Category: Essays & Reviews

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“The Woman Who Fell to Earth”

Going into last weekend’s Series 11 Premier of Doctor Who, I sat down and watched all the regeneration episodes I could get my hands on over the course of a week and a half (list below). While I already really like this new Doctor, there are some things I’d like to discuss regarding Chris Chibnall’s new Who.

 

1. Regeneration: Something always goes wrong
The Doctor always experiences some form of memory loss and disassociate as their body settles into its new form. Sometimes this can be moments of absent-mindedness, while others experience something closer to amnesia. The Doctor also has a history of collapsing into a slightly comatose or unconscious state (3, 4, 10, 12, 13), often experiencing delirium (4, 5, 7, 12). Doctors Six and Ten went beyond delirium into something erratic and even violent. Aside from a brief period of unconsciousness, the first Female Doctor’s regeneration is very much like their Eleventh incarnation, mostly consisting of memory loss, absent-mindedness, and disassociation. This is somewhat jarring as two of the New WhoDoctors have had much more erratic episodes and longer periods of unconsciousness. Remember, this Doctor’s adventure takes place in the space of one night.

 

2. Location: The North
In the past, New Who has referred to The North as something deserving of capital letters. In “Rose” (Series 1, Episode 1), Rose makes a point of asking the Ninth Doctor why they sound like they are from The North. In “The Crimson Horror” (Series 7, Episode 11), Strax reminds everyone to be on guard as they are leaving London for The North. It’s not unusual for major cities to look on more rural or industrial areas with some form of derision, but this time all the characters are Northerners.

The Twelfth Doctor was unique for their Scottish accent, although the only episode to take place in Scotland was set in the second century (Series 10, Episode 10 “Eaters of the Light”). Here, the new Doctor’s Northern accent debuts in The North.

Okay, so why is this important? Well, as someone from Boston, I can tell you I’m always excited when something is set here and actually filmed here (Boston is NOT like New York or LA, sorry!). Seeing someone get it right always makes me happy and a little proud. As Chris Chibnall attended University of Sheffield, there’s no doubt that he ‘got it right’. Additionally, with it becoming more common for Doctors to use their natural accents (the actor’s natural accent), setting the series opener in Sheffield eliminated any questions about the Doctor (Jodie Whittaker’s) because they all have Northern accents. It’s something that has been taken advantage of in previous incarnations. When their brain is already scrambled, it’s one less thing to worry about.

 

3. Building a Sonic: Something new!
The origins of the Sonic Screwdriver has not always been clear. Both Eleven and Twelve were gifted Sonic Screwdrivers by the TARDIS, but where Nine got his (and where Twelve got the Sonic Glasses) is something of a mystery. This is the first time we’ve seen a Doctor building their Sonic Screwdriver. Showing the Doctor building one accomplishes a few things. First, the emphasis that it is made of “Sheffield Steel” adds to the Northern pride. Second, it demonstrates a great deal about this new Doctor.

It doesn’t take long for the audience to see that this Doctor is much more charismatic than Twelve and less awkwardly gawky than Eleven. In many ways, they pull on their Tenth persona. However, this Doctor is already shown to be much more hands-on. While the Third Doctor had a lab at UNIT, they seemed to be more interested in observation or tidy science (how often did that suit get ruffled?), whereas this Doctor in their torn clothing doesn’t hesitate to get their hands dirty– in fact, they are rather enthusiastic about how “fun” it will be to build. This makes it clear that this Doctor will be hands-on and resourceful, likely in a way the audience hasn’t seen before.

 

4. New Wardrobe: Scenes & Significance
Currently, gender politics are a hot-button issue in the United States, so my first reaction to the Doctor in a dressing room trying to decide on clothes was a negative one. However, there is actually a precedent for scenes in which the Doctor chooses a new wardrobe.

How we dress says a lot about us, so it makes sense for the Doctor, upon regenerating, to rethink their wardrobe for something that feels right. As the Doctor said in this episode, ” ” In many ways, choosing new clothes is another way for the new Doctor to set their stage.

 

In almost every onscreen Regeneration, the audience gets to see how the Doctor finds their new look.

– The Second Doctor goes through a trunk and changes some of his clothes in front of Ben and Polly in “The Power of the Daleks” (Season 4, Serial 3).

– The Third Doctor steals clothes that appeal to him at the hospital in “Spearhead from Space” (Season 7, Serial 1).

– The Fourth Doctor goes in and out of the TARDIS trying to decide on a new wardrobe before finding his signature scarf in “Robot” (Season 12, Serial 1).

– The Fifth Doctor happens upon a cricketer’s outfit hanging on a mirror as he wanders around the TARDIS “Castrovalva” (Season 19, Serial 1).

– The Sixth Doctor and Perri spend time in the Doctor’s closet trying on different things before settling on a brightly colored coat and a cat pin in “The Twin Dilemma” (Season 21, Serial 7).

– The Seventh Doctor again goes through his closet trying on various clothes (including looks preferred by previous incarnations and much to the Rani’s irritation) in “Time and the Rani” (Season 24, Serial 1).

– The Eighth Doctor once again steals from hospital staff– this time, a costume/fancy dress rather than someone’s actual clothes in Doctor Who (1996).

– The War Doctor doesn’t change clothes but does symbolically take up Cass’s bandolier to fight in the Time War in “The Night of the Doctor” (2013).

– The Tenth Doctor spends a portion of a montage rummaging through his closet before finding his signature pinstripe suit and long coat in “The Christmas Invasion” (2005 Christmas Special).

– The Eleventh Doctor once again steals from hospital staff, rummaging for just the right tie-in “The Eleventh Hour” (Series 5, Episode 1).

– The Twelfth Doctor debuts his chosen new look when he returns for Clara at the end of his first episode in “Deep Breath” (Series 8, Episode 1), though it is notable that his costume does not stay consistent during his tenure, deviating from is original look far more than previous Doctors (3, 10).

 

With these eleven Doctors in mind, it is clear that such a scene is a staple of Regeneration. The only reason the Thirteenth Doctor is in a shop dressing room is because the TARDIS is MIA.

 

There is also symbolism in the 13th Doctor’s choices
– Her striped shirt contains colors that call back to Tom Baker’s iconic scarf.
– She wears a long beige coat reminiscent of the one worn by David
– Her pants/trousers are cropped short and paired with boots, though they are wide legged to Matt Smith’s costume.
– Her suspenders/braces are in an unusually bright color, but have been part of the costumes of numerous Doctors including Patrick Troughton, Tom Baker, Peter Davison, Sylvester McCoy, and Matt Smith.
– Finally, her shirt, pants/trousers, socks, and even some of her coat is BLUE! Blue like the TARDIS (though not all the same shade).

 

5. Episode Ending + Next Week Trailer
I was actually a little unsatisfied with this ending until I realized how similar it is to Old Who. In its original run, Doctor Who would frequently experience major TARDIS malfunctions as the Eleventh Doctor explains, “Ooh, I once spent a hell of a long time trying to get a gobby Australian to Heathrow Airport” (Series 7, Episode 11, “The Crimson Horror”), referencing adventures with the Fifth Doctor and companion Teagan. Even in its first ever serial, “An Unearthly Child” (Season 1, Serial 1), Doctor Who makes it clear that the Doctor does not always know how to work the TARDIS. That they do not consistently find themselves lost is a new Who concept, so I’m actually rather excited to see what Chibnall, building on the last ten series/13 years does with it. The trailer for tomorrow’s episode makes it clear that getting the new companions home is going to be the Doctor’s main priority.

 

Conclusion:
Chris Chibnall’s background (unsurprisingly) has a big impact on the new series. It’s well known that he was a huge fan of the original series, but expresses that in a way that is different from Russell T. Davies or Steven Moffat.

Davies’s Who was about bringing back a beloved classic, so in many ways, a lot of the episodes were love letters to the old series. However, Davies also made the show accessible for a modern audience, increasing the pacing and adding dramatic elements, such as ongoing plot lines, the Time War and the Last of the Time Lords. He also introduced the companions’ families into the mix. All of Davies’ series contain mothers (Series 1&2: Jackie Tyler, Series 3: Francine Jones, Series 4: Sylvia Noble, Specials: The Woman) worrying over their children and their adventures with the Doctor.

Moffat’s goal was to take it a step further, evoking the joy and excitement he felt when watching the original series, while also examining relationships more closely. With Moffat, we see the Doctor fall in love (Madame de Pompadour, River Song), we are given monsters that scare a modern audience (Weeping Angels, Vashta Nerada, The Silence, The Monks). We also get to see more of the companions’ lives outside the TARDIS. He evokes the childish fantasy of going off in the TARDIS for adventures where the Doctor always wins, then being home before anyone notices an absence. His Doctor Who is, in many ways, about wish fulfillment.

From the first episode, it looks like Chibnall is taking the modern elements established by his predecessors, such as family ties, but brings in his own spin. Chibnall’s filmography includes showrunner or writing for not only Doctor Who and Torchwood, but also Broadchurch, Law & Order: UK, and Life on Mars. All three of these programs are crime dramas that don’t hold back on the grittiness or the death– something notable in Torchwood as well. These elements are all present in “The Woman Who Fell to Earth”, not just in the plot or the characters (companion Yasmin Khan is a Police Constable), but in the tone, colors, and lighting. The setting even steps away from the wide socioeconomic range of London, the peacefulness of Leadworth, and the austerity of a University, instead choosing Sheffield which has a much more industrial history, so he doesn’t evoke the poverty that is part of London (like Davies), but instead the gritty, hardworking connotations– which as we see when the Thirteenth Doctor builds a Sonic Screwdriver, could very likely be a trait she shares.

 

So, what can we expect from Chibnall’s new Doctor Who? With the filmography he has, it would be easy to say that procedural drama will spill over, but when you look at the episodes he’s written for Doctor Who it demonstrates something different. Chibnall’s episodes, such as “42” (Series 3, Episode 7), “The Hungry Earth”/”Cold Blood” (Series 5, Episodes 8-9), “Dinosaurs on a Spaceship” (Series 7, Episode 2), and “The Power of Three” (Series 7, Episode 4) often depict industrial sites/jobs, family members, and/or connections to the world outside the companion’s purview. This is not all that removed from any other Doctor Who episode or serial. My expectation is that Chibnall will continue to evoke the similar tones we saw in “The Woman Who Fell to Earth”, harkening back to Davies-era and even Old Who, and I’m actually really looking forward to seeing what he comes up with!

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Why I hate Danny Pink

In honor of the new, first female Doctor, and the first new episode of Doctor Who since Christmas, I decided to revisit previous Doctors and their adventures. Naturally, I started by thinking about which episodes I felt I needed to watch of most recent Doctor, Peter Capaldi, and remembered… Danny. Pink.

SPOILERS AHEAD: Doctor Who Seasons 7.5-10

 

It’s taken me more than a couple years to be able to admit this out loud, but…

I hate Danny Pink.

Sooooo much.

For those of you who don’t know, Danny Pink (played by Samuel Anderson) serves as the love interest for Clara Oswald (Jenna Coleman) in the 8th Season (Series 8) of Doctor Who. Now, there are already many different opinions on Season 8. I firmly believe that there should have been one more season with the Eleventh Doctor, Matt Smith, paired with Coleman, then you get two of Twelfth Doctor, Peter Capaldi, and companion Bill Potts (Pearl Mackie). Although Clara had chemistry with both Eleven and Twelve, I think it’s safe to say that she really clicked with Eleven.

Yes, there was flirting between Eleven and Clara, but there was also a deep understanding and friendship there as well. The chemistry between Smith and Coleman is undeniable and she is able to keep up with his manic portrayal. Between Seasons 8 and 9, there were episodes that showed chemistry between Coleman and Capaldi as well, but of a very different kind. Here, the friendship was much closer to that of Tenth Doctor, David Tennant, and Companion Donna Noble (Catherine Tate), one without any flirtation, just best friends and platonic soul mates. This was a great chemistry, but former Doctor Who show-runner, Steven Moffat, just seems to get completely bogged down by the romance element.

Following youthful Eleven’s Regeneration into the much older Twelve, there is a definite shift in the dynamic between Clara and the Doctor. No longer is there that flirty element, but instead the new incarnation of the Doctor demonstrates jealousy and a lack of understanding and social graces.

Now, had Danny Pink had the same joie de vivre that Eleven seemed to possess, perhaps I wouldn’t be so bothered, but Danny Pink is cynical, bogged down by his time spent as a soldier. Clara is inquisitive and adventurous by nature. She loves to explore new times and places. Danny Pink is a sourpuss. Previous possible love interests of female companions (ie Mickey, Rory) eventually joined the adventures with the Doctor, becoming just as enraptured  with time and space as their female love interests (Rose, Amy) or at the very least, supported them. Danny Pink is not supportive.

At the end of Season 8, Danny Pink is hit by a car and dies. It occurs off screen, but as far as we know this is just a random though unfortunate Earthly occurrence. His death effects Clara for the remainder of her time as companion and ultimately leads to her death, as she becomes increasingly impulsive and reckless in the face of such a loss.

 

…What?

 

…How?

 

The chemistry between Coleman and Anderson is strained and lacking, so already it’s difficult to understand how they were together– especially considering how Danny Pink was never supportive and actively discouraged Clara traveling with the Doctor. But how did Clara love this guy THAT much? Like, I can understand his death having impact. Heck, if it was explained as survivor’s guilt, then that would be just fine. But, no. This is supposed to be heartbreak.

Moffat has an unfortunate habit of forcing a connection between the audience and a character. He introduces characters telling you they are important and that you should care about them, without letting that build organically. It happened with River Song (one of two characters inspired by The Time Traveler’s Wife by Audrey Niffenegger), and perhaps that is what is happening here.

For a long time, I tried to respect his choices; Moffat was show-runner. He’d done a lot of interesting and creative things for Doctor Who. But every time I think about Season 8, all I can think of is Danny Pink and how annoying he is. Then I think of Clara’s death and get even more annoyed because it was directly influenced by Danny Pink (she even says so!). People are iffy on Capaldi, but while those two seasons may not get the same recognition some of the others do, they aren’t bad. Capaldi is a callback to older, crotchety Doctors, such as First Doctor, William Hartnell. I actually really like him in the role and he has some really interesting stories, but Danny Pink. He just seems to loom like a shadow, tainting some of the stories with his sour attitude, discouraging remarks, and cynicism.

He is ants at a picnic.

 

With a new Doctor on the horizon– one that apparently will be free from romantic entanglements– we will be getting to know the Doctor all over again. A female Doctor is a bold choice, as is having three companions right off the bat (two male, one female). The show is going through a major change with not only a new Doctor, but a new show-runner (Chris Chibnall, Doctor Who, Torchwood), AND a new composer.

 

Let’s hope there isn’t another Danny Pink anytime soon.

 

Doctor Who returns tomorrow, Sunday, October 7, 2018 and is expected to air at the same time as the BBC One broadcast in the UK. In that case, watch it on BBC America at 1:45 pm EST, with a repeat broadcast later in the evening.

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The Role of Witches

Halloween is my favorite holiday. Typically, I spend the month of October, attempting a month-long marathon in the vein of FreeForm’s “31 Nights of Halloween” (formerly 13). So, originally, I had intended to make this post about that, focusing on some of my favorite Halloween TV specials and movies. However, in light of certain events, I decided I wanted to look at the role of women in Halloween culture.

The most obvious figure, is the witch. In Salem 1692, these were individuals who supposedly were in league with the devil. Over time, they have become almost exclusively women and, for a long time, almost exclusively evil. In 1939, the Wicked Witch of the West was the frightening antagonist with the green skin and hooked nose who was thwarted with help from Glinda, the Good Witch of the North. This beautiful ginger got a name and a sparkly pink dress and crown, while our anonymous friend looked severe and dour in the traditional dour black dress and conical hat.

In The Wizard of Oz, good and evil are both represented by witches/strong female characters (although protagonist Dorothy later needs to be saved by her men). In typical fashion, they are characterized by their appearance, but they both demonstrate a great amount of power. Almost 54 years later Disney released another good example of strong women on both sides: Hocus Pocus (1993).

In Hocus Pocus, the Sanderson sisters are three witches who cast a curse just before they are hanged in 1693 Salem. The curse enables them to be resurrected 100 years later to exact their revenge. Played by Bette Midler, Sarah Jessica Parker, and Kathy Najimy, these witches are not so obviously “ugly”, and, in the case of Sarah Jessica Parker’s character, she’s actually quite beautiful. Instead, the “ugliness” is in their actions and personalities and in how they aren’t especially intelligent.

In contrast, there’s our protagonists, siblings Max and Dani Dennison, Max’s beautiful crush, Allison Watts, and 17th Century Salem resident-turned-cat, the immortal Thackery Binx. Although the protagonist is decidedly Max (and to some extent, Binx), he is often outshined by Dani and Allison’s intelligence and resourcefulness. Max is the one who starts the trouble, and while he finishes it with his bravery, the beautiful girls more often than not prove to be the more intelligent characters.

Hocus Pocus and The Wizard of Oz share some key similar traits in how they portray women, with good and evil females on both sides, and the evil ones less beautiful or intelligent. However, where The Wizard of Oz, also gives its strength and intelligence to the male protagonists, Hocus Pocus reflects the changing times by making the females the more capable characters.

In the years since Hocus Pocus, witches have more and more often been portrayed as forces for good: Buffy the Vampire Slayer (1992, 1997-2005), Sabrina the Teenage Witch (1996-2003), Charmed (1998-2006, 2018-), Harry Potter (1997-2007, 2001-2011), The Good Witch (2008, 2015-) … the list goes on. The point is, women have been taking back that word. Because, let’s be realistic, what is a witch but a woman who has power beyond male understanding? Witches don’t need men and cannot be controlled by them (which is why some of them choose romantic partners that are not your standard human man: Willow and Tara, Scarlet Witch and The Vision (a cyborg created by an alien intelligence and hyper-sophisticated AI)).

Today, witches are again being threatened. See, it’s no longer just witches threatening the patriarchy. More than ever, women are standing up for injustices that have previously gone unacknowledged, but also/still receiving pushback. Women are looking for the same autonomy, power, and resources afforded to men; the right to feel safe and secure. While women have been restricted and vilified as witches, (wealthy, white) men continue to exhibit poor behavior and decision making skills without consequence. For centuries, women have been silenced, burned at the stake (physically, mentally, emotionally, socially). It’s never been okay and now that people are voicing that opinion it’s even more important that we keep standing up and saying it. Because these voices are having an impact, the opposing side is becoming more frantic and eager to silence them. While this message seems to be gaining ground socially, it seems to be stagnating politically. For the first time in my life, I am actively encouraging political participation. Vote, take a stand; things are never going to change when we have politicians who want them to stay the same. Find the power within yourself to be a witch; someone who cannot be controlled and expects respect and equality.

Consider what kind of world you want to live in: one where Dorothy needs to be rescued by a Scarecrow and the hero is a boy who summoned a trio of evil witches (NEVER light the Black Flame Candle), or one where Captain Marvel is supposedly going to be the most powerful character in the MCU and Wonder Woman and Patty Jenkins’s success is leading to the DCEU actively recruiting female directors for female-lead superhero films? (A historically male-oriented genre wants to explore powerful women without asking them to wear a sexy outfit.) This October, almost 55 years after its pilot aired, we’re even getting a female Doctor on Doctor Who! (Seriously, I could go on…)

 

So this year, rather than be a sexy witch for Halloween, be a powerful one all the time.

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The “Miraculous” Mistake

Miraculous: Tales of Ladybug & Cat Noir is a French cartoon, created by Zagtoon and Method Animation in conjunction with Toei Animation (Sailor Moon, One Piece) and South Korean studio SAMG Animation. Although it premiered in South Korea, its primary distributor is the French television network, TF1. Its original airdate is listed as September 2015 and in the United States it first aired on Nickelodeon before moving to Netflix beginning with the 2016 Christmas Special.

(Believe it or not, all that background information is important to this post.)

Okay, so what is it about? *SOFT SPOILERS AHEAD*

Well, it is about the teenage superhero Ladybug and her partner, Cat Noir (Chat Noir (“Black Cat”) in France) as they combat the evil machinations of Hawkmoth (Papillion (“Butterfly”) in France). Hawkmoth is looking to get Ladybug and Cat Noir’s Miraculouses, the items that make them superheroes. The Ladybug and Cat Noir Miraculouses are considered the most powerful and acquiring them will enable Hawkmoth to get his greatest wish. Hawkmoth has his own Miraculous, one that gives him the power to take control of people’s anger and turn them into supervillains. He uses them to try and take the other Miraculouses.

The show has global distribution and, most recently, won a Teen Choice Award this past summer. Last year, there were plans for 5-6 seasons and a live action movie with Lionsgate. So, what’s the problem? Well, as I mentioned, the show originally aired 2015-16, with a Christmas Special in 2016. The fanbase, although somewhat obscure, is huge and passionate and was deeply looking forward to season two… which didn’t premier in France until the end of October 2017.

It didn’t come to the US until the end of March 2018.

Okay, so shows have hiatuses, what’s the problem? Well, here we are almost a year later and France’s sporadic airdates have resulted in only 16 episodes airing in France, 13 in the US (the remaining 12 are expected to drop on Netflix this December), of an expected 25 episodes. Now, Miraculous isn’t the first show to be so sporadic. In the US, fans of Adventure Time (2010-2018), Star vs. The Forces of Evil (2015-), and especially Steven Universe (2013-) have long been frustrated by long hiatuses. However, these shows aired more episodes more close together before their hiatuses, though they too fall out of interest over time.

Adventure Time was a huge success for Cartoon Network, but I hardly hear about it anymore, even though the SERIES FINALE literally just aired this week. Star vs. The Forces of Evil was another popular show, but over a year hiatus between seasons led that to fall out of high interest. Steven Universe has aired sporadically enough that the rabid fanbase has stayed consistent. Miraculous, with its grand plans of a global franchise, does not have this luxury.

Miraculous relies on when it airs in France. Episodes here and there will premier earlier in other countries, but in the US, the episodes will not be released until a certain number have aired in France. Now, this would not be a problem were it not for the grand plans Zagtoon has for its property. Despite its Teen Choice Award win, it has yet to gain a strong foothold in the US. While the United States is not the be all and end all, it is a huge producer and exporter of entertainment properties.

Additionally, for many of these shows, while they are meant for children, the most excited and excitable fans are adults. However, it’s merchandise that sells. Cartoon Network does it best, flooding stores with toys, apparel, school supplies, etc to get children not only buying but keeping the show in the public interest. Essentially, in absence of content, the goal is to keep visibility across the market.

Although I cannot imagine a scenario in which Miraculous and Zagtoon are not reliant on TF1, the unpredictable hiatuses in conjunction with a season of controversy has frustrated and alienated fans. The first season, which has less continuity was a huge success for everyone, but did not rely on a constant schedule, though it did have that. After years of waiting, fans are impatient and frustrated and the release schedule is only exacerbating the problem.

This “Miraculous” Mistake is costing the show.

I’m not at all familiar with the French Entertainment Industry, but it seems like a great disservice is being done to what was an ambitious and creative project to begin with. I’m not sure what, if anything, can be done to rectify it beyond TF1 just airing the episodes (which are ready to be released in multiple languages). My concern is that the show will be canceled before it can accomplish all it looks to. I’ve had my own frustrations with the content, but have tried to remain optimistic that, given enough time and episodes, the show will return to and surpass the quality of the first season. Perhaps in another post I can better address my opinions on the show itself, but for now, it’s difficult to move past the frustrations.

I’d like to close this post by giving you a taste of the show. The Pilot Video, which demonstrates a greater amount of influence from Toei Animation, and a Trailer for what has actually aired/been released. (Believe it or not, the 45 second Netflix trailer is a better representation than the original 2 minute one.)

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Best Viewing Order of the Marvel Cinematic Universe: Part Two

Welcome to Part Two of my “Best Viewing Order of the Marvel Cinematic Universe”!  Previously, I gave my list and covered my reasoning for going in release order for the first 9 movies. We are solidly within Phase 2, so time to deviate a little…

Here’s a reminder of the order I went with:
Iron Man (2008)
The Incredible Hulk (2008)
Iron Man 2 (2010)
Thor (2011)
Captain America: The First Avenger (2011)
Marvel’s The Avengers (2012)

Iron Man 3 (2013)
Thor: The Dark World (2013)
Captain America: The Winter Soldier (2014)
Guardians of the Galaxy (2014)
Guardians of the Galaxy Vol. 2 (2017)
Avengers: Age of Ultron (2015)
Ant-Man (2015)

Captain America: Civil War (2016)
Black Panther (2018)
Spider-Man: Homecoming (2017)
Doctor Strange (2016)
Thor: Ragnarok (2017)

*My feelings about Ant-Man and the Wasp (2018) are covered at the end of this post.

 

Guardians of the Galaxy: This movie occurs around the same time as Winter Soldier and is the first film to not feature Earth/Midgard.

Guardians of the Galaxy Vol. 2: Volume 2 takes place within months of the original.

Considering the effect the Guardians have on Earth and vice versa, these movies could be watched right before Infinity War and make sense. (Really, as long as it’s after Phase 1.) I put these two together because they occur within months of each other. I put them before Age of Ultron because it provides a sense of time passing between the events of Winter Soldier and Ultron, which occurs a year later. It also allows for passage of time between the Guardians last outing and Infinity War, where a teenage Groot makes it clear that time has passed. (That being said, the Post Credits Scene does indicate that same passage of time.)

 

Avengers: Age of Ultron: Another culmination, we are given the aftermath of the actions of our Earth-centric heroes since Avengers. Tony Stark/Iron Man has created a new home/base for himself and the Avengers, Thor’s life with Jane has been settled on Earth/Midgard, Steve Rogers/Captain America and Sam Wilson/Falcon have been conducting their own search and found refuge in the aftermath of Winter Soldier. This is another film that serves as an end and a beginning, shaking up things on Earth.

 

Ant-Man: Unlike some other characters (Doctor Strange), Scott Lang/Ant-Man is not even mentioned before his solo movie. Ant-Man is a unique character because he is heavily influenced by portrayer, Paul Rudd, on a level beyond Robert Downey Jr.’s impact on Iron Man. Like another Marvel superhero (one that falls under the Fox banner), Paul Rudd served as a writer on the film, providing influence beyond his own characterization. Here the release date again corresponds well with the MCU Chronology; the Post Credit Scene is a scene from the next film, Civil War, in which Ant-Man has a solid role.

 

Captain America: Civil War: Where Iron Man and Iron Man 3 open Phases 1 and 2 by establishing the world in which the characters exist, this film takes it further. Rather than demonstrating what the world is or the impact of momentous changes, Civil War shakes things up. We are given the aftermath of Ultron and introduced to new characters, but the events of this film have a devastating effect on the characters and the world at large. It is a fitting beginning to Phase 3, which takes us directly to Infinity War.

 

Black Panther: As mentioned above, despite being released two years after Civil War, it actually takes place only two weeks later. In some ways it is fitting that this film directly precedes the release of Infinity War; Wakanda plays a pivotal role in the movie. That being said, time has passed between Black Panther and Infinity War. Additionally, Black Panther is directly impacted by the events of Civil War, so it makes sense to look at this film as the aftermath.

 

Spider-Man: Homecoming: Spider-Man was introduced to the MCU in Civil War, and occurs not long after. This film is interesting because it shows how the Battle of New York impacted the average person. With so many movies being released between Avengers and Spider-Man, it’s easy to feel that passage of time. It’s fair to say that the events occur after Black Panther, but provide us with an idea of how the Avengers have been affected by Civil War.

 

Doctor Strange: Although the good doctor is mentioned in Winter Soldier, the actual timeline of this film is incredibly hard to pin down. The events span at least a year, though when that year is, is up for debate. I put this film directly before Ragnarok because of the Post Credit Scene and the solid role that Doctor Steven Strange plays. Ragnarok and Infinity War establish Strange as a significant player in the MCU.

 

Thor: Ragnarok: This movie leads directly into Infinity War. Ragnarok shakes up the genre, not so much because of the events (which are fairly standard for Thor), but because of the vitality that director Taika Waiti brings. It’s a refreshing take that reintroduces Bruce Banner/Hulk and Thor and explains what they’ve been doing since Ultron. The Post Credit Scene leads directly into the opening of Infinity War, so even though it was released months before, there’s really no better place for it. Many argue that this is one of the films you have to see for Infinity War to make sense.

 

SPOILER WARNING: Ant-Man and the Wasp

Although released after Infinity War, it takes place around the same time and its Post Credit Scene reveals the end of Infinity War. On the one hand, this could serve as a foreshadow, much like the breadcrumbs left in Phase 1 before Captain America. It also explains where they were during Infinity War. The Post Credit Scene of Infinity War does set up for the next Avengers film, so watching Ant-Man & Wasp before Infinity War would create a linear chronology, but…

Honestly, it’s a matter of preference. Like the first film, Ant-Man and the Wasp is very much a Paul Rudd movie before it is a Marvel movie, so it is considerably lighter than Infinity War. It could serve as a pallet cleanser following the dark ending of Infinity War. Or, if you really want to put the effort in, you could watch Ant-Man & Wasp but watch the Post Credit Scene after watching Infinity War, thereby avoiding the spoiler, but all of this assumes that you are watching both movies for the first time.

While this entire post is just my opinion, this is an area where I feel you have to make the judgment for yourself. I absolutely see the benefit of watching Ant-Man & Wasp before Infinity War, but, having watched both when they were released in theaters, I was actually grateful for the lighter fare offered by Ant-Man & Wasp.

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