#also obviously those moments are about colin not jamie but that's kind of the point. jamie in a support role is such a good development

[what-in-procrastination]

colin made himself vulnerable in front of the entire locker room and jamie was so quick to reassure him, to tell him that they've got him. he gave colin a real hug after the match–more than just a congratulations, but a show of love and support. and it's just that maybe they never directly mentioned the man city hug again but the transformative effect of feeling supported and loved in his most vulnerable moment has been so so clear in jamie this season and watching him now provide that for other people is such a wonderful direction for his character

[sylvies-chen]

okay I’ve refrained from posting my thoughts on the ted lasso finale until now in the interest of making sure they’re expressed properly so that people understand how correct my opinions actually are. but I’m here and I’m queer and LET’S DO IT FOLKS:

TED LASSO FINALE THOUGHTS

THE GOOD:

Nate!! Nate was a timid, sweet note in this episode. It was such a gentle little reintegration of his character back into the team and seeing him get a secure happy ending after all that time of insecurity was the part of the episode that provided the MOST payoff. Seeing Nick Mohammed’s post about Nate and his family life and understanding how much he put into that character was so beautiful to see too. I adore actors who very publicly (and in a nerdy way) love their craft!

His conversation with Ted also made me cry like I have never cried before.

COLIN KISSED HIS FELLA AFTER A WIN!! Ugh such a beautiful payoff and full circle moment for him, I was truly squealing with joy <3

The team’s rendition of So Long, Farewell had me GIGGLINGGG oh my god, I’m a die hard Sound of Music fan so I loved it! I would have maybe liked a little more emotion from Ted, I felt like his reaction was kind of… meh? meek? but other than that the song itself was FANTASTIC.

Obviously I love that they won the game, duh

They also had a lot of really amazing and thoughtful callbacks in this episode, like Keeley’s parallel to her entrance in the pilot was great, Ted’s bbq sauce mantra, Nate leaping into Ted’s arms, the ussie guy, the winning play being the play from season 1. All of those little moments showed a strong attention to detail I truly loved.

I love that Rupert made HIMSELF unlikeable in the end. Rebecca didn’t need to ruin his life; she stopped caring and soon saw he was doing a perfectly fine job of doing it himself. Karma truly is Rebecca Welton’s boyfriend!! Or is it?

Jake the motherfucking client seducer over here turning out to be a total dud like yesss!! I don’t want Ted and Michele back together by any means but fuck that guy lol, glad to see she and Henry were getting sick of him

BELIEVE. 😭

Which leads me to…

THE BAD:

I know you all know I ship Tedbecca, but this is truly not coming from a shipper standpoint when I say that that first scene of them was absolute BAIT. It was pretty disappointing because I know Ted Lasso’s been prone to red herrings and fakeouts every now and then but I didn’t take it as a show that would truly bait their fans with something like that??

I don’t care if I’m biased, I don’t care if the writers were trying to be avant-garde with their ending for rebecca, I’ll say what I’m about to say a million times: writing off 1 of your 2 most main characters into a happy ending with a man whose name the audience doesn’t even know is literally never a good writing decision. I think this should be obvious.

I have no hate to Boat Guy, Rebecca’s whole thing with him was basically the plot of Before Sunrise + Before Sunset (all hail Richard Lanklater) if someone watched those movies and then tried condensing them into fifteen accumulated minutes of television

Keeley, Roy, Jamie… they did you three so fucking dirty my babes. Keeley you especially. I’m beyond disappointed, bordering on genuinely hurt, by how much they screwed up Keeley and all of her adjacent storylines this season.

I loved RoyKeeley so much in seasons 1 and 2, they had such a sweetness and a magic to them. There were so many elements like that to season 1 and 2 that I feel the writers gave up on in the name of growth or… honestly, at this point, I don’t know why they did this. Roy was a little insecure in seasons 1 and 2, but I never felt like he was needy. It felt so cruel to have shown us RoyKeeley in all of these moments of such stability, such healthiness, and such genuine love for so long and then rip it away for some version of Roy Kent that felt hollow, twisted, and who just Did Not Get It. It makes me so sad.

It makes me sad for Jamie too. Him falling for Keeley again was like the last thing I needed to see from his character. There’s so much else they could have done with him, and instead they took that beautiful moment of him being accountable and respectful with Keeley and the tape, and they turned it into something ugly: they had him weaponize it as a bargaining chip against Roy.

I don’t understand why they thought having our favs engaged in this very sexist outdated convo with such possessive language in the name of comedy was a good idea. I get it was poking fun at them but it was the kind of fun that shouldn’t have to be poked at by now. They’re not these men, I don’t recognize this version of them. It’s such a regression.

speaking of weird and uncomfortable shit being played off for laughs… beard and jane got married! ted wasn’t even there! she shredded his passport to keep him in captivity! how creepy! (see the joke is that they’re crazy and do toxic things to each other. you’re supposed to laugh.)

[itwoodbeprefect]

fuck it friday (on saturday, because fuck it)

thank you @luredin for the tag!! 💖

this is a snippet from a comedy-ish ted lasso jamie pov fic, about jamie and the team taking extreme measures to confuse and annoy the press when they keep hounding colin after colin's (seemingly spontaneous??? oh dear god???) public coming out in the finale, which is an excuse for me to a) put my own mind at ease by giving colin a happy end after his one big and romantic gesture that would definitely have major consequences for his career and probably life in general, b) write fic with a lot of team-as-himbo-family fluff and many of their chaotic and bouncy conversations, c) smuggle in more slow ot3 realization probably, while jamie, roy and keeley all work together and keep thinking about Queer Stuff, and finally d) write a lot of jan maas nonsense (affectionate) (and also cackling maniacally).

the following is mostly b kickstarted by d:

-

Jan Maas says, in his typical no nonsense but slightly off-beat way, “Did you know that the Netherlands was the first country in the world to legalise same-sex marriage? The changed law went into effect on April 1st, 2001, which I’ve always thought was an odd choice.”

Bumbercatch nods along. “Because those planes crashed into the Twin Towers that same year?”

“No, bruv,” Isaac says, frowning deeply. Bumbercatch has already been hit over the head with Zoreaux’s sweaty shirt by this point. “Because it was April 1st, and making a lifetime commitment to someone you love is not a joke.” 

Several of the guys are nodding, and Jamie also does a little of that, while Bumbercatch gets a contrite look on his face. “Right, sorry.” 

There’s a long moment of nobody digging any further into this, so Jamie takes it upon himself to ask, “Were you trying to imply that gay marriage in Holland did 9/11?”

“I have an uncle who said that on Facebook once,” Zoreaux says. “Or maybe more than once. I unfriended him after that.”

-

i will tag @redgoldblue @actingcamplibrarian @littlestarsailor @stephmcx @theroseandthebeast and anyone else who reads this and feels like it (that includes you, if you want! tag me in it!) to post a little thing from any kind of wip. it can be a snippet from a fic, gifset, art, or anything else you've been working on - and zero pressure, obviously.

[hacash]

ted lasso 2x09 thoughts

ARGH

those are it. those are my thoughts.

Ok, slightly more coherently…

Sam’s getting recognition! Sam has his own chant! I love that for him. Love it all. It’s obviously so good that Sam is becoming an in-universe hero when we’ve loved him from his first scene - however, that also comes with the caveat of not wanting him to move anywhere from Nelson Road. I’m curious to see where they take it though, because I obviously can’t see Toheeb Jimoh leaving the cast before the show finishes, but at the same time this offer is so good for him?? I don’t know I don’t know I don’t know.

(If, on the other hand, Toheeb is being written out because he’s going on to star as a lead in another show where we could see more of his beautiful face and stellar acting every week? I would find that acceptable.)

Screeners’ reactions for this episode had me thinking something cataclysmic and dreadful was going to happen between Sam and Rebecca with them reuniting and it hitting the papers - and it ended up being fine?? Of course she’s torn about him leaving. Even if they end up never being together again Sam clearly represents something wonderful to Rebecca - possibility and the sense of being treated right - and those feelings don’t just go away.

I expected a bit more reaction from Ted about the whole Sambecca thing, but that little look in his eyes after their conversation did have me curious - does he disapprove more than he lets on? is he secretly pining for Rebecca already? only time will tell. also I did notice Ted was once again basically saying whatever Rebecca wanted to hear and agreeing at every single line - he might be going to therapy but he’s not out of the people-pleaser woods yet.

Another bombshell next year? OH COME ON. If that’s not a prediction of some sort of confession of love I will go out and buy a hat just to eat it.

SHARON. How I am going to miss thee. But it was a lovely and understated farewell to a character that I’ve really come to love - Sexy Mother Fucker; he stole my move, yaas - showing how much she and Ted have helped each other grow and I just *tear*. Also I’m a Tedbecca shipper through and through, but Jason and Sarah do have such lovely chemistry together.

Also the pub regulars basically pleading for free therapy? Aww.

Higgins luring Ted back to read Sharon’s note with a well-chosen letter based pun? I love this man to the ends of the earth.

I FUCKING KNEW THAT HIGGINS KNEW EVERYONE’S BIRTHDAY. I PREDICTED THAT SHIT.

Roy and Keeley…I’m sorry, I’m emotional and anxious and hopeful and I do not think they’re going to break up. Relationships go through messy spots and people struggle, and the mark of a good, communicative, grown-up relationship is that you take time and discuss your issues and move past them. Keeley and Roy’s relationship has always been characterised by that maturity, and I just don’t see a couple of ill-timed romance confessions breaking that down.

(If anything, we might get a discussion from Roy about Keeley trusting him - I’m guessing there’s a fair bit of time lapsed between Jamie’s confession and her telling all to Roy, and I can see that being the sticking point that upsets Roy, that she hid this from him for some time. He clearly didn’t feel at all upset by what happened with Nate; it’s the - arguably fair - point that Keeley didn’t let him know that her ex confessed love for her that I think is going to be the issue.)

Also, the ‘are you married’ question - coupled with the fact that we keep seeing Roy on his knees in front of Keeley - makes me think we’re going to get a proposal next episode.

Also I love that we’re seeing more of Keeley’s psyche beyond the ‘cute and supports everyone’ façade - her mother’s experience with ambition and not being able to achieve it is a really interesting little snippet, not to mention the reason she bonds so much with Nate and is able to see how someone seemingly ‘undeserving’ should be able to realise their dreams.

also her and Rebecca’s ‘bleargggggh!’ competition! and Ted thinking he was going to be on the cover of Vanity Fair! return of Biscuits with the Boss!

ok, deep breaths now

NAAAAAATE

WHAT ARE YOU DOOIIIIIIING

Is it bad that I sort of liked the whole thing with Keeley? Not in a ‘yes I want this to happen’ sort of way, but because it makes so much sense that Nate (particularly Nate in his current state) might mistake that level of bonding and emotional support as something romantic. We know Nate is insecure and hasn’t had much of a social life in the past, and that he idealises Keeley for her basic kindness and decency: much like Jamie in 2x10, he’s mistaking Keeley’s kindness as something more…it’s absolutely gutting to watch, and also so human and real that I can’t help but take my hat off to the writers for it.

(Honestly, there’s been so many posts on tumblr about how toxic masculinity fucks men over to such an extent that when they receive kindness and friendship for a woman they immediately think romance - but yeah. this show does tick all the boxes.)

I did see the kiss moment coming a mile away and was really worried that Nate was going to be…uh, very entitled about it, given his current state, but the fact that he wasn’t - that he was immediately horrified and realised he’d fucked up and stumbles away muttering about how he ‘is worried about it’ and ends the scene spitting at himself in the mirror again and looking absolutely disgusted with himself - well, in a way that just hurt more. (I mean, I’m relieved Nate wasn’t all bolshy with it because his reaction does show there is still some of the old Nate still there…but still, owch.)

And then that text from Trent…

Next episode is going to hurt like hell, isn’t it? I absolutely cannot wait for the showdown between Nate and Ted, it’s been a long time coming…like I’ve said, while I think ultimately Nate is going to have a redemption arc, because thematically it makes sense and would send some pretty iffy messages if he doesn’t, I don’t think it’ll come until season three. Right now I just want to see Ted get angry after several seasons of suppressing his anger, I want a full-blown emotional hash-out between them both - basically I want Jason and Nick to have me sobbing before 9AM.

My one question is: are we going to see Nate realising what he’s done, or not? Was this a pragmatic, doing-this-for-the-sake-of-the-club betrayal or a blind, lashing-out-in-frustration betrayal? In short: is Nate Lando or Anakin in this scenario?

I’m very curious as to what show people who say this ‘came out of nowhere’ have been watching. Nate’s been heading for some sort of implosion since mid-season, and we all knew it was going to hurt some innocent bystanders.

I’m saving something light and cheery after all the angst, so let me just say: cinema has never surpassed, and will never surpass, the scene of the Richmond boys dancing along to Bye Bye Bye. Almost made up for the fact that they were criminally underused in the rest of the episode, and quite frankly this had better be redressed in the season finale.

and WE FINALLY SAW COLIN DRIVING THE LAMBO. I don’t know what I find funnier: the fact that it’s some neon lime green monstrosity that every fourteen-year old boy would have dreamt of owning growing up (should my new Colin tag be Colin ‘I Need To Rethink My Relationship With My Car’ Hughes, or Colin ‘More Money Than Sense’ Hughes? enquiring minds want to know…) or as was pointed out to me by @kamillahn, the look of absolute terror on Colin’s face as he begins to drive. Colin, hun, please just buy yourself a Fiat. It’s not worth it anymore.

[galacticlamps]

totally no pressure haha but I'm super intrigued by the fantasy au you mentioned if you'd be interested in talking about it o:

Oh yeah, totally!

This AU mostly exists as miscellaneous notes, so I'll try to summarize those:

I haven’t worked out all the world-building, but it’s probably easiest to think of the setting as something akin to Arthurian Britain, maybe? It’s been a while since I’ve read up on that, but it’s definitely full of lots of smallish kingdoms & the issues/plot points that come from those, on top of the occasional supernatural/mythical elements you find in any good legend.

Throughout his childhood & before he's even born, Jamie's family is involved in a series of civil wars & rebellions between neighboring kingdoms & clans. The final decisive battle is bloody and tragic, but they do win, even though the leader of their cause, Colin McLaren, is mortally wounded. The other victorious chieftains elect Donald McCrimmon to take his crown when he passes, making Jamie an/the heir to the throne (I'm pretty sure Alexander is Jamie's older brother in this, and he still dies, but I'm not sure if that’s in the conflict or later when they're adults). Jamie's probably only about 7 or 8 when this happens and peace is restored, and when his mother gives birth to another child, a daughter, they name her Victoria in honor of their success in the battle. Now that they're the rulers of the kingdom, Victoria gets brought up as a lady of the court from the beginning, educated by foreign scholars and even taught to speak in the dialect considered more proper in the neighboring kingdoms' courts, although the rest of her family are very whatever-the-equivalent-of-Scottish-is-here. Despite being royalty, Prince James (Jamie to his friends) never really thinks of that as his world, and insists upon wearing his kilt and making no effort to conceal either his accent or his lack of learning, no matter how large a portion of his life is spent living in a castle.

Polly is a lady of the court, probably some kind of ward/lady-in-waiting sent to foster peace and goodwill from some nearby kingdom where her family are high up in the nobility, if not actual royalty. She's (secretly) in love with the lower-class Ben, who wants first to prove himself as a true knight and eventually to wed the Duchess.

When Jamie's in his 20's, the story actually starts with a strange and dangerously supernatural event that kills the old Druid who looked after their clan (and the Alexander/older brother character, if he's still around), and Polly recommends a distant uncle/great-uncle/fifteenth cousin twice removed to take his place. She claims he's family but he's shrouded in mystery and known only as the Doctor, a famed and eccentric traveler and practitioner of the natural arts (and unnatural too, as the rumor goes). She manages to contact him, probably through a quest for Ben, and the palace suddenly has a new court physician, alongside his aide and apprentice, Zoe. Like him, she’s a genius and also secretly some kind of sorcerer/mage (I have to work out my mythology, I think I just crossed over into D&D lol) who he took in a few years back when her old mentor, Dr. Corwyn, died.

The Prince is obviously very taken with the Doctor, if not from the moment they meet, at least after he gets rushed off to see him after some minor injury he receives on a hunt. He's always been the more rough-and-tumble, daring, and down-to-earth of his siblings, but now even the slightest scratch and he's off to the Doctor for a second opinion, but nobody thinks too much of it, and he is the heir now, so they're glad to see him taking care of himself. Romance ensues.

Victoria, meanwhile, takes an interest in Zoe - to be honest, I'm not sure if it's a romantic one or just lesbian solidarity, I've never tried to write them as a ship before but it could be interesting, and I think in this universe the opportunity definitely presents itself. Victoria's been well-educated for a life in the court, and while she feels bad complaining because that's more than the rest of her family ever had, she only knows enough of science to be mystified and intrigued by what she doesn't know, and seeing a young woman her own age with the skill and experience Zoe has, who's so well-traveled and confident in herself, enthralls her. On the other hand, Victoria's much softer and lady-like than anyone Zoe's ever worked closely with, but she's impressed by how responsible she is, and sympathizes with the weight placed upon her - everyone knows she's seen as the bridge between the old kingdom and the new, even more so than her brother, who's destined to inherit but still cut from the same cloth as their father, and not that of the ruling classes.

At some point, I'm fairly certain their parents get either killed or presumed dead during a sea voyage  (as seems to happen in these things), and Jamie unhappily receives the crown, which causes a bit of a hiccup in everyone's relationships & responsibilities - and of course, throughout all of this, they're still having issues with the supernatural entity threatening them. Jamie's not one to turn down responsibility, but he's pretty miserable about it, and in the end, he finds a way to abdicate so Victoria can take over, being much better suited to it. Jamie just wants to go off traveling with the Doctor (perhaps even in a strange blue box?), and Zoe takes over his practice at the court, being more than qualified and having a few reasons of her own for wanting to stay there, because romantic or not, she's become Victoria's support/confidant/partner in crime. It might be revealed that their parents survived and just took a long time getting back because of all the sidequests that seem to go along with getting shipwrecked in this kind of genre, but even if they return everyone approves of the setup their kids worked out in their absence, Victoria comes of age and is crowned queen, and Jamie has their blessing to go off, marry the man he loves, and take up a lifestyle he prefers.

Those are the basics of the AU. I've had ideas about actual fics for things like the Doctor's arrival, he and Jamie falling for one another/flirting badly over time, Zoe and Victoria growing together, things Ben tries to do to move up in the world and/or get closer to Polly, whatever exactly happens to the parents, and adventures Jamie & the Doctor have as travelers in that world after they're married, but I've written very little in the way of actual scenes or moments, so it's mostly just an elaborate concept right now. The actual adventure-y plots making up the background to all of that would also involve a lot of magic shenanigans and and probably some creatures unsubtlely adapted from different bits of Celtic mythology because that just feels like the natural place to go at this point.

It seems like it'd be fun to write, but I could also see myself getting bogged down in minutia and never coming up with anything actually fun and easy to read, so I'm not quite sure if it'll ever wind up on my To-Finish list, but who knows. I could also see myself writing a particular scene and going ‘well shit, now i have to write the rest just so I can post this bit’ so I guess it could go either way.

Anyways, thank you for asking! I sincerely hope I didn't bore you to tears with all that!

[made-from-galaxies]

Here’s Why Black Widow Didn’t Get a Memorial at the End of ‘Avengers: Endgame’

(Major spoilers ahead for “Avengers: Endgame” and the whole situation with Black Widow aka Natasha Romanoff, but you probably already knew that given the headline)

The scenes in “Avengers: Endgame” that take place after the film’s climax are all about Tony Stark (Robert Downey Jr.) and Steve Rogers (Chris Evans), first with the big funeral for Iron Man after he died to defeat Thanos and his army, and then with Captain America’s big retirement scene to close the whole thing out. They were the two main characters of the Marvel Cinematic Universe, so fine, whatever. But it still irks me that Natasha Romanoff (Scarlett Johansson) got only the barest of mentions after she sacrificed herself in the second act.

If she hadn’t killed herself on Vormir so that Hawkeye (Jeremy Renner) could return to the present with the Soul Stone, then they wouldn’t have been able to save all those people Thanos snapped, and then Tony Stark’s snap to wipe out all of Thanos’s forces wouldn’t have been possible. Her sacrifice mattered just as much as Tony’s did.

Also Read: ‘Avengers: Endgame’ – That Last Scene Makes No Sense

But when we get to the end of the movie, we get a big memorial for Iron Man with a huge number of famous heroes showing up to pay their respects, while Hawkeye and Scarlet Witch (Elizabeth Olsen) hang out in the corner having their own private mourning ceremony for Natasha and Vision, who apparently nobody other than them — and Bruce Banner (Mark Ruffalo), I guess — cared about.

It would have been a great moment to elevate a character who always operated from the shadows, never getting the acclaim that Tony always received. The one time Black Widow stepped into the spotlight was at the end of “Captain America: The Winter Soldier,” when a US Senate committee threatened to put her on trial. The people of the MCU finally had a chance to give Natasha the respect she was due, and they just didn’t.

On the commentary track on the home video release of “Avengers: Endgame,” co-director Joe Russo addressed this concern, and blamed next year’s “Black Widow” movie for the lack of a memorial for Natasha.

Also Read: ‘Avengers: Endgame’ – Who Is That Random Kid At the End of the Movie?

“People have asked why Natasha didn’t get the same amount of screen time post-death as Tony did,” Joe Russo said. “Well, Tony does not have another movie. Tony is done. And Natasha has another film. And Marvel Universe obviously does not have to move forward linearly anymore. But that character still has more screen time coming.”

So there’s your answer — Natasha Romanoff didn’t get a big memorial in “Endgame” because of the prequel movie coming out next May, whereas Tony Stark is not gonna be in the MCU again for the foreseeable future. Though they didn’t mention Vision specifically, there’s probably a similar reason for the lack of love for him after he died in “Infinity War,” since he’ll be back somehow in the “WandaVision” Disney+ show in 2021.

There is an interesting sentence in that answer, though, that caused a big exclamation point to pop up over my head, though: “And Marvel Universe obviously does not have to move forward linearly anymore.” Since the MCU has done multiple prequel movies that didn’t involve time travel, including the first “Captain America” movie that was the fourth film overall in this franchise, it seems incorrect to say that the MCU ever “had to” move forward linearly.

Also Read: ‘Avengers: Endgame’ – What Happened With Loki and the Tesseract?

To me, this implies that the “Black Widow” movie will be more than just another prequel like “Captain America: The First Avenger” or “Captain Marvel,” which took us to the past to set up heroes that would have an impact on the present. To me, the implication is something I have long suspected about “Black Widow”: that it will involve characters from the MCU’s post-“Endgame” present somehow.

But Marvel still has yet to confirm anything along those lines about that film. When they presented footage from the film at Comic-Con a couple weeks ago there was no indication that it would be anything other than a straight prequel — one that likely will set up a new player for future movies, like probably Florence Pugh’s Yelena.

We’ve got a while to wait before we find anything out about what the “Black Widow” movie really has in store for us. It’s nine months until the movie comes out, and it’ll probably be December at the earliest before we get a proper trailer. So sit tight.

All 58 Marvel Movies Ranked, Including ‘Spider-Man: Far From Home’

It’s hard to believe — and sad, too, if you like these movies — that “Spider-Man: Far From Home” is the last Marvel movie of the year. There’s no more on the calendar until Fox’s “The New Mutants” early next year, and given how many times that one has been delayed it may not be safe to assume it actually will be the next Marvel movie.

Anyway, the point is just we’re about to get into an extended hiatus. No more MCU movies, no non-MCU Marvel movies the rest of 2019. We’re getting a bit of a break from comic book movies, with only DC’s “Joker” origin movie left.

58. “Fantastic Four: Rise of the Silver Surfer”

Just a nightmare. A total nightmare. There have been a number of bad superhero movies, but from the talking gas cloud the filmmakers cast as Galactus to Jessica Alba‘s dye job, this one transcends bad.

57. “X-Men Origins: Wolverine”

A totally chaotic stir fry of nonsense that tells the story of how Wolverine got his claws. Features an early version of Deadpool (also played by Ryan Reynolds) whose mouth is stapled shut, which should tell you all you need to know about it.

56. “Elektra”

That five minutes when they tried to turn Jennifer Garner into an action star went about as well as it should have.

55. “X-Men: The Last Stand”

Just a total mess, incoherent from the word “go.” After losing director of the first two X-Men films Brian Singer to the first Superman reboot attempt, replacement Matthew Vaughn gave way to eventual director Brett Ratner, who might have killed off the superhero genre entirely were “Spider-Man” not blowing up the box office.

54. “Fantastic Four” (2015)

There could maybe have been a good movie in here somewhere — the cast (Michael B Jordan, Miles Teller, Kate Mara) certainly warranted one. But this Frankenstein of a film is a behind-the-scenes horror story, and you can see it in the totally disjointed final product.

53. “Daredevil”

This was basically “Early-2000s: The Movie,” with Ben Affleck, Jennifer Garner, Colin Farrell and Michael Clark Duncan as the main players. The cherry on top of this turd sundae was that damn Evanescence song.

52. “Fantastic Four” (2005)

Tim Story‘s first “Fantastic Four” is just sort of there, challenging you to remember it exists. With Chris Evans, who played the Human Torch here, going on to embody Captain America in the Marvel Cinematic Universe, that gets tougher every year.

51. “The Punisher” (2004)

This is the Punisher as a straight revenge thriller, and it’s not bad. Thomas Jane performs admirably, but the whole thing is missing that extra something that would have elevated it beyond standard genre fare. Setting it in Tampa didn’t help.

50. “Spider-Man 3”

Maybe the bad outweighs the good here, but Emo Peter Parker’s dance number remains one of the greatest single moments in any comic book movie, sorry, haters.

49. “Howard the Duck”

A notorious flop at the box office and, yeah, it’s not exactly “good.” But now, 30 years removed from its premiere, “Howard the Duck” is pretty fun as a relic of the ’80s.

48. “The Punisher” (1989)

Dolph Lundgren and Louis Gossett Jr. star in a low-rent ’80s grunge C-level classic. This one’s all novelty value.

47. “Ghost Rider”

For a movie starring Nic Cage about a dude who rides a Harley and turns into a flaming skeleton, this is a surprisingly mundane movie.

46. “The Amazing Spider-Man”

We may never figure out what went wrong with Marc Webb‘s Spider-Man duology, but his choice of Andrew Garfield to play Peter Parker is still brilliant. It just sucks that this movie doesn’t really make any sense.

45. “X-Men”

The beginning of the current wave of theatrical superhero movies, “X-Men” was kind of a cheapie and it showed. Novel at the time, now it just comes off as unremarkable mid-budget action fare as Fox was merely sticking its toe in the superhero waters. Timid.

44. “The Incredible Hulk”

It’s sometimes hard to remember that this one counts as part of the MCU, since it placed Ed Norton in the Dr. Banner role since inhabited by Mark Ruffalo in the “Avengers” films. It’s also hard to remember because it’s generally not memorable.

43. “Thor”

The fantasy Marvel movie is directed by Kenneth Branagh, who covers the whole movie in canted angle shots and theatrical stylings. It’s pretty boring, also, but at least it looks cool.

42. “The Amazing Spider-Man 2”

More of the same impossible-to-follow hack-n’-slash plotting from the previous movie, offset by Andrew Garfield continuing to be awesome and Jamie Foxx going way over the top as the big bad.

41. “Thor: The Dark World”

“The Dark World,” in contrast to the first “Thor” movie, is certainly not boring. If anything, it suffers the opposite problem, going so hard and fast that it loses substance.

40. “Blade: Trinity”

Starring a pre-Deadpool Ryan Reynolds basically playing a vampire-slaying Deadpool, throwing out one-liners like his mama’s life depended on it, this may not a “good” movie, but it sure is fun.

39. “X2: X-Men United”

A big step up from the first “X-Men” both in production values and quality, it still lacks much in the way of energy. Which is inexcusable when you’ve got Alan Cumming as the teleporting mutant Nightcrawler all over your movie.

38. “Spider-Man”

Sam Raimi truly assembled the prototypical superhero movie with this first entry in the “Spider-Man” franchise, in 2002. Like “X-Men” before it, “Spider-Man” is a bit underwhelming today, but unlike “X-Men” it was proud of its nerd roots.

37. “X-Men: Apocalypse”

Could have been a bizarre ironic summer classic if it were structured like a real movie and had any character development whatsoever. Instead it’s just a shot of visual adrenaline that I’ll probably want to revisit at some point — but not when I’m sober

36. “Avengers: Age of Ultron”

“Ultron” is frustrating for what it lacks — chiefly the feeling that it’s advancing the overall story arc of the Marvel Cinematic Universe. But as with the first “Avengers” movie its weaknesses are overcome by great character work.

35. “The Avengers”

The story is a total mess, relying heavily on moviegoers’ memories of previous MCU films (if you didn’t remember or know coming in what the Tesseract was, hoo boy). But the novelty of the Marvel’s first big superhero team-up was irresistible, and director Joss Whedon balanced his ensemble expertly, giving everyone plenty to do so none of them ever fades into the background.

34. “Blade”

Pure B-movie trash, which is fine because that’s precisely what it aims for: bloody, crass, awesome. Blade, by the way, remains the only black comic book character besides Shaquille O’Neal‘s “Steel” to get his/her own movie, though Marvel’s “Black Panther” is slated for a 2018 release.

33. “Ghost Rider: Spirit of Vengeance”

For the sequel, they tapped the “Crank” director duo known as Neveldine/Taylor. It was an inspired choice, because “Spirit of Vengeance” was exactly as nutty as you’d hope a PG-13 comic book movie would be. Shame that it was apparently stressful enough to break up the tandem of Mark Neveldine and Brian Taylor.

32. “Captain America: The First Avenger”

A lot of folks like to complain that all superhero movies are the same. But this was actually a pretty good World War II movie, too.

31. “Guardians of the Galaxy”

Plot-wise, it never really adds up to anything, but the strength of the cast and the bizarre world they explore more than make up for it.

30. “Blade 2”

Beloved nerd Guillermo del Toro took over for this one and ramped everything up to 11. More vampires, more blood, more people getting sliced up — and of course baddies whose jaws can split open and swallow a person’s head whole.

29. “Big Hero 6”

Disney Animation Studios made a Marvel movie, and it’s really sweet. Sure, it’s the kiddie version of Marvel, but that doesn’t prevent it from being a wholly satisfying experience.

28. “Captain Marvel”

It’s fine, but “Captain Marvel” feels like a movie from before Marvel Studios really hit its stride in Phase 3 of the Marvel Cinematic Universe. Right now it’s a movie that seems very much out of place.

27. “Guardians of the Galaxy vol. 2”

An improvement on the first film, and an absolute delight from moment to moment — but it never quite coalesces into a coherent whole because so many subplots distract from the core story and rob it of its emotional impact. Would be a top 5 comic book movie if it had just reigned in the plot.

26. “Iron Man”

It was Robert Downey Jr.‘s reemergence on the big screen, and he’s flawless in this origin story that takes Tony Stark from billionaire playboy weapons manufacturer to billionaire playboy other-things manufacturer.

25. “Avengers: Endgame”

This movie is, frustratingly, far from perfect. In fact, it’s kind of a huge mess. But it’s also awesome and thrilling and hilarious and contains some individual moments that are perfect. I wish it was better, but with everything required of a movie that exists to wrap up 21 movies’ worth of story arcs, I’m glad it’s as good as it is.

24. “Hulk”

In 2003 the modern wave of superhero movies was still in its infancy, and Ang Lee — still the best filmmaker to do a comic book movie — got experimental with “Hulk.” And what he made was an incredible melodrama with visual stylings meant to ape comic book panels. It didn’t sit well with audiences, but “Hulk” remains one of the most compelling and interesting Marvel movies to date.

23. “The Wolverine”

This was, like, just a legitimately enjoyable melodramatic action movie. Sure, it turns into a video game boss battle by the end, but for most of its running time it’s just an actual movie. 

22. “Punisher: War Zone”

Whereas the previous “Punisher” movie was melodramatic and contemplative, this one is just murderous. And it’s awesome.

21. “Venom” 

How can anybody resist the pull of Tom Hardy doing comedy? This movie knows exactly what it’s trying to be, and what it’s trying to be is dumb and fun and nothing else. And it is extremely fun.

20. “X-Men: Days of Future Past”

Its time travel logic is a bit iffy, but “Days of Future Past” is still tremendously entertaining because, while epic, it’s not overly serious. As “Back to the Future” taught us long ago, you can get away with a lot of logical leaps if you strike the right tone.

18. “Deadpool”

In the angsty and angry times we live in, “Deadpool” is perfect. Aggressively violent and flippantly meanspirited, it’s the exact emotional release we needed.

17. “X-Men: Dark Phoenix”

The main series “X-Men” movies have never achieved any sort of greatness, but at least “Dark Phoenix” ends the whole thing with one of the best efforts of the bunch. And that sequence on the train in the third act is easily the best action sequence of these movies.

16. “Spider-Man: Far From Home” 

It’s frustrating that it doesn’t really deal with the immense fallout from “Avengers: Endgame,” but it’s still as visually creative as any movie in the MCU, and Jake Gyllenhaal’s Mysterio is an all-timer of a villain. Dude goes all the way out in this.

15. “X-Men: First Class”

The first “X-Men” movie that could be described as “fun.” It’s basically two movies crammed into one, story-wise, but director Matthew Vaughn‘s touch is so breezy and enjoyable that it totally works anyway, thanks in large part to a brilliant cast that includes Michael Fassbender, Jennifer Lawrence and James McAvoy.

14. “Spider-Man: Homecoming” 

Not quite the best “Spider-Man” movie, but still an absolute delight, with a cast full of scene stealers. Michael Keaton as the Vulture makes for one of the best Marvel villains ever.

13. “Deadpool 2” 

While you may get whiplash from the “Deadpool” sequel’s occasional very serious and emo scenes, the rest of the movie is thoroughly delightful, somehow managing to be even funnier — and more hilariously violent — than the original.

12. “Ant-Man”

“Ant-Man” represented a first for the MCU by being a straight-up comedy. And it’s a very good one, with a cast that’s perfectly suited for it. Aside from Paul Rudd who plays Ant-Man himself, Michael Pena is the true standout as Scott Lang’s best friend and former cellmate.

11. “Ant-Man and the Wasp” 

It’s ever so slightly frustrating that this one doesn’t fully integrate into the “Infinity War” situation, but even so it’s thoroughly a delight. Evangeline Lilly is so good at the Wasp that I’m retroactively irritated that she didn’t don the suit in the previous “Ant-Man” movie.

10. “Doctor Strange”

If it weren’t hamstrung with all the requisite elements of an origin story, “Doctor Strange” might have been the best Marvel movie ever. That’s the power of the astonishing visual imagination on display here. People love to talk about the nebulous concept of capturing some long lost childlike sense of wonder though the magic of cinema — “Doctor Strange” is one of the only movies I’ve watched as an adult that really accomplishes that.

9. “Spider-Man 2”

This is a movie that fully understands its main character and taps into what made him such a captivating figure for so long. Yeah, Peter Parker’s a superhero, but he’s also a college kid working a minimum wage job to make rent while also taking university physics classes. Peter buckles under the pressure, something we can all relate to.

8. “Iron Man 3”

As far as I’m concerned this is the “Iron Man” movie. Somehow, Shane Black was able to infiltrate the MCU and make a legitimate Shane Black movie with all the wit and raw humanity you’d expect from him. It carries exactly the sort of authorial identity we should want all these movies to have.

7. “Thor: Ragnarok”

A thorough delight. This might be the most fun we had at the movies in all of 2017, and so we can’t help but love it.

6. “Captain America: Civil War”

Multiply the two previous best Marvel movies by one another and you get “Civil War.” It packs the sort of emotional payoff all the disconnected Marvel movies can’t really provide. And as an action film it’s easily the best of the superhero genre.

5. “Avengers: Infinity War” 

You could certainly make the argument that “Infinity War” does not really hold up on as a complete movie on its own, because it kinda begins with the second act. But I don’t care. The culmination of this ten-year shared universe experiment should stand on the shoulders of the movies that came before it. The fact that it packs such a profound emotional punch, however, is what really makes it work.

4. “Black Panther” 

It’s held back a little by being saddled with standard “origin movie” issues — introducing audiences to the world of Wakanda isn’t a quick and easy task, and it could use an extra 15-20 minutes to flesh out the supporting characters — but still manages to be the most substantial superhero movie ever. It’s kind of amazing that Disney let writer/director Ryan Coogler make this overt a political statement — it’s the most openly political mega-budget movie I’ve ever seen . Also, while I’m listing superlatives: Michael B Jordan delivers the best performance ever in a superhero movie. Good lord.

3. “Spider-Man: Into the Spider-Verse” 

The best superhero movies, and movies in general, are the ones that are truly most human. And “Spider-Verse,” despite being animated, despite the wacky cast of Spider-People, despite the outlandish premise, is as real as movies get.

2. “Logan”

James Mangold’s small-scale western is a game changer for the entire superhero genre, daring to defy pretty much standard by which you expect these movies to operate. It’s just a great movie by any normal standard. Where “Civil War” elevated the genre, “Logan” opts instead to be something else entirely and we’re all the better for it.

1. “Captain America: The Winter Soldier”

The Russo brothers, who made their entrance to the MCU directing “Winter Soldier” before taking the reigns on “Civil War” and, eventually, 2018’s “Avengers: Infinity War,” really impressed with “Winter Soldier.” It’s a classic spy thriller with a superhero twist. And Robert Redford as the bad guy is a really nice touch.

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Decades of big screen Marvel adaptations demand a long, ranked list. This is that list

Source: https://opengeekhouse.com.br/2019/08/10/heres-why-black-widow-didnt-get-a-memorial-at-the-end-of-avengers-endgame/