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Who said it had to be RDJ? Just use Riri Williams.
I wouldn't mind seeing her after a break. Introduce her as a youngster before she puts on the suit in Phase 5 maybe.
Who said it had to be RDJ? Just use Riri Williams.
The bar is the minimum standardThink high jump in athletics.
The bar for Fox X-films is very low, but on several occasions they have cleared it by a huge distance.![]()

which Greek tragedy?
and what real-world? it was intended to be hyper stylized & evoking the old Bond movies
I mean, I guess that could work. But I want Doom to be this mysterious figure that nobody knows much about. The layers should slowly be pulled back over the course of a couple of films where we learn about him being peers with Reed and the accident that scarred his face.
Ok, thatll do fine mateI'm not exactly sure what you mean by this, but it made me chuckle![]()
t:If he hates Reed so much, he'd come after them in their first sequel.
And no one wants to wait 3 years after a film from a cursed franchise to see Marvel's greatest antagonist.
Cursed franchise.... You do know that Doom is considered just as "cursed" as the FF right? The GA wouldn't give a damn that he's not in the first two films.

It's a modern Greek tragedy where Xavier's flaw is that he doesn't understand others (also counts as dramatic irony because he's a telepath). 95% of the scenes in the film lead up to the climax on the beach where he begs a Holocaust survivor to spare American and Soviet sailors who were ordered to kill them because "they're innocent men, just following orders!"
And the real world of the 1960s? The Jewish trauma, the nuclear stand-off, civil rights, etc. It seems that being set in the past was the only way for screenwriters to be brave enough to address sociopolitical issues on a more serious level that Iron Man 3's "terrorists of color are a fiction invented by white CEOs to sell weapons" conspiracy theory.
It was a brilliant commentary on Americas islamophobia.
It's a modern Greek tragedy where Xavier's flaw is that he doesn't understand others (also counts as dramatic irony because he's a telepath). 95% of the scenes in the film lead up to the climax on the beach where he begs a Holocaust survivor to spare American and Soviet sailors who were ordered to kill them because "they're innocent men, just following orders!"
And the real world of the 1960s? The Jewish trauma, the nuclear stand-off, civil rights, etc. It seems that being set in the past was the only way for screenwriters to be brave enough to address sociopolitical issues on a more serious level than Iron Man 3's "terrorists of color are a fiction invented by white CEOs to sell weapons" conspiracy theory.
Homecoming would be the model used. Look for the 4 to battle a new villain. And Proper Doom to tangle with a different hero first.
Its very obvious to me that any approach Fiege takes with Doom and the four will be very different from any of the previous incarnations. Which is why I definitely see Doom being introduced apart from them.
Homecoming would be the model used. Look for the 4 to battle a new villain. And Proper Doom to tangle with a different hero first.
If heroes are just protecting themselves, they're not heroes, they're just trying to survive. Sadly too many films and TV shows don't recognize that basic premise.
That's why I've always loved the Death of Superman. Doomsday was always one note, but that's not what made him effective in my book. It's that he represents everything a hero is around to protect people from (pain, suffering, destruction, cruelty) and everything that puts a hero's true mettle to the test (almost certain death if they go up against it, with only the hero's determination to save the people giving them the strength to fight against the odds).
There's a point when Doomsday has beaten Superman so bad, everyone around him realizes that he might actually lose the fight. But Superman is determined to go back into the fight again despite the possibility he's not coming out of it because people are still endangered and he knows they need him.
That has always been very effective to me.
I recently had this idea, what if the cosmic waves Reed and co investigate was actually an annihilation wave, and through some science mumbo jumbo the FF end up in the Negative Zone, which morphs them into the FF we know and they battle Annihulus and stop the wave? Would give us the opportunity to experience the FF as a space faring, adventuring family.
The whole point of a hero is they should have to risk themselves for a greater good. If the villain is just obsessed with trying to kill the hero (as we see in too many stories), what choice do they even have? Either fight or be killed. That's not a heroic choice.
The whole point of a hero is they should have to risk themselves for a greater good. If the villain is just obsessed with trying to kill the hero (as we see in too many stories), what choice do they even have? Either fight or be killed. That's not a heroic choice.
Random question:
I get the Scarlet Witch/Quicksilver loophole between Disney and Fox, but how is Disney allowed to use other mutants like Typhoid Mary and Kilgrave for the MCU Iron Fist and Jessica Jones shows? If they are mutants shouldn't they technically be owned by FOX?
So this is just a vote?
Between what and what?
I mean Comcast dropped out of the race right?
Only Disney remains and it's not like anyone is coming to buy Fox apart from Disney so I'm guessing the vote will be unanimously sell to Disney