Spider-Man tries to have an ordinary Summer vacation until he’s dragged into a superhero conflict by Nick Fury.
Spider-Man/Peter Parker (Tom Holland) is back following his resurrection at the end of Avengers: Endgame (No, you don’t get a spoiler warning for that, watch the damned movies in a reasonable time). Following the death of Tony Stark (Robert Downey, Jr.), he’s having trouble determining his place in the world of superbeings. When he goes with his school on a trip to Europe for the Summer, Peter tries to leave his superlife at home and focus on finally talking to MJ (Zendaya) about his feelings for her. However, things go awry when it’s revealed that Nick Fury (Samuel L. “Motherf**king” Jackson) needs him to help Mysterio/Quentin Beck (Jake Gyllenhaal), a superhero from an alternate Earth that is trying to stop the Elementals, a group of four supervillains. Peter has to deal with the threat to the planet while also dealing with a threat to his Summer romance.
One of the opening lines to this film is “how will we move on with the next phase of our lives? Without the Avengers, does anyone even have a plan?” That’s the question this movie knows the audience is asking. Now that the story arc which has been building since the first Avengers film is over and three of the original Avengers are gone (Captain America, Iron Man, and Black Widow), does Marvel even have a plan for what to do next? I mean, they gambled so heavily on this idea back in 2008 when they had Nick Fury mention “The Avengers Initiative” at then end of Iron Man, that it seems impossible to move past the Avengers after that bet paid off so well (as it’s likely to be the highest grossing film in history by the end of this year). Well, Spider-man immediately answers that question on behalf of Marvel: “[We] have a plan.”
Yes, it’s a strangely direct metatextual moment, but I think it’s an important one. This film is about carrying on after a major upset to the world. Within the narrative, it’s the “blip,” which is what the MCU characters call the “Snap” from Avengers: Infinity War. To the audience, it’s the end of the initial phases of Marvel films. The movie decided to start everything off by telling the viewer: It’s okay, believe in Marvel, we have more in store for you. It sets everything at ease and allows you to relax your anxieties more, something that pays off well in the film.
This movie works perfectly as a transition to the new, still relatively unknown, future of the franchise. It mentions the multiverse (possibly because another Spider-Man film did it better), and even has characters point out that this is “what people need right now,” because it allows Marvel to start expanding beyond just the continuity we know, but this film mostly focuses just on the current storyline and assures us that things are still going to be going forward. Changes are coming to the world we’ve been watching, though, and some of them will be major, even if they’re not spelled out in this film.
But enough about that stuff, here’s what I can say about the movie:
Tom Holland is still great as Spider-Man. Nothing about that has changed. Jake Gyllenhaal makes a great pseudo-partner/big brother figure to him in the movie and their moments together are solid. The villains are amazing, and some of the sequences involving Spider-Man confronting a bad guy are among the best I’ve seen in a comic book film. The supporting characters are all great.
As far as the writing goes, this movie has the correct level of comedy for a Spider-Man film. It still has the dramatic moments, but it’s still Spider-Man, a character who has to wisecrack and be awkward or he’s just not fun.
The plot is hard to talk about without spoilers, so suffice it to say that no matter what predictions you made or things you think you know about what’s going to happen from the trailers, you’ll be happy with the way everything unfolds.
The mid-credits scene cannot be missed by anyone with any interest in this franchise. Do NOT go to the bathroom if you value your sanity.
There are no churros in the movie and that made me sad.
Overall, this movie told me upfront to trust in Marvel and that we’d be rewarded. They immediately followed that up with a solid and somewhat original superhero movie. Have faith, my people. Marvel’s still got some stuff to show us.
Before I start, I’m gonna have to get personal for a second. I wasn’t supposed to see this movie. As those of you who have paid attention or read the “First Post” page know, I started doing these reviews because I was diagnosed with cancer. That was in 2012. One of the first things that, in retrospect, I should have known was a sign of my disease was that I had extreme pain during watching the original The Avengers film. Despite that, I didn’t get diagnosed for a few months. By then, the cancer went from my neck down to my pelvis. Even after successful chemotherapy and radiation, when this film was originally announced in 2014, I assumed I would never live to watch it. I don’t know if this gave me a form of closure on this chapter of my life, but I do know that it was an odd realization afterwards. Now to the movie.
SUMMARY OF A SUMMARY (Full Summary at the end due to length)
Thanos won. Thanos destroys the Infinity Stones. Avengers kill Thanos. Avengers go through time to find the stones before Thanos destroyed them. Past Thanos follows them to the present. Avengers undo the snap. Past Thanos tries to take the stones back. All Avengers Assemble. Thanos loses. Iron Man dies. Captain America gets old. Thor gets Lebowski.
END OF AN END OF A SUMMARY
Spectacle has always been a big part of cinema. A lot of critics will argue that the audiovisual medium enhances storytelling through reducing the distance between the audience and the material, and that’s true, but sometimes you just have to admit that reading about an epic battle scene will rarely be nearly as effective as watching one. That’s how it’s always been, too. The Lumiere Brothers famously marveled people by showing a train pulling into the station, something that previously had required going to a train station. Georges Méliès became acclaimed for showing people color films and a man in the moon. Let’s go more modern: Have you ever watched Ben-Hur? There are some good scenes in it, maybe 20 minutes worth of decent acting in the 212 minute runtime, but the main reason it’s regarded as a classic is just the chariot race. That scene has been ripped off repeatedly, but the actual size, grandeur, and just plain spectacle of the scene has never been duplicated. When I watch it now, even with all of the amazing cinematic advances that have happened in the 60 years since, I’m still amazed by it. The same is true of Jurassic Park, The Empire Strikes Back, The Lord of the Rings, or even Buster Keaton’s The General. These films all give you something that you can’t really get anywhere else. This film is another entry into this pantheon, although I know it will be much more controversial.
First, the negatives.
This movie truly is the culmination of the Marvel Cinematic Universe, meaning that you do actually have to have seen all of the films and remember a lot of elements of them for some of the scenes and plotlines in this to not feel out of nowhere. Captain America being able to wield Mjolnir, for example, is based on a less than 10 second scene in Avengers: Age of Ultron. The film also has cameos from basically everyone who has appeared in a film that’s still alive, including Robert Redford’s Alexander Pierce, Taika Waititi’s Korg, and even James D’Arcy’s Jarvis from the TV Show Agent Carter. This movie, viewed in isolation, would probably just be noise. Now, is this inherently a negative? No, because this is a sequel, and sequels depend on the audience knowing previous information, but since this is a sequel to SO MANY films, it does make it tough on the audience to remember everything.
The first two acts of this movie are basically Marvel patting itself on the back and setting up the finales for many of the characters. I mean, the plot involves the characters visiting the first Avengers film all over again, even redoing some of the more iconic scenes and lines, as well as the iconic opening to Guardians of the Galaxy, and reconstruing some of the scenes from the worst-ranked MCU film Thor: The Dark World in such a way that it kind of redeems some of it. Then, it has an entire sequence that basically just gives Tony Stark closure and Captain America some incentive to try and regain his lost life. In any other film, these two things would be unworkable. It’s only because this film is so grandiose and has had so much build up that it feels somewhat natural. We’ve known this world better than any other fictional world in film, so we are a little more inclined to welcome nostalgia and character moments. Still, it does make it slow at the beginning.
Also, the first twenty minutes of the film, prior to the time-skip, probably should have been the end of Infinity War. It would have been really dark, given that it basically doubles down on Thanos being, as he puts it, “inevitable,” but I think it would have been the best place to split the films. Still, it would require introducing Captain Marvel outside of her film, so I guess it didn’t work economically.
Now the positives.
The third act of this film is basically everything I’ve ever wanted out of a superhero film. It starts with the three core Avengers fighting Thanos and, despite constantly pulling new and better tricks out, they keep losing. He’s just too strong for them. Then, when all looks lost, we get Falcon finally returning Cap’s great line “on your left.” When all of the sling ring portals opened, I basically squealed like an 8 year old girl in anticipation of what was going to happen. Then, finally, we get Captain America delivering the line that they’ve teased in multiple films before this “Avengers assemble.” He doesn’t even say it in a roar of defiance or a confident battle-cry, no, he says it simply and firmly, because they don’t need Captain America inspiring them, they just need to know it’s go time. What follows is a battle that is so grand in scale that it overwhelms almost anything in the history of film, but still gives all of the character cameos and interactions that we want, from Spider-Man using insta-kill mode to the female Avengers line-up aka A-Force. The pacing of the battle, too, is nearly perfect, with every attempt to actually end it being thwarted dramatically, until, finally, Tony Stark ends the threat by delivering the line that Robert Downey, Jr. improvised during the first MCU movie, erasing the concept of secret identities and changing the MCU forever: “I am Iron Man.”
All of the performances are great in the film, but let’s be honest, Robert Downey, Jr. always has a slight lead in that. Hemsworth, now that he’s allowed to be funny, is right behind him. The comedy in the film is exactly what you expect from the Russo brothers: It’s funny, it’s unexpected, it’s perfectly timed. The drama is also what you expect: When they want you to cry, you cry. The emotional depth in the film is really what surprised me, although it probably shouldn’t have. One big surprise plus is the way they handled Hawkeye. The scene of him losing his family is just ruthless and Renner’s portrayal of a man who’s just hurting people so he doesn’t hurt himself is great.
The thing is, if you’re asking me if I thought this was a “great” movie, I’d have to say that I don’t know. It’s so different than almost any film in history that it’s hard for me to say what metric I would even use. However, I think it’s fair to say that this film provides a spectacle that you can’t find anywhere else. The film aside from the third act is still good, don’t get me wrong, but the third act just has to be seen to be believed. This is the Great Wall. This is the Hoover Dam. This is the Grand Canyon. You can describe it, but you really don’t envision the sheer scale of it without seeing it. So, see it.
SUMMARY (Hero names in quotes because… I don’t know, I felt like it)
Thanos (Josh Brolin) won. Half of the universe is gone. The surviving Avengers, now with Carol “Captain Marvel” Danvers (Brie Larson) in tow and without Tony “Iron Man” Stark (Robert Downey, Jr.), decide to try and mount an attack on Thanos’s new home. They quickly overwhelm the Titan, only to find out that he had almost killed himself destroying the infinity stones so that they could never be used to undo what he had done. Thor (Chris Hemsworth) beheads him.
Five years later, the world is still recovering from the snap. Clint “Hawkeye” Barton (Jeremy Renner) is now a vigilante, hunting down criminals and executing them out of anger at losing his family. Tony Stark is now married to Pepper Potts (Gwyneth Paltrow) and has a daughter, Morgan (Lexi Rabe). Thor has founded a New Asgard and has been drinking and wallowing in guilt. Natasha “Black Widow” Romanoff (Scarlett Johansson) is serving as an organizer while Steve “Captain America” Rogers (Chris Evans) is acting as a grief counselor. Bruce “The Hulk” Banner (Mark “The Man” Ruffalo) has managed to put his genius brain inside of the body of the Hulk, a form dubbed “Professor Hulk.”
Scott “Ant Man” Lang (Paul Rudd) escapes from the Quantum Realm following the events of Ant Man and the Wasp. Based on the fact that, for him, only five hours have passed, he believes that the Quantum Realm is the key to time travel. Banner, Lang, and Rocket Raccoon (Bradley Cooper) work on it, but it fails until Tony Stark returns to help. They realize that they can send 3 teams into the past to collect the Infinity Stones while they still existed, travel to the present, and then undo the snap.
Banner, Rogers, Lang, and Stark travel to 2012 to the events of the first Avengers film. Rogers steals Loki’s (Tom Hiddleston) scepter containing the Mind Stone by pretending to be a member of Hydra, but Loki steals the Tesseract containing the Space Stone. Bruce Banner meets with the Ancient One (Tilda Swinton) who gives him the Eye of Agamotto containing the Time Stone after telling him that they have to return all of the stones back to their places after they use them or reality will unravel. Stark and Rogers travel back to S.H.I.E.L.D. headquarters in 1970 where they steal Pym Particles from a young Hank Pym (Michael Douglas), retrieve an earlier version of the Tesseract being worked on by Howard Stark (John Slattery), Tony’s father, and avoid running into the love of Steve’s life, Peggy Carter (Hayley Atwell).
Rocket and Thor travel to Asgard in the year 2013 during the events of Thor: The Dark World to retrieve the Aether which contains the Reality Stone from the body of Jane Foster (Natalie Portman). Thor speaks with his soon-to-die mother, Frigga (Rene Russo) and regains his confidence when he summons his original Mjolnir to himself, taking it with him back to the present while Rocket retrieves the Reality Stone.
Romanoff, Barton, James “Rhodey the War Machine” Rhodes (Don “I retweeted the Joker” Cheadle), and Nebula (Karen Gillan) travel to 2014, during the events of the original Guardians of the Galaxy. Romanoff and Barton go to planet Vormir, where Natasha sacrifices herself to give Clint the Soul Stone guarded by the Red Skull (Ross Marquand). Nebula and Rhodey knock a young Peter “Starlord” Quill (Chris Pratt) unconscious and take the power stone, however, Nebula is stopped from returning. It turns out that her cyborg consciousness interacts with a cosmic version of the internet which has been discovered by the Thanos of that time. 2014 Thanos discovers that he will win, but that the survivors will all fight to reclaim their lost loved ones. He captures the present Nebula and sends 2014 Nebula back to the future in her place.
After everyone returns to the present, Stark puts all of the gems into a gauntlet and Banner snaps it, injuring himself severely but bringing back all of the people that Thanos killed. At the same time, the Nebula from the past brings Thanos and his entire army through the time portal to reclaim the new Infinity Gauntlet. Thor, Stark, and Rogers battle Thanos, but even with Thor wielding two hammers, and eventually Captain America wielding the original Mjolnir, Thanos still wins the fight. Just as everything seems lost, a reborn Dr. Stephen Strange (Benedict “Burmberderb Cabbagepunch” Cumberbatch) returns, opening gateways all around the galaxy, and allowing all of the reborn heroes to join the fight, as well as the armies of Wakanda, Asgard, and the Ravagers from Guardians of the Galaxy. Thanos, realizing that he might be at a disadvantage, tells his ship to fire on the battle, but his ship is soon downed by the returning Carol Danvers. Everyone on the battlefield works to get the Infinity Stones into Scott Lang’s van which contains the portal to the Quantum Realm, but eventually Thanos reclaims it, only to find that Stark had stolen the stones and put them on another gauntlet. Stark snaps away all of the bad guys, but dies in the process.
After the funeral, Thor joins the Guardians of the Galaxy and Rogers goes back in time to return the stones, but ends up marrying Peggy Carter and living to old age. As an old man, he bequeaths his shield to Sam “Falcon” Wilson (Anthony Mackie).
The Twenty-First entry into the Marvel Cinematic Universe gives us the first superheroine central protagonist, but also displays a huge lack of faith in itself.
Vers (Brie Larson) is a superpowered elite fighter in the Kree Starforce, an alien peacekeeping force, under her mentor Yon-Rogg (Jude Law). She is plagued by dreams of her past that she can’t remember. During a mission against the shapeshifting Skrulls, Vers is captured by Skrull leader Talos (Ben Mendelsohn). She escapes and crash lands on Earth in 1995, where she is met by a young-ish Nick Fury (SAMUEL L. MOTHER****ING JACKSON), who must work with her to deal with the impending alien invasions while also finding out that *ONLY KIND OF A SPOILER IF YOU COUNT SOMETHING YOU SEE IN THE OPENING SHOTS OF THE FILM AS A SURPRISE, AND I DON’T* she’s actually Carol Danvers actually from Earth.
If this movie came out in 2000, when X-Men came out, it would be hailed as a revolution in superhero films. If it came out in 2004, when Spider-Man 2 came out, it would have been considered a little familiar, but still fresh. Hell, if it came out in 2008 along with Iron Man, it would still feel mostly new. Unfortunately, unless I managed to get the DeLorean up to 88 MPH while typing this, it’s now 2019 and the last decade has been filled with superhero movies that tend to constantly recycle tropes, and this one recycles the hell out of them while managing to import other old tropes at the same time. The beginning is so chock-full of them that I was actually starting to wonder if the film had a human writer, or if this was the first computer-generated script that actually got produced. It basically felt like someone took most of the common cliche elements from Phase One of the MCU and just switched the gender.
The hero with amnesia is something that the MCU has managed to mostly avoid until now (unless you count Bucky being brainwashed in Captain America: The Winter Soldier), and this movie is a fresh example of why: Unless you’re going to play with it in clever ways, it basically forces the main character to spend half the movie as a different character. People are defined, in large part, by their experiences, so when you have a character who suddenly remembers most of her life, the character should be at least somewhat different, particularly when her post-amnesia life was so different. It basically robs the audience of some of the time we need to connect with the character, or forces you to make the character act similarly as both their old and new selves. Now, this can really work out, like in Memento or The Usual Suspects if the way that the film is done takes advantage of the lack of information it’s giving to the audience about a character, but this movie doesn’t do that, for the most part. Instead, it’s hard to say where Vers ends and Carol Danvers begins, because her core personality is mostly the same as both.
Now, I want to take a second to make one thing clear: Tropes are not inherently bad. The best comic book movie of last year, Spider-Man: Into the Spider-Verse, is so filled with tropes that it could be a codicil, but it uses all of them perfectly as a way to enforce the importance of certain storytelling elements. This movie uses them to skip over certain parts of the storytelling and it does show at times. I think my biggest one is that the villain in the film is possibly the worst in the MCU. Everything [it] tries is so miscalculated, so dumb, and so unnecessary, that I almost ended up shouting at the damned screen. The only reason any of it even happens is so that we can eventually get Captain Marvel asserting herself and giving us the character change that leads into the final fight scenes.
Speaking of which, the action sequences range from the fights at the beginning where the shaky-cam and editing renders the shots almost pointless to film to the last fight scene which is, admittedly, pretty freaking awesome and almost worth the ticket cost on its own. Given that the directing duo of Boden and Fleck haven’t really done an action film before now, this is commendable, but it does still make the first act even worse than most of the writing did.
The real problem with this movie is the same flaw that helped make Thor: The Dark World and Iron Man 2 so bad: This film plays it safe. To be fair, the studio probably pushed this upon them, because when you’re trying to sell something new to an audience, like a female-led Marvel film, it’s tempting to want to give them some familiar elements to keep them from getting lost. If you try to subvert literally everything that the audience expects, then you can end up with a super-divisive film involving space llamas and blue milk. So, I imagine the studio tried to keep the directors “in their lane,” forgetting that the reason why Black Panther, Thor: Ragnarok, Guardians of the Galaxy, Captain America: Civil War, and Avengers: Infinity War felt so fresh is that the directors were allowed to have a lot more control over the films, giving them more distinct style and original elements than the first few Marvel movies. Even Doctor Strange, which is just Iron Man on shrooms, was at least visually distinct. Captain Marvel didn’t even trust its main character to be the sole focus of the story, instead mostly being a buddy comedy with her and Nick Fury. This film is, sadly, just a lot more generic than it needed to be.
That isn’t to say that there aren’t a lot of good parts to it. Some of the shots and worldbuilding elements are excellent. Brie Larson’s performance, while somewhat muted by the way her character is being handled in the film, is solid. Sam Jackson is a treasure, even if he doesn’t exactly feel like the guy who will, 13 years later canonically, be the superspy head of S.H.I.E.L.D. The third act is actually pretty great, including a few of the better moments in the MCU. Heck, it manages to have a scene of a completely overpowered protagonist not feel boring. It makes some changes to Captain Marvel, but nothing too big to piss off the purists. Also, it has solid feminist elements without feeling like they were shoved inorganically into the scenes, which is the best way to get a point across.
Overall, it has a terrible start, but after it finds its feet, it manages to get some good sequences on film. Hopefully what this movie does is allow the studio to trust the directors more in the future and that the next female superhero film (PLEASE GIVE ME SHE-HULK) will be allowed the same leeway now afforded other MCU entries.
So, I’m gonna be the guy who says that he didn’t like the first season of Luke Cage that much. It wasn’t anything wrong with the characters, per se. I loved most of the villains and the supporting characters and Cage himself, but I thought the pacing was awful and the dialogue was not great either. The music was amazing on every level, the themes were well-conveyed, and the acting was excellent, but I just felt like they wrote 8 episodes worth of plot and tried to stretch it into 13. I felt the same way about Jessica Jones, though, so maybe it was just a problem with how Netflix ordered the shows.
Now, I grew up reading the comics and I loved Luke Cage. Especially the older, campier adaptations of the character. After all, he’s the guy who once kicked Doctor Doom’s ass over his basic principle: A Deal’s A Deal. I always loved that aspect of Luke Cage, that he’s a man of his word and holds other people to theirs. Even among superheroes, Cage’s belief in personal responsibility and integrity was especially pronounced. Now, I’m not saying the show didn’t uphold that aspect of the character, but it tended to convert it into the swear jar more than the audacious Cage of old. Still, I believed Mike Colter as Luke Cage, just as a more modern, serious, version of the character.
SUMMARY OF JESSICA JONES, SEASON 1, AND THE DEFENDERS (*SPOILERS FOR THOSE*)
Luke Cage is a black superhero in Harlem who has unbreakable skin and superhuman strength. However, he is also an ex-convict, having escaped from prison after being framed for a crime while a police officer and forcibly experimented on by a secret lab. When we first see him in the show Jessica Jones, he’s a bartender who is hiding his superpowers and ends up becoming romantically involved with Jessica Jones (Krysten Ritter) until he finds out that she killed his wife while hypnotized by that show’s villain Kilgrave (David F*cking Tennant). Eventually Cage gets controlled by Kilgrave and turned against Jones, but Jones wins the fight by shooting him point-blank in the head with a shotgun, knocking him out. They don’t really talk for a while after that.
In the first season of Luke Cage, Cage is hiding in Harlem, working low-profile jobs at barbershops and nightclubs. He ends up getting involved in a series of gang problems after one of his mentors gets killed (this is a comic-book show, after all). Cage singlehandedly starts to devastate the local drug dealers and the gang leaders through destroying their buildings and hospitalizing their minions. Initially opposed by kingpin Cornell “Cottonmouth” Stokes (Mahershala Ali), Stokes is eventually killed by his cousin, councilwoman Mariah Dillard (Alfre Woodard), who starts to oppose Cage. However, Dillard is then supplanted by Diamondback (Erik LaRay Harvey), who is revealed to be Cage’s illegitimate brother who tries to kill him using special bullets and an exo-skeleton. Cage ends up surviving and taking down Diamondback in public as a hero before being re-arrested for his prison break, though a local police officer, Misty Knight (Simone Missick), finds the evidence to clear him.
In The Defenders, Luke Cage joins the other Netflix Marvel heroes to fight off the forces of the Hand, a group led by Sigourney Weaver that plans on opening an interdimensional portal for some reason that I honestly just don’t remember but think was tied into living forever. Either way, Cage reunites with Jones and meets Matt Murdock/Daredevil (Charlie Cox) and Danny Rand/Iron Fist (Finn Jones), who he becomes friends with after first fighting over their different lifestyles (Rand is a billionaire by inheritance whereas Cage is… not, while Rand had to work his whole life and beat a dragon in a fight to earn his superpowers but Cage spent a night in a chemical bath and got better ones). The team ends up victorious, but Cage is the only one that the public really hears about, since Jessica Jones is notoriously anti-social and both Rand and Murdock have secret identities.
OUTLINE OF SEASON 2 (SPOILER-FREE)
So, the beginning of season 2 finds Luke Cage as being a celebrity and the Hero of Harlem. He’s still dealing with “Black” Mariah Dillard, who is now the biggest crime boss in Harlem, but also has to deal with the arrival of John “Bushmaster” McIver (Mustafa Shakir), who is a Jamaican gang leader who has similar powers to Cage, except from a supernatural source. The season covers a gang war between the two over the fate of Harlem, with Cage caught in the middle and trying to fight for the soul of the neighborhood along with Misty Knight’s help.
Probably the biggest change in this season is that the “Judas Bullets” which were what actually hurt Cage in the last season, no longer work. Because of the last season’s events, Cage not only has bulletproof skin and super-strength, but any time you beat him up, his body heals stronger than it was before. This means that, throughout most of the season, nothing can hurt Cage and whatever does will be shortly overcome. It required the writers to find other ways to challenge him, something that sometimes worked and sometimes didn’t.
First off, they fixed most of the pacing issues in this show, even if the episodes sometimes feel a little slow. However, part of that is that they try to work musical performances in frequently as part of Harlem’s culture and it usually feels organic. The villains are a little more compelling and fleshed out this season than the previous one and the side characters are also a little more developed. Overall, the production of this season is a step up from the previous. But it’s the changing themes of the show that really were a little more hit-and-miss.
A big theme of the show at large is, naturally, racism, but this season didn’t actually try to address it as directly as the last. Instead, a lot of this season is about the nature of power. Not that power doesn’t intersect with racism, of course. It’s literally the backbone of all forms of discrimination: One group has power and uses it to keep another group from acquiring it. Sexism, racism, homophobia, you name it: If you don’t have power, then your desire to discriminate is useless.
The show goes into what really creates power in several forms. There’s wealth and status, shown through Mariah and other “Lawful Evil” characters who manage to avoid consequence by buying their way out of it, as well as Danny Rand, who uses it to help people. There’s celebrity, the power to avoid consequence through the adoration of the masses, which Luke himself is just learning how to wield in this season. Then, there’s physical power, as embodied by Luke and Bushmaster. And all of them are shown to be able to be used for both good and evil pretty equally.
However, as the season goes on, we see how a lack of consequences can influence people. It reminded me of the story of the Ring of Gyges.
I put a video of it explained to the Legend of Zelda above, but quick refresher: The Ring of Gyges is a story from Plato’s Republic in which a shepherd finds a golden ring which allows him to become invisible (Yes, this was written before Lord of the Rings). He then used the power of invisibility to commit a series of acts for which, of course, he is never blamed, since he’s never at the crime scene. Eventually, he seduces the queen and murders his king, taking the throne for himself. The myth is the subject of a discussion of whether or not moral character is dependent upon whether or not you can be held accountable for your actions.
The show takes a bunch of positions but, for the most part, the show says that good people will WANT someone there to hold them accountable for their bad decisions because they know that using power inherently will lead them to make bad decisions. But they won’t choose not to use the power, because, as another comic once paraphrased from a number of past sources, “with great power, there must also come great responsibility.”
In this season, Luke, at several points, realizes the truth of his situation: He can’t be brought to bear for his actions. He is sued at one point and arrested at another, which are attempts for the system to reign him in, but that quickly falls apart, both because he’s now famous enough to buy people off and because, as he says “no bullet can harm me, nothing can kill me, nothing can stop me, and no jail can hold me.” And throughout the season he realizes that this is not necessarily making him a better person.
However, what’s also interesting, though perhaps a little bit disheartening, is how Luke using his power of celebrity to do good also inherently leads to other people using his celebrity for their own gain. One of his friends sells “authentic” Luke Cage merchandise for profit. Others use his name to threaten people. At another point, Luke finds that his celebrity status and well-known do-gooder tendencies can work against him when Luke attempts to confront a jackass at a party. Luke’s threats towards him do nothing but amuse the man, who thinks that it’s just a thing that Luke Cage does.
Really, what I both loved and hated about the season is how it reminded me that everything always stems from violence. In the end, we pretend that there are all these societal rules that keep us in line, but they all can only ultimately be enforced by violence or the threat of violence. Sure, some people will voluntarily do the right thing, but for all the people that do the wrong thing, they can avoid responsibility for it until some form of violence is brought upon them, whether it’s the police, the mob, or the superhero. Violence is what keeps a lot of people in line. The show even demonstrates that, without some application of violence by some people, the chaos that ensues from removing any consequences creates significantly more violence.
However, it’s also true that the threat of violence is what’s most effective at keeping people suppressed, as the show discusses through violence against women in this season, as opposed to racial violence. I’m not sure how I feel about that, though I think that they actually manage to address the pervasive nature of gender-based violence in a reasonable manner, though it seemed to be dropped a little too quickly after the next plot point.
Ultimately, I recommend watching the season, but I’m not going to tell you to move it to the top of your queue. Still, even if it doesn’t do it perfectly, it’s trying to address something big, and that’s worth supporting.