A Sixth Season for S.H.I.E.L.D.

It's surprising that "Agents of S.H.I.E.L.D" hasn't been cancelled due to its unreliable scheduling and subsequent, sour ratings. 

All the same, other ABC series have done much better in compared content and scope, only to face demise. That includes "Agent Carter", which shared an unflinching, anti-commie angle: not the sort of thing, I guess, that ABC's execs could endorse for any extended time. In addition, "Inhumans" was dandy for all of its fish-out-of-water misadventure, yet got stomped not long after it began. (Gee friggin whiz, why start a high-profile spin-off, if it's not meant to conclude?)

Be that as it may, my main gripe with "S.H.I.E.L.D." is its serialized structure. (Granted, "Agent Carter" and "Inhumans" were serialized, but they came in shorter, easier-to-digest portions.) In my humble opinion,  "S.H.I.E.L.D." would work better if it were defined by individual stories (and/or occasional two-parters), instead of going the one-plan, seasonal route. (To frustrate further, when the show has, in fact, dealt a juicy track, like Ghost Rider's advent, it ends up second fiddle to a loosely attached "Days of Our Lives" stint.)

Perhaps "S.H.I.E.L.D" was only ever meant to be a pseudo link. Its reluctance to tie full-fledged to the Avengers movies is a telling sign: Allusions and cameos aren't enough to cultivate an adequate crossover. (Why the heck didn't Jaimie Alexander's Lady Sif become a regular?)

I don't know...maybe to enjoy "S.H.I.E.L.D", one needs to take it as a basic, Bond knockoff. However, wasn't that the point of the '60s comics series? And yet in that instance, we had Nick Fury as the Hydra-hating lead. Through him, there came constant interaction with other Marvel heroes, leaving the character and his team essential figures in an interlocking mythology: something its television counterpart hasn't achieved.

For the record, Season 6 will show "S.H.I.E.L.D." attempting to salvage humanity in the wake of Phil Coulson's end (or so the press releases proclaim), with (I'm presuming) more sappy subplots. (And what's the deal with Coulson?  He didn't really die the first time around, and he shouldn't have died again. Whether he remains "dead" is anybody's guess. And who is this Clark Gregg "Sarge" guy? Is it just me or does the gimmick echo Tasha Yar getting a Romulan stand-in?) 

On the possible plus side, we'll meet a gorgeous, galactic mercenary called Izel (and reputedly, not a Marvel icon in disguise), played by Karolina Wydra. She could develop in such a way to appeal on several levels...that is, if meandering motifs don't eclipse her. 

Whether bland or grand, the latest "S.H.I.E.L.D." glides our way May 10.  In the meantime, Season 7's production rolls on. So much for seeing Season 6's story reach fruition. Yeah, really...

SO LONG, STAN LEE...

You started early but strong, championing Marvel when it was still Atlas and Timely, collaborating through the years with such artistic giants as Steve Ditko, Moebius and Jack Kirby.

Thanks to you, Captain America and Sub-Mariner dominated a new, silvery age, and you never failed to publicize their virtues, paving the way for Spider-man, Iron Man, Black Panther, the Incredible Hulk, the Mighty Thor, Daredevil, the X-Men and the Fantastic Four.

When others dismissed comics as childish and uncool, you displayed them like coveted metals, celebrating and mingling among Marvel's characters in blockbuster movies and even hosting your own superhuman, television show.

You were a one and only, Mr. Lee...Stan the Man to many a starry-eyed youngster and jaded adult: those eager to believe in magic and that good could triumph over evil. You granted it all with arms wide open and a huge, welcoming heart. Your generous, iconic legacy will live on, cradled among the titans of the past, present and those yet to be born...

Excelsior!!!

I saw Venom...

"Venom" was predicted a while ago: a stand-alone for Spidey’s most celebrated, Modern Age adversary and as some do claim, Marvel’s equivalent to DC’s Bane.

The Todd McFarlane/David Michelinie creation did appear in Sam Raimi’s "Spider-man 3" (per Topher Grace), but when the Tobey Maguire saga subsided, so did the chance for a rematch, let alone a separate entry. (In truth, whether either had a solid chance is still debatable.) 

For director Ruben "Zombieland" Fleischer's here-and-now version, Tom Hardy (who fashioned a complex Bane for "Dark Knight Rises") occupies the eponymous role, aka Eddie Brock: for this story's sake, an uncouth, San Francisco journalist/cable personality. 

The alien (Symbiote) entity that constitutes Eddie’s Hyde is, in fact, contained and nurtured by a mad scientist named Carlton Drake, portrayed by Riz "Rogue One" Ahmed. Drake believes he can improve human evolution by giving it a radical shove (rather like Strother Martin’s Dr. Stoner in "Sssssss", but with a twist yank straight from "The Hidden"). As Drake's (mis)fortune would have it, Brock's dogged snooping results in the correspondent's voracious transformation, though the lead-up does take some time.

For the record, Brock's venomous side doesn’t surface unless he’s endangered, springing forth like Banner’s Hulk to halt and/or kill his aggressors, tipped by a terrific tongue that would make even Gene Simmons envious. Though Brock is unsettled at first by his erratic powers, he comes to terms with such, letting the symbiotic relationship advance toward indirect and violent acts of good. He also thrives on the desperate need to survive. After all, Brock, in Venom form, is a rampant experiment, forestalling capture and yet yearning to get even with the monstrous man who made him (it?): a simultaneous Hulk/Frankenstein allusion.

Participating in the conflict is Michelle Williams as love interest, Anne Weying, who becomes She-Venom for an accidental spell. Williams projects a welcome, flirtatious warmth, which remains credible throughout the melodramatic content. 

Thanks to writers Jeff Pincher, Scott Rosenberg and Kelly Marcel, the story also spews a righteous air of pugnacious doom (similar to a "Blade" or early Seagal flick), which contrasts to the brighter (though no less conflict-ridden), Avengers-based "Spider-man: Homecoming". Even so, the buzz is that Hardy's Venom and Tom Holland's Spidey are destined to meet. Why not? They hold a Sony connection. All the same, it's more likely that a She-Venom and/or Carnage sequel (considering Woody Harrelson's creepy cameo) would come first, if "Venom" equates box-office gold.

No matter what develops, "Venom" exists as an entertaining, modern Jekyll/Hyde: a product apt to please superhero, monster and vigilante fans all in the same, slippery swoop. That makes the film a suitable entry for the Halloween season, as well. So, grab your ticket and savor the dark fun.

SO LONG, STEVE DITKO...

You inspired me to distinguish right from wrong: a practice that many too often evade these dire days.

This worthy cause for distinction makes your celebrated heroes (Spider-man; Doctor Strange; the Question; Mr. A...Captain Atom) resonate and uplift. This honorable approach has fueled the entire comic field, in fact, surging through decades of Charlton, DC, Marvel and Warren. 

You've always been my philosophical hero, Mr. Ditko: the man I religiously think of whenever I fashion a new character or face another obstacle in life. 

Rest assured: Your genius will continue to teach and enlighten long after all those bad guys have floundered, failed and fled.

I saw the Black Panther...

T'Challa, the Black Panther is back, brought to life by the sophisticated thespian, Chadwick Boseman. I couldn't be happier, for this is one solo outing that lives up to the hype, and for all you guys who felt jilted by the wise-ass, slanted claptrap Disney spewed in the guise of "The Last Jedi", writer/director Ryan "Creed" Coogler more than compensates for Rian Johnson and Kathleen Kennedy's polarizing blunder. 

The story is basic, though rich in its raw emotion, picking up some time after "Captain America: Civil War", in which King T'Chaka (John Kani), the original Black Panther, was killed, along with others, in a rigged explosion. Now, T'Challa takes his rightful place as the new Wakanda ruler. However, a cunning villain waits in the form of Erik "Killmonger" Stevens, played by the charismatic Michael B. Jordan (who already holds mythic distinction in having portrayed the fiery Johnny Storm and the mighty Adonis Creed). Killmonger believes he can run Wakanda far better than T'Challa ever could (as well as the world) and desires the crown with unscrupulous lust. He also harbors a woeful secret, which drives his conquering actions. 

The script by Coogler and Joe Robert Cole is a hardy spurt of wits and brawn, enshrouded by African steampunk wonders the likes of which no Marvel movie has ever displayed. Truly, Wakanda is more spectacular than "Civil War" led us to believe and even more imaginative than the pages of Marvel ever depicted. Wakanda is full-blown, high-tech Shangri-La and more awe-inspiring than anything one will find among the new "Star Wars" worlds. 

T'Challa's vibranium costume is also stunningly kick-ass. Yeah, it looked great in "Civil War", but here (maybe because it's given more screen time) it's a beacon of utter stylishness (and there are variations of it), making it perhaps the best looking Marvel design next to Tony Stark's varying gear. It makes T'Calla look alien at times (and I do mean that in the best "Alien" sense), blessed by a level of formidable gusto that no mere mortal could project, and yet beneath the suit, there's merely a man--but a man who matches his outfitted symbolism to the virile tee.

No matter how striking the decoration, it's the Panther-vs-Killmonger theme that gives this story its passion, with both characters fighting tooth-and-nail for leverage. From this comes conviction, cruelty, honor, hate and respect. If Hollywood weren't so full of itself, Boseman and Jordan would get Oscar nods, but of course, any such acknowledgement would only upset those bow-to-your-enemy millennials and general, college-kid goofs: insipid sects our eponymous champion would never ever emulate!

The rest of the cast is just as superb in supporting the story's intensity, with Angela Bassett as T'Challa's beautiful and stately mother, Queen Ramonda; Forest Whitaker as T'Challa's mystical advisor, Zuri; Lupita Nyong'o as T'Challa's secret-agent love, Nakia; Sterling K. Brown as the wayward N'Jobu; Daniel Kaluuya as T'Challa's fickle friend, W'Kabi; Letitia Wright as T'Challa's technological sister, Shuri; Winston Duke as mountain leader, M'Baki; Florence Ayo as security-guard Kasumba; Danai Gurira (that's right, "Walking Dead'"s sword-swiping Michonne) as the fierce General Okoye; and Tolkien-movie veterans Andy Serkis as ruthless smuggler Ulysses Klaue/Klaw; and Martin Freeman as CIA operative, Everett K. Ross. 

Among these participants, the ladies are as resourceful as the men (trust me, you don't want to mess with the Dora Milaje!), and that's real decent and swell, but all the same, their steely prowess never prevents "Black Panther" from what we desire it to be: a guy flick. The Black Panther is a gent that fellas of any age or ethnicity can follow, admire and strive to emulate. And yes, the Black Panther dictates the action with both brawn and shrewdness. Sorry SJW jerks (who conveniently ignore the fact that the censorious Nazis also consider themselves SJWs), but this movie is a throwback to the best of the best in manly execution, and though the Avengers films have never let us down in that regard, we really needed that rough and tough, right-over-wrong shot in the arm after "Jedi'"s lopsided turn.

Heaps of credit go to Coogler for keeping the mythology focused. Though the writer/director gives T'Challa his own interpretive spin, he respects the Stan Lee/Jack Kirby foundation. It's safe to say that Coogler made this movie not to please (or appease) some bloody clique, but to delight Marvel and Black Panther fans, and if others should just so happen to leap on, so be it. 

For those who believe that virtue can--and should--triumph over evil, that hard work and dignity constitute an honorable path to success, this is your movie. 

To hell with those misguided fools who'll shake their heads and click their pompous tongues, claiming that craven passivity and verbose resignation are the only paths to survival. In the same vein, to hell with those who praise "Black Panther" for no other reason than it seems the right and do, even in advance of actually viewing the picture. This adventure wasn't made for any of those pretentious clods, and because of that (hip, hip, hooray!) the noble Black Panther reigns supreme upon the silver screen!!!

I saw Spidey Come Home...

After the mush-maddened and ticket-slipping "Amazing Spider-man 2", an overhaul seemed required for the webslinger’s cinematic image. Either the Marc Webb/Andrew Garfield format had to be revamped or Spidey needed to go into hiding a few years before a reboot (perhaps one even in the Sam Raimi vein) was summoned. The powers-that-be decided to move fast, however, with Sony, Marvel and Disney ironing out contractual concerns to make Tom Holland's Peter Park a spry, supporting part of "Captain America: Civil War". With Spidey’s significant but brief participation pleasing fans, he gained another headlining effort.

Jon "Cop Car" Watts was enlisted for this big revitalization, assigned to direct but also to develop the story, along with John Francis Daley; Christopher Ford; Jonathan Goldstein; Chris McKenna; and Erik Sommers. 

The result, "Spider-man: Homecoming", picks up where "Civil War" left off (well, at least after a couple flashbacks), its main carryover Avenger being Robert Downey Jr.’s Tony Stark, aka Iron Man. Stark again takes Parker under his wing, advancing the youngster's suit to an even greater level, but the entrepreneur also relegates the youth to Manhattan's confines. Despite the lad's amazing abilities, Stark doesn’t see Parker as full-fledged Avenger material...not yet, anyway. (For the record, per comic lore, Spidey is always glad to assist the Avengers, Fantastic Four, X-Men and the like, but never yearns to be a permanent part of any team.)  

At any rate, Parker's need to impress Stark becomes the film’s predominate theme: the story of a boy who so desperately wants to impress his mentor by helping others that he stumbles along the way and well, you know the rest. (BTW: The film's subtitle implies Parker's coming to terms with his strengths and weaknesses, his notions of right and wrong, paving a symbolic path that will lead him home, so to speak.)

The script also focuses on Michael Keaton's Adrian Toomes, aka, the Vulture: a former salvage contractor, who after being financially stomped, grows a craving for conquest and with some extra cash (via some refurbished, alien technology) makes his ambitions a reality. It's sure fun to see Keaton in this ironic, villainous turn, though he more than tested the dark waters in "RoboCop ’15". It's also cool how the Vulture reflects Keaton's "Birdman" persona, which in its own right parodies his Caped Crusader portrayal, while simultaneously representing the type of baddie Batman would love to batter. 

Alas, there's no Daily Bugle to lure Parker and therefore no J. Jonah Jameson to berate him (pity, since the ol' hothead was physically non-existent in Webb's version). Stark's loyal pal, Happy Hogan (Jon Favreau) is there, though, as well as the alluring Aunt May (Marisa Tomei). Chris Evans also cameos as Cap America, along with Gwyneth Paltrow as Pepper Potts. 

In addition, the film features some new faces and reinterpretations of old favorites, which include Parker's this-time unrequited love, Liz Allan (Laura Harrier)--and don't let that darn surname fool ya--who's offset by cynical Michelle "M.J." Jones (Zendaya). There's also wide-eye, golly-gee chum, Ned (Jacob Batalon), who may or may not be the Bugle's Ned Leeds; naive Coach Wilson (Hannibal Buress); encouraging Mr. Harrington (Martin Starr); and trusty rival Flash Thompson (Tony Revolori), revised with copious smugness. 

Interestingly enough, Jennifer Connelly portrays Karen, the offscreen "Suit Lady", who guides Spidey through his fabric guise. For what it's worth, Connelly already held an Avengers link before winning the role, being married to Paul Bettany, who plays the Vision and prior to such, having voiced J.A.R.V.I.S.  Nonetheless, it's too bad we weren't granted a sly "Hulk" tie-in through the actress, but I guess the past is the past when it comes to certain ill-fated, Marvel ventures, though recasting is clearly okay. (Say, wouldn't Eric Bana make a terrific Kraven the Hunter?)

On the new henchmen end, we're introduced to Logan Marshall-Green's Jackson Brice/Shocker and Bookem Woodbine's Herman Shultz/Shocker (yep, two Shockers for the price of one!); Donald Glover's Aaron Davis, aka the Prowler; and Michael Mando's Mac Gargan, aka the Scorpion. (Indeed, lots of history is being spread here, but wasn't that also characteristic of the previous flicks? Sometimes this layering-the-tracks can be clever, but other times too much, too soon. We can only keep our fingers crossed for Watt's restart.)

As seen in "Civil War", Holland (despite that brief, far-too-cocky run-in with Cap) is likable as high-schooler and superhero. However, this finely tuned double standard wouldn’t have quite the impact if not for Keaton’s embittered villainy. 

The Vulture (one of Spidey's oldest foes, though others beyond Toomes have seized the alias) becomes the film's most ubiquitous persona. Keaton's intensity heightens the conflict, injecting an unreasonable angst that makes the story's primary nemesis as intriguing as its titular hero. For the beleaguered Parker, Toomes becomes a devilish obsession, in which we can take delight sharing. Indeed, we don’t want the Vulture to reign supreme, but we can appreciate the madman's decisive drive, while despising his misguided motives.  

This tottering dynamic gives the film a winsome spurt: a big relief since there's lots riding on "Homecoming'"s success. In fact, I had stated last year that if "Homecoming" adhered to "The Legend of Tarzan" format, it could succeed. However, “Tarzan” had several drawbacks that went against its hero's grain. "Homecoming" at least stays truer to its source, again retelling a tale that doesn’t need to be retold, but due to its faithful delivery, rises above expectations to retake its core audience. That’s not to say "Homecoming" is flawless or presents the perfect place and time for its hero, but even so, it respects the dutiful traits that Stan Lee/Steve Ditko invested in their creation. 

All the same, there must come a point when Spider-man truly becomes a man. Tobey Maquire and Andrew Garfield lost the chance to mature in their roles. With Holland, we’ll have to wait a decent spell for sure, due to the actor's overwhelmingly youthful guise. Will there be enough sequels for the new Spidey to reach logical adulthood? One can only hope...presume. Keep in mind, Kal-El didn’t remain Superboy his entire life. The same goes for Spidey, and this should be addressed on the big screen, just as it was on the short-lived (and inexplicably shamed) CBS television series.

If those now attached to the saga wish to do right by this character (i.e., get him ever closer to his symbolic home base), they must set forth a progressive path and maybe along the line implant some seriousness to the cause. More sophistication would allow the movies to improve, thus making the ongoing adventure more than a coming-of-age rehash and finally a franchise where the only costumed entity our hero needs to impress is himself.