The authorship of the Marvel Universe may remain an hotly debated question, though books by writers such as Tom Spurgeon, Sean Howe, and Josie Riesman have long supported the contention of Kirby and his heirs that he played a far larger role in the shared world’s creation and continuation than his erswhile collaborator Stan Lee — and the corporate hagiography recently served up by Marvel’s current owner, Disney — would ever admit. Yet even the movies that deal most directly in Kirby-heavy concepts, Thor and Black Panther and the Fourth World elements of DC’s so-called Snyderverse, look and feel little like the King’s comics. Indeed, years spent in the superhero comic trenches have taught me that many contemporary readers see Kirby’s cartooning as dated, even clumsy, compared to the genre’s current practitioners. 

You know what else was seen as dated, even clumsy, compared to the techniques of current practitioners? Physical sets. Actual costumes. Establishing color and lighting on set rather than through post. Reviving an aesthetic associated with earlier times. 

Barbie, in other words. Everything that Barbie did, it had to do while swimming upstream against a 15-year-old current of CGI slop, set loose by the establishment of the Marvel Cinematic Universe and the arrival of its many clones and knockoffs. I think it’s fair to say this has worked out for Barbie, no?

And it just so happens that the Marvel Cinematic Universe’s Phase Six is slated to kick off with a Jack Kirby co-created superhero team — the Jack Kirby co-created superhero team — called the Fantastic Four, with a film helmed by TV veteran Matt Shakman. At the risk of sounding like Kirby myself, do I need to draw you a picture here?

I wrote about Barbie, Marvel, Jack Kirby, and the need for superhero movies to do go back to being bold for Decider.

But the problem with Secret Invasion’s AI credits isn’t just one of ethics, or of ugliness. It’s a waste of some of the most valuable creative real estate any television show has. Throughout television history, thoughtfully crafted opening title sequences have set the tone for the shows to follow, conveying valuable information about everything from the mood you can expect to the plot of the show itself. Some are woven so deep into the fabric of the series they kick off that the two become synonymous. The best function like short films, artistic statements on their own. Speaking plainly, AI just doesn’t have the juice.

When Cheers wanted to show you a place where everybody knows your name, they relied on a carefully curated and edited selection of illustrations and photographs depicting nostalgic good-old-days revelry created by James Castle, Bruce Bryant, and Carol Johnsen. Monty Python member Terry Gilliam established his troupe’s style of surrealistic inanity with animation that would become a staple of the show. David Lynch and Mark Frost used second-unit footage and the evocative music of close Lynch collaborator Angelo Badalamenti to transport you to Twin Peaks.

I wrote about the ethical and, above all, artistic failure of Disney’s decision to use AI to “create” the opening credits for its new show Secret Invasion for Decider.

And it’s an emotionally intriguing note to end on, that’s for sure—a new Marvel Cinematic Universe hero, doing something pointedly anti-heroic, or even just straight-up bad. If we do wind up getting more Moon Knight adventures, Oscar Isaac’s lightly comic performance as all of the Moon Knight collective’s individual components will be the main selling point, no question; they’re what made this show so easy and fun to watch. But after that ending, I’ll be curious to see just how grim’n’gritty the character is allowed to get. I’d imagine that white costume dirties up pretty good.

I reviewed the season finale of Moon Knight for Decider.

An episode like this serves as a good reminder that the show has a secret weapon on its side: the casting of Oscar Isaac as its hero. Isaac has to be equally at home screaming and sobbing from the sudden intrusion of deeply traumatic childhood memories and talking to a CGI hippopotamus woman; he has to play both his Marc and Steven personalities, holding conversations between the two of them thanks to a little movie magic; that split has to be played for laughs, for pathos, and for mind-warping reality-shifting superhero antics. Isaac makes it all look easy.

I reviewed this week’s episode of Moon Knight for Decider.

We’re now two thirds of the way into Moon Knight, and the show’s strengths are self-evident. No, there’s no cool superheroic death-defying Moon Knight action in this ep, and Khonshu is out of the picture as well. But you’ve still got Oscar Isaac’s charming performance as both nebbishy Steven and deadly serious Marc. There’s still inventively staged action—Layla really makes the most of her collection of flares throughout, at one point stabbing a lit flare into a zombie’s eye. And the show is aware enough of its pulpy B-movie/syndicated-TV roots to make a joke about it in the form of that Tomb Buster video. There’s even a little mystery about the identity of Marc’s old traitorous partner, though the odds are certainly stacked in favor of Harrow himself.

Is Moon Knight going to reinvent the genre? No. Is it going to rise to the emotional heights of the better ex-Netflix Marvel shows? I doubt it. Does it need to do either of these things to be an enjoyable action-adventure series? Not as far as I’m concerned!

I reviewed today’s episode of Moon Knight for Decider.

After watching Moon Knight Episode 1, I wrote on Twitter that “I kind of hope every episode has this same basic tone of Oscar Isaac bumbling around, blacking up, waking up, and realizing he just killed six guys or whatever.” I’m pleased to report that, after watching Moon Knight Episode 2 (“Summon the Suit”), this appears to be the direction in which Moon Knight is headed!

I reviewed the second episode of Moon Knight for Decider.

Written by series creator Jeremy Slater and directed by Mohamed Diab, “The Goldfish Problem” is a fun little diversion. Again, its success largely hinges on Oscar Isaac, who plays the Steven Grant persona as a more chipper and scatterbrained British version of his loser character in the Coen Brothers’ Inside Llewyn Davis. Whether he’s missing a date, taking part in a high-speed chase, getting yelled at by his boss, receiving strange phonecalls from an unknown woman on a burner he found hidden in his wall, or waking up surrounded by people he’s beaten the crap out of, he treats everything with the same sense of mild-mannered “oh, bugger” confusion. He’s a fun secret identity to watch, and that goes along way.

So does that final reveal of Steven/Marc/whoever in full Moon Knight regalia. It’s no exaggeration to say that the character has had the staying power he’s had in the comics world because that costume design—Batman at P. Diddy’s white party, basically—is so bitchin’. Based on the glimpse we get of him in this episode, the show has made no concessions to superhero-movie kevlar-uniform “realism” in translating it to the screen. He really does look like he teleported in directly from the funnypages, and that’s good to see.

I’ll be covering Moon Knight for Decider, starting with my review of the series premiere. It ain’t bad!

It’s an arresting visual, I’ll give it that. A man in a red, white, and blue angel costume descending from the heavens, cradling the dead body of a slain radical in his arms. If it took five-plus hours to get us to that one image, it was probably worth it to Marvel for the gifs and fan art alone.

The episode that surrounds the shots of the angelic new Captain America sprinkled throughout the Season 1 finale of The Falcon And The Winter Soldier, though? Good God, what a mess. Written by series creator Malcolm Spellman and Josef Sawyer, “One World, One People” is a shockingly incoherent product for an experienced purveyor of unobjectionable and slick genre fare like Marvel, right down to borrowing its idealistic-sounding title from the very radical group its heroes spend the episode defeating and killing.

I reviewed the finale of The Falcon and the Winter Soldier for Decider.

There’s one episode left in The Falcon and the Winter Soldier, and given the way Sam was eyeing the contents of the high-tech Wakandan briefcase Bucky delivered to him, it seems safe to assume the Falcon—whose wings got torn off by Walker, if you’re in the symbolism market—is about to don the stars and stripes himself. I’d guess some sort of reckoning with Sharon is in the offing, as well as a battle with Karli and the Flag-Smashers that will paint them as well-intentioned but dangerously misguided and militant the way the whole rest of the season has done. Walker, by the way, is still walking around free, lying to the parents of his slain friend Lamar that he’s already killed their son’s killer. He’s got a grudge against Karli and a potential backer in the Contessa, and if we know anything about this show, it’s that people can show up anywhere at a moment’s notice, so I wouldn’t count him out of the final battle just yet either.

All told, it’s a whole lot of work just to get Sam to the place where the movies left him. I get that the show is supposed to be a meditation on the idea of Captain America in light of the fictional peril of criminal superhumans (whether in the form of Karli or the pre-cure Winter Soldier) on the one hand and the real-life issue of anti-Black racism on the other. But a show like this was always going to answer these questions simply by pointing at the heroes and declaring theirs the correct path. The game isn’t worth the candle. Oh hey, look over there, it’s Elaine from Seinfeld!

I reviewed today’s episode of The Falcon and the Winter Soldier for Decider.

“The desire to become a superhuman cannot be separated from supremacist ideals.” So says Baron Zemo, the self-appointed scourge of the world’s super-people. Does he have a point? Decades of angry message-board debates between superhero fans and the genre’s detractors would at least indicate that he has a constituency. Is there something inherently fascistic about stories in which superpowered übermenschen fight crime and battle foreign menaces, stories in which might quite literally makes right? Or is it all in the application, and can superhero stories reflect progressive ideals, however retrograde their vigilante violence might seem on the surface?

I’m not here to litigate this question, frankly. There are plenty of superhero stories I like just fine, and plenty I think are reactionary garbage, and even more—like much of the Marvel Cinematic Universe—that I think cloak militarism and jingoism in palatably colorful costumes, so deftly that people don’t realize what they’re actually being served. If there’s a right answer, you have to pull apart a whole tangle of conflicting threads to find it.

I reviewed this week’s episode of The Falcon and the Winter Soldier for Decider.

At a certain point, it starts to feel like the plot holes outnumber the plot threads. One minute, Bucky’s so concerned about Baron Zemo’s hatred for the Avengers that he won’t even allow Sam to speak to him; the next, he’s breaking Zemo out of jail and presenting a team-up with him to Sam as a fait accompli. Sharon Carter has been on the run for the better part of a decade for a crime for which everyone else involved has long been forgiven, including various enormously famous and beloved superheroes. (Once again, I just don’t buy the lack of clout Sam commands as a member of the world-saving Avengers who has an ongoing relationship with the U.S. military.) Sharon just so happens to be on the scene when Sam, Zemo, and Falcon need rescuing; bounty hunters spontaneously appear in the hidden location to which the foursome have traveled to find the evil doctor; Ayo appears to have arrived at the group’s destination before they even got there. Stuff keeps happening, seemingly just to keep things moving, regardless of whether it happening makes any sense.

I reviewed this week’s episode of The Falcon and the Winter Soldier for Decider.

There’s something so dreary about taking Redwing, the comic-book Falcon’s telepathic, bright-red bird sidekick, and turning him into a drone. An explicitly military one at that, property of the United States government, as this episode of The Falcon and the Winter Soldier (“The Star Spangled-Man”) dutifully informs us. When one of those sinister border-hating Flag-Smashers knocks the damn thing from the sky, it felt like a mercy killing on behalf of imagination.

Can’t say I’m enjoying The Falcon and the Winter Soldier very much! I reviewed this week’s episode for Decider.

I have a confession to make: I have been known, from time to time, to make mine Marvel. I’ve read hundreds of their comics over the years (and even wrote one once myself). I enjoyed the Marvel/Netflix shows Daredevil and The Punisher, as I’ve chronicled at length on this very site. As for the movies…well, Robert Downey Jr. as Tony “Iron Man” Stark was casting so strong it essentially made superheroes the dominant genre nearly singlehandedly (give or take a Hugh Jackman or a Heath Ledger), and the fight scene that opened Captain America: The Winter Soldier however many years back was a pip.

The rest I can take or leave. Mostly leave.

I say all this in the interest of full disclosure. But if I’m gonna cop to being indifferent to the Marvel Cinematic Universe as a whole, I also want to state for the record that I’m in the liking-things business, and I go into every new series I watch hoping to enjoy what I see. It’s true that I may not have caught a new Marvel movie since the underbaked and overrated Guardians of the Galaxy—after a dozen servings of pistachio ice cream, it’s okay to decide pistachio ice cream isn’t for you and stop eating each new serving just in case this one’s the good one. But I was certainly prepared to enjoy The Falcon and the Winter Soldier, the latest series to take characters from the blockbuster movies and plop them down on the small screen for several extra hours of screentime. It shares half a title with the one Marvel movie I can actually remember anything about—that’s promising, right?

Wrong, as it turns out! I’ll be covering The Falcon and the Winter Soldier for Decider all season long, starting with my review of the series premiere.

When was the last time you walked away from a season of a Marvel/Netflix show with basically no complaints? The final bullets of The Punisher Season 2 have flown and I’m just freaking delighted to report that pretty much all of them hit the bullseye. Other than that one episode spent playing for time early in the season, this was…great, just great, just a terrific interpretation of the character of Frank Castle and how to tell stories with him. It avoided all of the usual pitfalls of the Marvel Cinematic Universe’s TV end, like doubling up on villains but then not knowing how to balance them, or reaching an obvious endpoint about three-fifths of the way to the finale and then concocting some absurd plot contrivance to keep the story moving. It played to the general strengths of superhero stories, using violence and action to convey outsized emotion and treating the fallout as a metaphor for psychosexual vulnerability. The specifics of the violence and action were brutal, as befits the character. The politics were, in the main, sharp and counterintuitive given the Punisher’s often reactionary fanbase. Every major actor in it was good. Some (Amber Rose Revah, Annette O’Toole, Josh Stewart, Ben Barnes, and especially guest star Deborah Ann Woll) were fascinating. And one, Jon Bernthal, was an all-timer.

I reviewed the season finale of The Punisher Season 2 for Decider.

Take Officer Frank here, for instance.

Has the Blue Lives Matter Flag Punisher Skull found its human avatar at last? Hardly. Frank’s wearing a uniform he stole from a crooked cop who was going to kill him both for money and out of loyalty to a gangster relative. He’s pictured here sometime between resisting arrest and kidnapping a Republican senator whose industrialist parents are covering up the fact that he’s gay by murdering teenagers. I’m not sure this will stop the meatheads from misappropriating the image, but it will mark them as the morons they are, that’s for sure.

I reviewed the penultimate episode of The Punisher Season 2 for Decider.

The Punisher Season 2 Episode 11 (“The Abyss”) is basically another one of those placeholder episodes. You’ve had a bunch of action, a bunch of violence, and now you’re gonna get an hour of filler before we hit the next stretch of rapids. But unlike the previous dreary episode the season has aired in that vein, this one has Karen Page going for it. Reuniting the Daredevilcostar with her other vigilante platonic-romance partner makes for must-see viewing.

Deborah Ann Woll is so goddamn good in this role at this point. She’s turned Karen into some kind of vulnerability vortex, sucking everyone within a ten foot radius into her maelstrom of pain, care, comfort, and psychosexual entanglement with men who get beat up all the time. Combine that with Jon Bernthal, who’s basically her male equivalent, and…just…man.

Oh man.

Man oh man.

I reviewed the eleventh episode of The Punisher Season 2 for Decider.

“The Dark Hearts of Men.” That’s the title of The PunisherSeason 2 Episode 10, and as they say across the pond, it does what it says on the tin. Juxtaposing the usual one-on-one heart-to-heart conversations the show is built on—this time focusing on what really makes Frank Castle and Billy Russo tick—with all-out savagery and depravity, it’s as extreme a statement as the Marvel Cinematic Universe has made to date.

I reviewed the tenth episode of The Punisher Season 2 for Decider.

The storytelling flaws that keep The Punisher from being even better than it is still linger. With the exception of a very strong cold open in which Frank admits to his small circle of friends that “This is always who I was” and says his wife knew and loved him for it, so said friends should just “Let me be what I’m meant to be,” pretty much every conversation happens in the exact same way. Two people stand or sit together, usually after one of them arrives where the other has been waiting. After that there are two options: Either one character demands to know something and the other character tells them, or one character spills their guts and the other character does so in turn. Billy and Dumont, Anderson Schultz and John Pilgrim, Anderson Schultz and his closeted son David, Pilgrim and some guy who knows a crew of hitters, Curtis and Amy, Frank and a bartender who knows Billy’s location, Madani and Billy, Amy and her old friend and future betrayer Sean, Frank and Amy over the phone, Billy and Dumont again, Madani and Dumont after the latter lures the former to her place, Pilgrim (formerly known as “Robbie, apparently) and his old boss in whatever Nazi gang he used to run with, Amy and Frank after she shoots a person for the first time…you get the picture. You can tweak it around the margins a bit—Curtis and Amy are both in the same place when they start their little chat, Dumont and Billy are in bed during one of theirs, at one point Curtis talks to multiple veterans instead of just one—but virtually every human interaction on this show could be staged like My Dinner with Andre.

I reviewed the ninth episode of The Punisher Season 2 for Decider.

The Punisher’s chief weapon is surprise. Surprise, and fear. Fear and surprise. His two weapons are fear and surprise, and ruthless efficiency…His threeweapons are fear, and surprise, and ruthless efficiency, and an almost fanatical devotion to his slain family…His four—no. Amongst his weapons— amongst his weaponry—are such elements as fear, surprise….I’ll start again. Amongst his weaponry are such diverse elements as: fear, surprise, ruthless efficiency, an almost fanatical devotion to his slain family, and a nice black uniform—oh, damn.

All praises due to Monty Python, of course, but the Spanish Inquisition has nothing on Frank Castle. He shares pretty much all of their weaponry, plus one that goes unlisted but is the whole point of the thing: humor. No, really! Hardly for the first time this season —Billy Russo had a laugh-out-loud moment last episode when he talks about how he’s learned lost “my company…apparently,” the latter tacked on as a can-you-believe-I-can’t-remember-this-shit afterthought— The Punisher Season 2 Episode 8 (“My Brother’s Keeper”) kept me entertained as much with well-executed moments of comedy as with guns and psychopathy.

I reviewed the eighth episode of The Punisher Season 2 for Decider.

You know how I spent the last review comparing the relationship between Billy “Jigsaw” Russo and Dr. Krista Dumont to the one between the Joker and Dr. Harleen Quinzel?

Yeah. If you need me, I’ll be over here, awaiting my Pulitzer Prize for criticism.

Episode 7 of this season of The Punisher is titled “One Bad Day.” I know, I know: one bad day? Do any of these characters have any other kind of day? But the title references a key component of the definitive, if not technically canonical, Joker origin story, Alan Moore and Brian Bolland’s Batman: The Killing Joke. The thesis there is that all it took is one awful, awful day (albeit one that culminated in an acid bath) to turn a down-on-his-luck family man and wannabe standup comic into the deadliest serial killer on the planet. The Joker, who only vaguely remembered the details of his own life pre-Clown Prince, was determined to test this thesis on Commissioner Gordon, whom he kidnapped, stripped naked, and forced to look at gigantic photos of his daughter Barbara “Batgirl” Gordon, also stripped naked, after the Joker shot her in the spine, paralyzing her from the waist down.(It’s a problematic fave.) So it’s hardly like the show is trying to hide its homage to the Distinguished Competition’s supervillain supercouple.

I reviewed the seventh episode of The Punisher Season 2 for Decider.