Tag Archives: superheroes

The SportsAlcohol.com Podcast: Black Widow & Cruella

Jesse is a cofounder of SportsAlcohol.com even though he doesn't care for sports or alcohol. His favorite movie is Ron Howard's The Paper. I think. This is what happens when you don't write your own bio. I know for sure likes pie.

This summer has seen the release of two entries in two of Disney’s biggest franchises, both starring major female stars who are both once-and/or-future fake redheads. Doesn’t that seem like enough to warrant a big discussion of Black Widow and Cruella?! Marisa convened a SportsAlcohol.com podcast to discuss how Black Widow fits into both the MCU and ScarJo’s career, and to figure out what the hell is going on with Cruella and why it’s a surprising fit for star Emma Stone.

During our chat, we wound up further discussion the mysterious viewership and economics of the pivot to streaming, which, in true franchise-friendly fashion, we spun out into a separate bonus episode, also available below!

We are now up to SEVEN (7) different ways to listen to a SportsAlcohol podcast:

  • You can subscribe to our podcast using the rss feed.
  • I’m not sure why they allowed it, but we are on iTunes! If you enjoy what you hear, a positive comment and a rating would be great.
  • I don’t really know what Stitcher is, but we are also on Stitcher.
  • SportsAlcohol.com is a proud member of the Aha Radio Network. What is Aha? It’s kind of like Stitcher, but for your car.
  • You can download the mp3 of the Black Widow/Cruella episode here and the streaming-biz discussion episode here
  • Our most recent episode or two will sometimes be available on our Soundcloud
  • You can listen to the episodes in the players below.

Black Widow & Cruella:

The Disney Plus Premier Access Experiment:

THE SUICIDE SQUAD is a gory, beautiful reboot of the same old thing

Jesse is a cofounder of SportsAlcohol.com even though he doesn't care for sports or alcohol. His favorite movie is Ron Howard's The Paper. I think. This is what happens when you don't write your own bio. I know for sure likes pie.

Here’s one sign among many of how the world of movie franchising has expanded over the past 20 years. It’s not as if there weren’t 20th century sequels—hundreds of ‘em!—but there was a time where the idea of a follow-up to a movie called Suicide Squad, especially one that inspired such mixed reactions, would be a cheap premise for a joke about Hollywood’s bankruptcy. Whaddaya call it, Suicide Squad 2: Still Not Dead? Suicide Squad: This Time We Mean It? Now the central idea behind Suicide Squad, wherein bad guys are forced onto impossible missions with low probability of survival, feels ready-made for sequels. If an actor gets too fussy, kill ‘em off. If the whole thing goes sideways, start over with a new squad. And if people love it, well, no one in comic book movies really stays dead, anyway.

People did not love 2016’s Suicide Squad. It was a mess, taped together by a great concept, the star power of Will Smith, and the allure of the popular DC Comics character Harley Quinn, making her live-action debut. It was then slathered in gluey, trailer-ready pop songs—only this time, the trailer figured out the playlist first and the movie was forced to follow suit. It still made a tonna dough, as Harley Quinn might say, and a sequel was being developed around the same time that James Gunn, director of the Guardians of the Galaxy movies over at DC’s rivals Marvel, found himself with some free time. Parent company Disney had recently been tricked into firing him for some untoward old tweets and DC, apparently being the place for reformed villains, scooped him up quickly enough to get the Squad rolling again. (Gunn was since rehired by Disney and Guardians 3 is in the works again.)
Continue reading THE SUICIDE SQUAD is a gory, beautiful reboot of the same old thing

THE FALCON AND THE WINTER SOLDIER’s macho problems

Maggie is a for-real writer. We're kind of surprised that she would lend her name and her words to SportsAlcohol.com, but we're certainly not complaining. Her first novel, The Cost of All Things, can be ordered here.
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Here’s my question: Why is The Falcon and the Winter Soldier such an unpleasantly macho show?

To me, macho means an exaggerated manliness expressed in violence, put-downs, and other displays of dominance. Think Rambo, think Dwayne Johnson and Jason Statham flexing and growling in each other’s faces, think (if you must) of frat bros doing keg stands or smashing cans on their chests, think of ads for trucks, think of a posture, a strut, an attitude — a capital-M Man trying to one-up another capital-M Man. Women are peripheral in macho stories, and if they appear at all, they can also be macho: think Gina Carano in everything she’s ever done.

The way I’m thinking about it, machismo is not necessarily toxic masculinity, though it’s surely related in ways it would take another essay to get into. Macho is the camp version of masculinity, which means sometimes it’s so exaggerated it’s funny. (e.g., The Rock flexing so hard he busts out of his arm cast.) But it also means that macho characters often have a “code” that requires them to protect those “weaker” than them (which is everyone). Machismo may not be completely corroding and perverting the way that toxic masculinity is; it’s just annoying. Don’t we have anything better to do than try to prove who’s a bigger man?

In Falcon and the Winter Soldier, I can see why John Walker, the new Captain America, would lean into his machismo; he’s got to prove himself up against a legend, he didn’t start the series with superpowers, so he needs a posture and a competition to prove he’s worthy of the shield. (He’s also a morally ambiguous character.) But he’s not the only one who feels over-machoed. Sam and Bucky posture and preen, punch and growl. Even Bucky’s therapist is a tough army gal, not here for your feelings, and when they meet up with old pal Sharon she’s been transformed into a cynical, brash mercenary. All added up, it feels like a nasty swamp of faux toughness, everyone trying to best each other at every opportunity, often punishingly so.

This attitude is epitomized in the couples therapy scene. The scene seems to have been conceived to pander to a slashfic-leaning audience. Imagine Sam and Bucky talking about their feelings face to face? Knee to groin, even??? And yet the scene as written and played reveals nothing about either of the characters except that they don’t want to be beaten or admit they have any flaws. More frustratingly, it doesn’t even make sense. Why are Sam and Bucky even in the room together? What questions is she trying to dig into, and why does she think this would help her actual patient, Bucky? What the hell does she care about their relationship? The only thing worse than being pandered to is being badly pandered to.

That scene, though, seems to hint at what the show was trying to do — and illustrates how it ultimately failed. The Falcon and the Winter Soldier was given the assignment to explore the emotions of these two formerly supporting characters, jointly dealing with the loss of their mutual best friend, but it wound up totally incapable of coherently stringing together a scene about that central loss.

I am aware that you can’t talk about loss in the MCU without bringing up WandaVision, and there’s no way to get around the fact that Falcon may look even more macho in comparison to the MCU’s most feminized product yet. WandaVision is literally a show about wanting to be a mom in the suburbs instead of fighting the end of the world. Its (anti-)hero and main villain are women, and the conflict is all about overpowering people’s minds rather than beating up their bodies. It even (famously? infamously?) takes a stab at defining grief and love. It’s also inventive, visually distinct, clever, and coherent — all areas where Falcon and the Winter Soldier suffers in comparison.

Though the ratio of male-led MCU films to female-led projects is still pitifully low and most of those projects are basically action movies, I would not consider the MCU in general particularly macho. From Iron Man’s first appearance he pokes fun at the tough army men driving him around. He’s a salesman and showman, and gets into the punching and hitting business by accident. His eventual best friend is a mild-mannered science nerd (most of the time). He’s a mentor to another nerd, this one a self-effacing eager teen. Captain America has a macho bod but he maintains the careful, watchful goodness he had before his transformation. Thor knows he’s perfect so doesn’t have to prove himself against anyone else. Ant-Man is goofy, Doctor Strange is obsessive. The Guardians of the Galaxy aspire to being macho but they’re misfits who don’t fit the mold.

But Bucky and Sam continued to play the macho game throughout their series, and I’m left trying to figure out why. The two of them have always been sidekicks (or in Bucky’s case, a villain). Then they lost Cap. Without the hero/sidekick relationship, perhaps they must resort to macho posturing, jockeying for the main-hero spot. Maybe the show is trying to tell us something about them as characters, as unpleasant as it is to sit through.

Or maybe it’s less a conscious choice and more of an unexamined default setting. It’s possible that in the absence of coherent, perceptive writing, these attractive, charismatic actors are reverting to a posture of machismo. Anthony Mackie and Sebastian Stan have been handed an opportunity to prove themselves, too. They aren’t given enough to do, and what they are given is muddled and unclear. So they puff up their chests and try to fake their way through it.

So much of what made Sam and Bucky interesting characters in the films is driven out of the TV show. In the movies, Bucky’s soulfulness shone through even when he was a killing machine, and Sam’s sunny, relaxed attitude allowed Steve Rogers to take a breather from saving the world. The show thinks it’s continuing that soulfulness and light, but how can it, when the characters are so obsessed with who’s the bigger man?

In the show, Bucky’s best line is a tossed-off “I’m right-handed.” Stan’s best acting is the sudden, horrible shock on his face when Ayo releases his arm — a moment he is instantly beaten, his macho strength gone. None of his awkward therapy sessions or tortured confessions work as well as those tiny moments. Sam’s best scene is when he tries to talk Karli down, his empathy his only superpower. In that moment — and when he hangs out with his adorable nephews — he seems competent, purposeful. Contrast that with his incoherent speech to reporters at the end of the show, which drives home how little show has earned any of its sweeping statements.

While Bucky and Sam muddle around trying to win some ill-defined prize, Zemo hangs around in the background, a nerd in a leather duster. He’s the one major character who isn’t painted with the macho brush. He’s totally unconcerned with who holds the shield. He lets his money speak for itself, and his schemes play out while he watches, invested but also disinterested. When the other characters are busy beating each other up, he saunters coolly out of the room. And even though he’s one of the worst villains in the MCU, fans seemed to like having him in the show–anything to contrast the constant one-upmanship. In contrast, the show indulges its most egregiously macho moment late in the season, with the undeserved redemption of John Walker. The show allows him to wander back into the action at the end and fight for “good” with absolutely no repercussions for being a straight-up murderer. Just because he can punch and he’s temporarily on the right side of things! Palling around with him taints the other characters by association.

Despite all of this, I have a lot of affection for Sam and Bucky. I want better for these characters. Imagine if the show had allowed a little warmth for its characters to radiate through, even if it meant sacrificing their images as the toughest guys in the room.

Zack Snyder’s JUSTICE LEAGUE: A Big Slice of Hero Cake

Jesse is a cofounder of SportsAlcohol.com even though he doesn't care for sports or alcohol. His favorite movie is Ron Howard's The Paper. I think. This is what happens when you don't write your own bio. I know for sure likes pie.

I thought about structuring my review of Zack Snyder’s Justice League, the much-anticipated four-hour reclamation-through-supersizing of a misbegotten DCEU non-blockbuster, like a normal piece of film criticism. This would mean crafting a catchy lead, smooth transitions, drilling down into some finer details, and summing it all up to make a broader point about the film, the filmmaker, the genre, whatever. But this version of Justice League stubbornly resists traditional structure; it’s literally one of the longest feature films I’ve ever seen, and not even in service of telling a radically different story from the bastardized version that came out in 2017. Instead, it tells that story again, and at vastly greater length, and with no particular rhythm, discernible construction, or traditional momentum. It’s divided into six parts and an epilogue, and apart from the epilogue (which takes place some days or weeks after the events of the climax), there doesn’t seem to be a particular organizing principle. It’s not sorted by timeline, character, or any thematic unity I could detect (and detecting subtleties are rarely among the challenges this filmmaker poses). The parts are titled seemingly at random, perhaps so Zack Snyder, the architect of this monument to his half-baked ideas, can decide what they mean later. It turns out that Snyder’s ideal movie is an assembly cut with finished special effects.
Continue reading Zack Snyder’s JUSTICE LEAGUE: A Big Slice of Hero Cake

The SportsAlcohol.com Podcast: Wonder Woman 1984

Jesse is a cofounder of SportsAlcohol.com even though he doesn't care for sports or alcohol. His favorite movie is Ron Howard's The Paper. I think. This is what happens when you don't write your own bio. I know for sure likes pie.

What now seems like a solid century ago, we held a discussion about the 2017 smash hit Wonder Woman in the context of the modern superhero movie. Now Wonder Woman is back on the big screen but mainly on a bunch of small ones as Wonder Woman 1984 premieres on HBO Max to the delight/consternation of viewers, fans, critics, and Twitter People everywhere. A SportsAlcohol.com nerd crew of Rob, Jon, Jesse, and Marisa wade through our own reactions as well as some popular (and sometimes baffling!) internet gripes to discuss the pros and cons of Wonder Woman 1984, a sequel that, depending on your mileage, we may have liked more than you?! Listen up and find out!

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The SportsAlcohol.com Podcast: The New Mutants

Jesse is a cofounder of SportsAlcohol.com even though he doesn't care for sports or alcohol. His favorite movie is Ron Howard's The Paper. I think. This is what happens when you don't write your own bio. I know for sure likes pie.

Well, after two and a half years of trailers, blown release dates, rumored but nonexistent reshoots, good buzz, bad buzz, and corporate acquisitions, the movie event of the pandemic is finally here: The New Mutants is out in theaters to accidentally close out the X-Men movie series. Improbably enough, four core members of the SportsAlcohol.com brain trust found a way to see this movie safely without press screenings or VOD. (Please don’t go out to even a semi-crowded movie theater to see The New Mutants or anything else; it’s playing at drive-ins, and some theaters are doing private auditorium rentals, if you are so moved.) So naturally, Jesse, Marisa, Nathaniel, and designated X-pert Rob had to get together to discuss this momentous, uh, footnote to X-Men movie history. Consider this the long-delayed sequel to our last X-Men movie episode! And consider it our last episode about the Fox era of X-Men on film… or is it?!?! Consider this your starting buzz for a Magik spinoff in 2022!

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BIRDS OF PREY and the DC Movie Visual Aesthetic

Jesse is a cofounder of SportsAlcohol.com even though he doesn't care for sports or alcohol. His favorite movie is Ron Howard's The Paper. I think. This is what happens when you don't write your own bio. I know for sure likes pie.

There is a scene around halfway through Birds of Prey (And the Fantabulous Emancipation of One Harley Quinn) where One Harley Quinn (Margot Robbie), bon vivant, high-spirited thief, and ex-girlfriend of the Joker, enters a police station and fights her way through multiple officers, on her way to abduct a young pickpocket. Rather than leaving all-out carnage in her wake, Harley employs a serious of non-lethal methods: a beanbag gun, confetti bombs, and brightly colored smoke. (She also beats the shit out of a few of them, but no one appears to die.)

Normally, this would seem like another superhero movie hedging its bets, indulging violence while avoiding any real consequences—and to some degree, it probably is that. But Birds of Prey has an emphatic R rating (albeit seemingly more for the convenience of saying “fuck” as often as it wants than for its occasional gore), so these nontraditional weapons serve a purpose beyond appeasing the MPAA. The color-coordinated smokebombs and glitter explosions aren’t calling cards Harley Quinn leaves behind so much as the character art-directing her own music video as she goes along.
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The SportsAlcohol.com Podcast: Dark Phoenix and the X-Men Movies

Jesse is a cofounder of SportsAlcohol.com even though he doesn't care for sports or alcohol. His favorite movie is Ron Howard's The Paper. I think. This is what happens when you don't write your own bio. I know for sure likes pie.

It’s been almost 20 years since the first X-Men movie made the world safe for high-quality big-screen superheroes, and somehow the ensuing film series is only now winding down, with the release (and flop!) of Dark Phoenix, combination sequel, prequel, and remake that marks the final big team X-Men movie greenlit before Disney finalized its acquisition of Fox. While New Mutants and maybe another Deadpool remain on the docket at DisneyFox, it seems likely that the X-Men as a full-fledged franchise is going away for a while, likely to re-emerge as part of MCU Phase 7 or whatever. So this seemed like a good time for Rob, Sabrina, Nathaniel, Marisa, Jesse, and Jon to sit down and talk about all things XCU: Dark Phoenix, the series as a whole, the highlights and the failures, and, of course, Michael Fassbender’s beautiful face. It’s a lengthy but somehow also zippy discussion and we all wind up making fun of Beast at some point for some reason. Poor Beast. But long live the X-Men!

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The SportsAlcohol.com Podcast: The MCU and Avengers: Endgame

Jesse is a cofounder of SportsAlcohol.com even though he doesn't care for sports or alcohol. His favorite movie is Ron Howard's The Paper. I think. This is what happens when you don't write your own bio. I know for sure likes pie.

Hey, did you guys hear about this Avengers movie? It’s like, the end, except like, not? It came out a month ago, but Avengers: Endgame will likely stand as the biggest-grossing superhero movie (maybe even biggest-grossing movie, period) for a good long while. The SportsAlcohol.com crew has talked a lot about the Marvel Cinematic Universe on our podcast in the past, whether it was about Spider-Man, or Captain America punching Iron Man, or mitigating some of the praise for the Guardians of the Galaxy, or enthusing about Ultron, or getting psyched about a new take Thor. We skipped a big Infinity War discussion, but we’re back now with a sum-up about our reactions to Endgame, its predecessor, and the state of the MCU in general (including our work on a group-voted MCU list that isn’t actually complete yet, since the new Spider-Man movie is coming out next month). Disagreements and weird preferences abound, so now that you’ve finally had a chance to digest all three hours of Endgame, let us tell you all about what we loved and hated about it! (Fuck you, soul stone!)

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Shazam! is another superhero movie that’s not like all the other superhero movies that aren’t like other superhero movies

Jesse is a cofounder of SportsAlcohol.com even though he doesn't care for sports or alcohol. His favorite movie is Ron Howard's The Paper. I think. This is what happens when you don't write your own bio. I know for sure likes pie.

Shazam!, based on the DC Comics hero originally called Captain Marvel and originally not published by DC Comics, stars Zachary Levi, who once appeared in a Thor movie for Marvel Studios. Levi plays the hero; the bad guy is played by Mark Strong, who also played a supporting role (and unrealized future bad guy) in Green Lantern, based on the DC Comics hero, but unconnected to the current DC Comics movies. Shazam! also co-stars Djimon Hounsou, who also has a supporting role in Captain Marvel, currently in theaters, a separate character from Shazam, the former Captain Marvel, and based in part on the Marvel Comics hero originally called Ms. Marvel.

Shazam! is about a teenager learning to wield his superpowers responsibly, like Marvel’s Spider-Man; it’s also concerns the effects of those superpowers on family dynamics—sort of like The Incredibles, a Disney film which is not based on a comic book, but owes a lot to the Fantastic Four, whose movie rights were recently welcomed back into the Disney fold when Disney completed its purchase of 20th Century Fox’s film division. The end credits of Shazam! feature charmingly scrawled drawings of the main character’s superheroic antics, followed by a post-credits scene goofing on another superhero, both elements that recall Deadpool, an offshoot of the X-Men series, which was also recently absorbed back into Disney via Fox. Disney, of course, owns Marvel, and Captain Marvel, but not Shazam!, which belongs to Warner Bros., which owns DC, which bought the character from Fawcett, the company that originally published stories about Shazam, back when he was called Captain Marvel.
Continue reading Shazam! is another superhero movie that’s not like all the other superhero movies that aren’t like other superhero movies