themeatbridge

I mean, if you work on something, even if it’s shit, you still want to share it with the world. The idea that the movie is complete and they just weren’t going to release it is understandably upsetting for the people who made it. The actors, the writers, the animators, that one elevated extra who can apply for a SAG card because they got a line in the movie, seeing it on screens is a big deal for those people.

I’m looking forward to it. I hope it doesn’t suck, because then you’re going to have a bunch of analyst dipshits and WB execs acting like they were right to put it on the shelf.

Oh they’re actually releasing the movie?

Literally never heard of this movie.

I’m hoping we get an Iron Lad variant for Armor Wars. It would be a neat twist if you had a Kang variant wearing futuristic Stark armor facing off against a Stark variant that became Doom. They’re obviously building towards a Young Avengers movie, anyway.

She also lists several legitimate reasons to turn down the role. She didn’t want to move to London and get painted green every day for 6 months, which Saldana and Bautista have both complained about (the make up, not London).

Other than that, this seems like she’s admitting to making a huge miscalculation, picking A Million Ways to Die in the West instead.

As stupid of a decision as this appears to be in hindsight, Seyfried wouldn’t have been as good in the role. It’s entirely possible that with her in the role, the movie might have flopped.

I think the only egregious thing is thinking that being in an MCU flop would negatively impact her career. The Incredible Hulk was technically the first MCU flop, but I’d argue that Eternals was the first one that failed on its own merits. That entire ensemble cast hasn’t had any issues getting additional work. If anything, it’s the successful movies that resulted in actors being typecast and struggling to find work.

So the takeaway seems to be that you shouldn’t let fear keep you from projects. Choosing other passion projects, not wanting to be in makeup, not wanting to move, those are legitimate reasons to turn down a role.

The studio’s desire to capitalize on the superhero boom led to a series of tonal mismatches that left audiences confused rather than intrigued. “Venom” succeeded largely on Tom Hardy’s chaotic charm, but attempts to replicate that formula with “Morbius” and “Madame Web” resulted in films that seemed uncertain whether they were horror, action or comedy.

It wasn’t just that they are tonally confusing. Morbius and Madame Web were really bad movies. The writing for each was terrible, the effects were bad, the direction was bad, neither movie had any redeeming qualities. I love those characters, and I would love to see what Disney could do with them, but Sony was transparently making minimally viable products to keep the valuable IP rights.

That’s not to say Disney can’t make a bad product. But the worst parts if the MCU were far better than the best parts of the Venomverse.

The problem is the story was written by shitheads. Her name is a reference to how “fair” her skin was, being white as snow with lips as red as blood and hair as black as ebony. This was a standard of beauty in 19th century Germany. That characterization is problematic in a global market with various standards of beauty.

So the racist shitheads have a quasi-valid point that the modern reimagining of a racist (and misogynist) source fairy tale isn’t quite as racist as the previous reimagining.

But the real question is why we’re reimagining old, racist fairy tales?