademas in The New York Times Magazine recently bemoaned the sorry state of the mass market superhero, wishing the genre would be handed over to auteurs, to directors with bold artistic visions. That didn’t go so well for Ang Lee and the Hulk. Tim Burton invented the modern superhero film, but Warner Brothers still punched him across town after one idiosyncratic sequel. Bryan Singer managed to crash the Superman franchise in a single bound. And apparently none of Taymor’s preview audiences could comprehend her superhuman vision either.

The common man doesn’t want the superman. They want Spider-Man.

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