Marvel Cinematic Universe Tag

I Hope Marvel Never Makes Another “WandaVision”

I Hope Marvel Never Makes Another "WandaVision"

As I’ve said before (so much that regular readers are probably getting sick of hearing it), Captain America: The Winter Soldier changed everything for the Marvel Cinematic Universe. It’s the film that showed us how MCU movies could rise above the tropes and trappings of superhero cinema. And it’s the film that gave the movies that followed it the freedom to play around with genre in interesting ways. If Winter Soldier hadn’t worked and hadn’t connected with audiences, I don’t think we would have WandaVision today. I just don’t think Marvel would have had the courage to make it.


But WandaVision, in its own way, changes everything yet again. The precedent set by this series is that you can take the single most mainstream intellectual property in the world and get abstract with it. You can experiment. You can out-bizarre Twin Peaks and still hang onto your fanboy audience, many of whom latch onto the MCU for no other reason than the wish-

fulfillment/power-trip aspect of it all.


Well, you can hang onto a lot of them. I have to admit, geeky though I may be, I’ve pretty much divorced myself from geek culture since the release of Star Wars: The Last Jedi—mostly due to the toxicity of it all, but also because the loudest contingent of fantasy/sci-fi fans on the internet no more understands the properties they love to wax neck-beardedly about than my American Staffordshire Terrier understands quantum chromodynamics.


The few discussions I’ve seen about WandaVision, now that it’s over, frustrate and infuriate me in equal measure, because here we have a story that cuts straight to the heart of what it means to be human, in a way no film or TV series of any genre has in ages, and the only things the Comic-Con crowd wants to discuss are why Mephisto didn’t make an appearance or whether Agatha’s rabbit familiar, Señor Scratchy, is secretly her son Nicholas Scratch from the comic books.


All fun topics to talk about, mind you, as frivolous as they 

may be. But can we take a breather from the soap-opera discussions to focus on what made WandaVision legitimately good? Can we appreciate that the company known for making movies about dudes fighting robots in their pajamas had the courage to tell a story in which the primary antagonists are grief, pain, cognitive dissonance, and consequences? And not physical manifestations thereof, but the actual human emotions?


Can we maybe take a breather from geeking out over the big action set-pieces to appreciate the fact that the biggest knock-down, drag-out battle in the finale was won not with fists or laser eyes, but a philosophical argument centered on the Ship of TheseusCan we talk about the fact that, as weird as the first half of WandaVision was, it avoided the biggest sins of the aforementioned Twin Peaks by knowing when to back off the eccentricities, lest they lose their value?


Look, I’m not saying WandaVision was perfect. I found it more than a bit disappointing when the penultimate episode overexplained too many of the series’ earlier abstractions, assuming I suppose that some of its audience may not have been able to connect the dots for themselves. But such slip-ups are few and far between, which is surprising for a show that works on so many levels.


WandaVision is, obviously, a story about struggling with grief and the toll that struggle can take on those around us. It’s also a meditation on our weird relationship with media—how we influence it and how it influences us, both overtly and subliminally. It’s a clever examination of shifting cultural norms, and how what we accept as normal today is as much a manipulated affectation as any of the tropes of the past.


The series’ strengths lie in its uniqueness. And yes, you could point to previous films it resembles in the most obvious of ways, such as Pleasantville and The Truman Show. But such similarities are mostly superficial (except, of course, for the latter’s framing of tragedy disguised as comedy, which this show appropriates with devastating effectiveness). WandaVision is, for all its references and call-backs, its own thing. Which is why I’m worried it’s going to be used as a template, now that it has proven successful.


I’m already seeing fans start to beg for a second season, and Marvel’s suits are being coy in their responses. And that terrifies me. As a lifelong fan of these characters—one who’s smitten with how they’ve been interpreted for screens large and small—I obviously want to see their stories continued. I’m as invested as could be. But I want to see Paul Bettany and Lizzie Olsen portraying Vision and the Scarlet Witch in new stories, told in new ways, not awkwardly fumbling around with attempts at capturing lighting in a bottle.


WandaVision was perhaps the most satisfying and self-contained narrative I’ve seen unfold in ages. And now it’s over. It’s done. There’s no more of this story to tell. But that doesn’t mean that someone won’t try to replicate it. And if you need evidence of that, just look at the number of new streaming services that have come out in the past year with meaningless “+” symbols stapled onto the end of their names.


Yes, yes, I know. A streaming service and a TV series are not the same thing. But Hollywood has a knack for aping what works without understanding why it works. When Disney+ launched back in 2019, that binary operator at the end of its name actually meant something. It was shorthand for “Disney + Pixar + Star Wars + Marvel + National Geographic.” What the hell does Apple TV+ connote? Much less Paramount+, the new name for the streaming service formerly known as CBS All Access? Paramount + what, exactly?


And so, in keeping with that entertainment-industry tradition, it stands to reason that we’ll eventually see at least a few feeble attempts at replicating the self-referential, heartfelt-story-framed-as-classic-sitcom container in which WandaVision was delivered, with no thought given to what that device actually meant in the context of this story.


The most I can hope for is that Marvel doesn’t attempt to scrape this barrel again, and certainly not with these characters, because wishing for anything more than that would be like Charlie Brown, facing that football once more, hoping beyond hope that Lucy doesn’t yank it away at the last second.

Dennis Burger

Dennis Burger is an avid Star Wars scholar, Tolkien fanatic, and Corvette enthusiast who somehow also manages to find time for technological passions including high-end audio, home automation, and video gaming. He lives in the armpit of Alabama with his wife Bethany and their four-legged child Bruno, a 75-pound American Staffordshire Terrier who thinks he’s a Pomeranian.

Avengers: Endgame

Avengers: Endgame

Avengers: Endgame comes to the screen with an incredible amount of baggage for any one film to carry. It has to serve as the emotional and narrative conclusion of 11 years’ and 21 films’ worth of Marvel Cinematic Universe (MCU) stories. It has to serve as the second half of a film released a year earlier. It also has to work as a self-contained narrative on its own terms—one that satisfies both hardcore fans who’ve seen all 21 of those previous Marvel movies numerous times, as well as more casual moviegoers who may have seen some of them only once, if at all.


The fact that Endgame manages to check all of those boxes without crumbling under its own weight is a bit of a minor cinematic miracle. The fact that it ends up being so much more than a mere obligatory box checker is a testament to the

talents of the film’s directors (Joe and Anthony Russo) and writers (Christopher Markus and Stephen McFeely).


To get into why, though, we need to dip our toes into spoiler territory, for both Endgame and 2018’s Infinity War, but I’ll try to keep things as vague as possible on both fronts, for the pair of you who’ve seen neither film. At the end of Infinity Warwe were left in a weird place for a big, blockbuster superhero franchise. The villain had won. Half the population of the universe—and half of Earth’s Mightiest Heroes—had been “blipped” out of existence at the snap of a finger. Mind you, we live in a world where films are announced years in advance, and it didn’t take a savvy viewer to put two and two together and realize that some of those dead heroes were only a film or two into a multi-film contract, which meant they would be coming back, somehow or another, by the end of this film.


Think about that weird conundrum for long, and it quickly becomes apparent that Endgame ran the serious risk of not only narratively undermining Infinity War by undoing its deaths, but also of emotionally undermining it so severely that the first part of this two-part story lost all impact for future viewings. I think the most dedicated Marvel fans 

amongst us all sort of went into Endgame knowing that this would be the price we had to pay in order to see the resolution of this storyline.


Except, that ends up not being the case at all. Instead of undermining Infinity War—narratively and emotionally—Endgame ends up enriching it, making it a more interesting and impactful story. If the thematic arc of Infinity War could be boiled down to coming to terms with defeat, Endgame at its core is a film about consequences. As with any good epic (in the Tolkien sense

Avengers: Endgame

of the word, not the Hollywood sense of the word), Endgame is a film about the high cost of victory. So, rather than robbing Infinity War of emotional and narrative weight, this film piles an extra heaping helping of solemnity on its forebear, and all the films that came before it.


Once its end credits roll, what we the viewers are left with is not only a satisfying yet bittersweet conclusion to the rambling and seemingly disconnected narrative that began with 2008’s Iron Man, but also one that makes us reflect on everything that has happened to the MCU’s characters along the way. Honestly, it even redeems some of the MCU’s weaker efforts, like 2013’s Thor: The Dark World, although perhaps only in retrospect. (And no, I’m not confident enough in this statement to actually suffer through that movie again to find out for sure.)


But as I said above, Endgame would be a wholly unsatisfying film if it were merely a massive nostalgia romp. I won’t recount the plot here, because if you’ve seen the movie you already know it, and if you haven’t, I would sound like I was having a stroke. But what makes the film work on its own terms is, in part, the economy of its storytelling. That may seem an ironic statement to make about a three-hour film, but the Russos, Markus, and McNeely have managed to craft an engrossing narrative that feels perfectly paced, because when the plot is simple and straightforward, they use that opportunity to ramp up the richness and diversity of the story’s themes; and by contrast, when the narrative gets more complex (as will happen when you’re playing around with comic-book quantum physics and the fabric of spacetime), they use simpler and more straightforward thematic underpinning to maintain a coherent through-line.

Avengers: Endgame

The film also uses the luxury of its relatively long running time to give the characters a lot of room to breathe. Upon second viewing, I was taken aback by how much of the film is devoted to people sitting around, simply talking to one another. It’s refreshing, to be sure, and It’s exactly what was required to give these beloved characters one last chance to grow, and express their growth, in shockingly adult ways. Coming out the other end of the film, I honestly wonder if most viewers realize that only about half an hour of screen time is really dedicated to stereotypical blockbuster comic-book action scenes.


Unsurprisingly, it is those scenes that shine the brightest in Kaleidescape’s 4K/HDR presentation of the film. And I mean that literally. This is truly some of the most effective use of HDR I’ve seen to date, especially in the big battle at the end, where stunning contrasts are used not merely for eye candy, but also to reinforce the emotions of the sequence. I watched this epic

throwdown back-to-back in Blu-ray quality and 4K with HDR, and while it certainly got my nerd heart pumping in mere 1080p HD, I was literally moved to tears by the climactic turning point of the battle as it plays out in high dynamic range.


But hey, if you’re just in it for the eye candy, Kaleidescape’s presentation works on that front, too, even if the vivid and detailed presentation does at times make some of the special effects ever-so-slightly too obvious. Audio enthusiasts who’ve grumbled at Disney for their sometimes-lackluster audio mixes will also be delighted by the richness of the film’s soundtrack and its effective use of bowel-loosening bass and the aggressiveness of the Dolby TrueHD Atmos track’s height channels. Truth be told, those effects were a little too distracting for my tastes, and I preferred the included DTS-HD Master Audio 7.1 mix, but it’s nice that both options are available.


There is one other audio track that absolutely cannot be ignored, although you’ll only find it on the Blu-ray-quality download (which is included with your 4K HDR purchase): The audio commentary by directors Anthony & Joe Russo and writers Christopher Markus & Stephen McFeely. If you listened to their commentary for Infinity War, you know what you’re in for here. If not, I’m jealous that you get to experience it for the first time. As with the previous film, their commentary is less 

Avengers: Endgame

a scene-by-scene breakdown of how the film was made, and more a masterclass in storytelling, character development, and filmmaking, making it essential listening even if you typically skip commentaries.


It’s just a shame that the rest of the extras don’t rise to the same level. Also included with the Blu-ray-quality download is about an hour’s worth of bonus documentaries that you can mostly ignore, except for the eight-minute tribute to Stan Lee that was included after the film in its soft theatrical re-release back in June. You’ll also want to check out the last of the six deleted scenes (which, by the way, doesn’t include the excised clip that was tacked onto the aforementioned theatrical re-release).


Hopefully, at some point Endgame will get a double-dip home video release whose bonus features dig a little deeper into the rich tapestry that is this film. Until then, though, this one is a must-own.

Dennis Burger

Dennis Burger is an avid Star Wars scholar, Tolkien fanatic, and Corvette enthusiast
who somehow also manages to find time for technological passions including high-
end audio, home automation, and video gaming. He lives in the armpit of 
Alabama with
his wife Bethany and their four-legged child Bruno, a 75-pound 
American Staffordshire
Terrier who thinks he’s a Pomeranian.

Captain Marvel

Captain Marvel

Like millions of others around the world, my family and I have been following the Marvel Cinematic Universe (MCU) over the years as it gradually built to the global phenomenon of a climax that was Avengers: Endgame. But my favorite film in the franchise remains Avengers: Infinity War, and if you’ll recall from the end-credits scene, just as Nick Fury (Samuel L. Jackson) is about to disappear into a Thanos-snapped dust cloud, he pulls out an ancient-looking pager and manages to send off one final message. As the pager falls from his fingers and starts sending the message, its screen changes to reveal a logo familiar only to hardcore Marvel fans.


That brief end-scene introduced us to one of the most powerful characters in the MCU, Captain Marvel (Brie Larson). (And those who have seen Endgame—which, seriously, by now should be all of you—will attest to her abilities.) It also perfectly set up Captain Marvel as the 21st and final Marvel film that would precede Endgame. I’ll admit, I didn’t recognize the logo on the pager, nor did I know who Captain Marvel was or anything about her story, so I went into the film fresh, and curious about what bits of the MCU puzzle this might fill in.


While Marvel films are usually met with excitement and anticipation, there was actually a lot of hate surrounding Marvel’s release—so much so that Rotten Tomatoes adjusted its rating policy when it was clear trolls were posting negative reviews and hatred over Larson’s casting and acting before the film was even released. Further adding to the controversy, Captain 

Marvel was originally a male character in the comics (although, different characters have taken up the Marvel mantle, and there is precedence for the character to be a woman), and many felt that casting Larson was a way to push a social agenda.


All of which didn’t interest me or sway my opinion in the least.


Give me a good movie I can sit and enjoy for two hours, and I don’t care if the lead is a man, woman, animal, or robot. I’ve got two daughters and I’m all for female empowerment. (And for the record, my 12-year-old loved it, saying “Captain Marvel was so cool and tough!”) And, if you avoided Captain Marvel for fear it would try to cram some social agenda down your throat, I’d strongly suggest you reconsider.


The first thing you’ll notice about Captain Marvel is a change to the opening credits scene. I won’t spoil it here, but let’s just say the folks at Marvel once again know how to give you the feels.


It seems like the Marvel team knew Captain Marvel would be a new character to many, and they chose a storytelling style that played into this, as we discover things about Larson’s character’s past along with her. The story opens with Vers (Larson) as an elite member of the Kree Starforce Military living on Planet Hala. Vers suffers from amnesia and just has snatches of visions and images of a previous life, but none of which she can assemble into a cohesive whole.


During a mission to rescue a deep-cover operative from a band of alien shapeshifters known as Skrulls, Vers is 

captured and her memories are probed by the Skrulls as they try to determine the location of some experimental tech Vers was involved with in her previous life on earth as Air Force fighter pilot Carol Danvers.


These memories lead both the Skrulls and Vers to Planet C-53—aka Earth—where we encounter a digitally de-aged and fresh-on-the-job S.H.I.E.L.D. agent with two working eyes by the name of Fury. (“Not Nicholas. Not Joseph. Just Fury.”) From here, the film moves forward with a steady stream of action, with Danvers gradually regaining memories of her life on earth as they piece together clues to hunt the experimental tech developed by Dr. Wendy Lawson (Annette Bening) and avoid Skrull shapeshifters hot on their trail.


Taking place in 1995, the movie features a soundtrack that includes lots of era-appropriate tunes including “Waterfalls,” “Come as You Are,” “Just a Girl,” “Man on the Moon,” and more. Sometimes the songs are subtle and in the background; other times they take center stage à la Guardians of the Galaxy and Star-Lord’s Awesome Mix Tapes. There are also some other nice ‘90s-era references to bygone culture like Blockbuster and Radio Shack.


Visually, Marvel is a treat. Kaleidescape’s 4K HDR presentation has gobs of detail in every scene. Closeups abound with texture, letting you see the pebbling and grain in Fury’s shoulder holster, or an alien’s skin, or the metallic surfaces of the various spaceships. There is a scene about 10 minutes into the movie where Vers and a band of Starforce soldiers visit a planet that is covered in a smoky, hazy mist. This is a total video torture for noise and banding, especially as the smoke is 

illuminated in a variety of ways from lights, fire, and streaking laser bolts, but the image is always stable, clean, and noise-free.


The movie greatly benefits from HDR, with lots of brightly lit screen displays and readouts throughout that really pop. There are also lots of scenes in dark interiors that benefit from the wider dynamic range, letting you appreciate the detail of the set design. Near the end, when Marvel embraces her full powers, she literally glows with energy and power, and the effect works especially well in HDR.


Sonically, while many recent Disney releases have stumbled, I think Captain Marvel’s Dolby Atmos mix does a lot to correct this. The sound mixers seem to have eased off on the heavy-handed compression and uneven bass mixes that have plagued other releases (see my review of Avengers: Age of Ultron), and this movie has some very scene-appropriate low end that will take your subwoofers to church and flutter your pant legs. Explosions have dynamic depth and punch, and space engines thrum with authoritative bottom end.


The audio mix is definitely active and immersive but not overly aggressive. The height speakers are used to good effect to expand the sonic ambience and sense of space, and come into play during the big action scenes. One especially nice 

Captain Marvel

and clever use of the height speakers is during the scene where they’re picking through Danver’s memories, with off-camera voices moving about overhead.


While not required viewing prior to seeing Endgame, Captain Marvel does a nice job of filling in some little holes and fleshing out the MCU, and would technically be the first film in the timeline (if you start counting from when Captain America comes out of his ice coma). Its end-credits scene also does a nice job of marrying right into Endgame and explaining why Captain Marvel was absent from the big battle in Wakanda.


Available now for early download at the Kaleidescape store, Captain Marvel will be available on 4K HDR Blu-ray June 11.


John Sciacca

Probably the most experienced writer on custom installation in the industry, John Sciacca is
co-owner of Custom Theater & Audio in Murrells Inlet, South Carolina, & is known for his writing
for such publications as
 Residential Systems and Sound & Vision. Follow him on Twitter at

@SciaccaTweets and at



I’ll freely admit that I’m a superhero-movie fan. Ever since seeing the original, Christopher Reeve Superman: The Movie as an 8-year-old, I’ve loved watching these heroes battle to save the planet up on the big screen, and now in the comfort of my own home.


No franchise has done more to raise the bar of the superhero genre than Marvel, which, for the past 10 years, has been crafting a spectacular, epic tale that has gradually been drawing an entire universe of characters together in a battle for half the galaxy that began in Avengers: Infinity War and will culminate in the upcoming Avengers: Endgame. (Not part of the Marvel Cinematic Universe [MCU], but still spectacular superhero viewing includes Wonder Woman and Christopher Nolan’s Dark Knight trilogy, especially The Dark Knight, which transcends the superhero genre into the realm of simply spectacular cinema.)


I bring this up because as much as I enjoy superhero films, I knew virtually nothing about Venom prior to watching. In fact, my only previous knowledge of the character was his appearance in the 2007 Spider-Man 3. From that film, I learned that Venom was an alien entity that bonded with Peter Parker (Spider-Man) and kind of became like a bad version of the character, wearing a black version of Spidey’s costume.


With this latest reboot of the character, I expected Venom to continue the MCU trend of bringing multiple characters together, or would at the very least include Tom Holland, who has taken over Spidey’s mantle starting in Captain America: Civil War and continuing in Spider-Man: Homecoming and Infinity War.


Well, umm, no.


While it was made in association with Marvel Studios, Venom is a standalone Sony Pictures release bearing no obvious connection to the MCU or even to Spider-Man. This is part of a complicated legal and licensing agreement between Sony and Marvel that you can read more about here.


So, unless you’re a hardcore Venom fan, you can scrap everything you think you might know about Venom and just go into this cold. In fact, knowing nothing might actually be the best way to approach this, since you won’t be burdened by any required geek-cred knowledge of backstories, interwoven plot lines, or fear of missing any fanboy Easter eggs.


This is an origin story, attempting to introduce and launch a new expanded universe of Spider-Man characters. But the film has a big shortcoming in the casting of (or maybe it’s the direction or the dialogue given to) Tom Hardy, who plays both Edie Brock and Venom. Brock is supposed to be this killer investigative journalist, but, honestly, Hardy comes across as just too slow, clunky, and dim-witted to be even close to believable in this role, and the early scenes with him as a journalist were the hardest for me to just sit back and enjoy.


Fortunately, your suspension of disbelief over Hardy’s journalistic prowess doesn’t need to last long, as he soon bonds with the alien symbiote Venom, who was brought back from a space exploration mission and kept locked in a lab looking for a compatible host. Once Hardy absorbs Venom, the rest of the film has him coming to terms with his new amorphous, shape-

shifting, and head-chomping alter-ego as the movie transitions from one action piece to another as the duo looks to take down the techno-billionaire bad guy. Actually, I found Hardy more believable post-infection since his body adapting to the “parasite” offers an explanation for his semi out-of-it behavior.


One thing Sony knows how to do is release fantastic-looking 4K HDR films,

and Venom is no exception. Detail and color are first-rate throughout, but especially during the multiple night scenes in San Francisco, where the city looks stunning. These shots take full advantage of HDR to produce bright lights and vibrant colors while retaining deep and solid black levels.


Venom has no shortage of big action scenes and visual effects, which all look terrific. One of the best scenes is a chase through downtown San Francisco (happening around the 54-minute mark) that highlights the best of what Venom is: Pure balls-out mayhem, with a liberal dose of SFX thrown in for good measure. Just don’t count how many times The Rialto theater appears in the background. Rather, sit back and enjoy the cars smashing and Brock/Venom racing manically through the crowded streets on a motorcycle.


The Dolby Atmos soundtrack is equally impressive, offering a very dynamic mix that will definitely give your system a workout. There are tons of moments where the height channels are called into action, whether it’s drones or helicopters flying overhead, gun mayhem, or just the ambience representing the acoustic space on screen. Bass is particularly impressive, having a ton of weight and impact, with explosions you’ll feel in your chair. Venom’s voice is also recorded with a very cool effect, booming from all around and sounding like it’s coming from inside your head. 


The Kaleidescape download includes five pre-marked scenes, along with several bonus features, including multiple making-of docs, deleted scenes, and a special “Venom mode” that engages “informative pop-ups throughout the film to provide insight on the movie’s relationship to the comics, and to reveal hidden references that even a seasoned Venom-fan may have missed!”


Venom belongs to that increasing group of films that sees a real divide between critics and fans. While scoring a meager 28% on Rotten Tomatoes, it managed an 85% audience score. In short, I’d say Venom is a classic big summer popcorn action film where it pays to check your brain at the door and just sit back and marvel (no pun intended) at the terrific visual effects and pummeling Dolby Atmos audio track. If you’re looking for some home theater eye and ear candy, Venom won’t disappoint.

John Sciacca


Probably the most experienced writer on custom installation in the industry, John Sciacca is
co-owner of Custom Theater & Audio in Murrells Inlet, South Carolina, & is known for his writing
for such publications as
 Residential Systems and Sound & Vision. Follow him on Twitter at

@SciaccaTweets and at