This Friday, then what seems like an endless wait, Thor: Love and thunder arrives in theaters. As it does, fans will also indulge in the penultimate episode of Mrs. Marvel, which concludes its six-episode season at Disney + next week. This is not the first time Marvel has duplicated content. Last year, Spider-Man: No Way Home fell during the middle of Hawk’s eyeruns streaming i Black widow open just like Loki he was finishing his first season. Just a few years ago, fans had to wait months between new installments in the Marvel movie universe; now, there are often several things to look at at once, and it will only get worse.
Or, rather, better. To be clear, this is not a diatribe against oversaturation. We have already done that. Instead, it is a search to balance the Marvel media diet. While the superhero market is a bubble about to burst, people are clamoring for this content. Three big-screen movies and four to five Disney + projects a year don’t seem to even meet Marvel brand demand these days. Now, in the space of a decade, Marvel has successfully recreated the comic book experience in conventional media.
That’s not to say Marvel invented good comic book movies, as they’ve been around ever since Superman: The movie came out in the 1970s and Tim Burton made a crack Batman in 1989. And the studio also did not invent serialized narration across multiple platforms. Star Trek did this when it had two shows and a movie that hit theaters in the early 90’s. Instead, it’s about Marvel releasing so much content that fans are forced to choose a character , a faction or a story and move on.
To understand how this could go, remember Marvel in the 80s and 90s. As the company’s popularity exploded due to the work of creators such as Chris Claremont, Frank Miller, Walt Simonson and others, they are added. constantly new series and new heroes in the Marvel line. Some were derivations with existing characters: The Punisher was a bad guy in Spider-Man comics for more than a decade before becoming a publishing success of its own, while others were cut entirely from a new canvas. hoping to find another big unexpected. thing, even if they had quickly melted back into creative limbo. (Alas, poor Slapstick, poor NFL SuperPro, poor US1 …)
During this time, however, Marvel production began to surpass what anyone could reasonably read. As the company’s line grew beyond 30, 40, 50 issues a month, only mega-fans, who self-proclaimed themselves “Marvel Zombies,” could get it. The average fan began to pick and choose what would follow; “Marvel fans” became “X-Men fans” or “Spider-Man fans.”
The company knew this and for a while even leaned towards it. In the mid-1990s, he replaced his editor-in-chief with five group editors, each overseeing an element of a line divided into popular comic book brands or “families.” This attitude did not last, however, eventually the editor of the X-Men group was promoted above the others.
We’re still not at the point where Marvel is producing as many shows and movies as it did comics before, but in terms of the hours of attention needed to keep up with everything, fans are reaching a similar breaking point. . Despite a (perhaps now abandoned) motto that stated “everything is connected,” the more Marvel Studios produces, the more important it will be for the audience to choose the stories and characters they want to follow and leave the rest behind … unless you want to not more watch Marvel Studios productions from now on.
It’s a change of attitude that is likely to have the same impact on Marvel Studios as it does on Marvel Comics, allowing creators to be weird and move away from a singular company-wide tone, freed from the expectation of attracting to the widest possible audience. at all times. Something like Mrs. Marvel shows how good Marvel can be when it becomes concrete, and who doesn’t want to see it anymore? So vote with your dollars and airtime, Marvel fans – it will only make the MCU a better and more interesting place to be.