Gambit: Wanted #1 kicked off the new mini-series by acclaimed X-Men writer, Chris Claremont. A revisit into Remy’s past, it explores the time period in New Orleans right before he joined the X-Men. The highlight of the issue is Gambit’s physical and philosophical battle against Bullseye, who is contracted to take down Gambit and his junior thief, Elodie.
I’ve seen Jon Bernthal in several things: The Walking Dead, Fury, The Accountant, Baby Driver. But in my personal opinion, he shines amazingly as the Punisher.
As you are probably aware, Marvel has released a trailer, not just a tease, for Avengers: Doomsday. It’s an amazing bit of promotion with some really cool things in it, and I’m going to touch on a few of my favorites and share a theory or two. Hey, if I’m wrong, y’all get to come back and mock me later.
I’ve almost come to the end of the first season of Wonder Man, although it’s one of the few MCU shows that has a confirmed second season. It’s been interesting watching this version of Simon Williams develop, and his scenes with Trevor have been great. Ben Kingsley and Yahya Abdul-Mateen have done fantastic jobs. Now that they both have roles in the movie they were going for, things seem to be finally falling in to place. So you know that can’t last, as we see as the guys are confronted by “Kathy Friedman.”
Now we see how Trevor and Simon do with their chance to impress the rather eccentric director in an episode called, appropriately enough, “Callback.”
There are some rough and violent strikes in the battle between Wolverine and Adamantine. However, the art isn’t gritty enough for me. I think Humberto Ramos’ run in volume 3 is one of the artistic peaks of the Wolverine franchise. In large, it’s because the art matches both the raw, violent nature of the story and Logan’s internal strife. Even when it’s drawn in a more cartoony manner, I felt the art never lost its edge.
I often have issues when they take a character who I know and like and turn them into something wholly different for an adaptation. Usually I say the more seemingly random changes they make, the worse the adaptation is. The MCU has managed to exempt themselves from this rule of mine a few times (really, it makes a lot more sense that techno-genius Tony Stark made Ultron than bio-chemist Hank Pym). They are doing so again with their take on Wonder Man, who has very little in common with his comic book counterpart, but they are telling a great story here, which continues in “Found Footage.”
Just a few quick thoughts on The Mandalorian and Grogu… I liked it? I guess that’s true. But it was kind of dumb. It felt like they turned season 4 of the show into a movie and put it behind an even bigger pay wall than Disney Plus. It’s very easy to see where each…
Doorman, in the comics, is a minor character, part of a group of lesser-known, mostly used as joke characters called the Great Lakes Avengers. He’s actually not the first of the GLA to show up in the MCU, since a version of Immortal Man popped up in the She-Hulk series. He’s been referenced several times so far during Wonder Man. Now, we finally get to see what happened that led to the “Doorman clause” that prohibits superhumans from working in Hollywood movies. Probably tv shows, too, but that hasn’t really been spelled out yet. They use black and white to emphasize that almost the entire episode is a flashback, as we get the story behind “Doorman.”
As many comic book readers know, Wonder Man/Simon Williams has a very complicated family history. His brother Eric is the supervillain known as the Grim Reaper, who has never been able to accept Simon’s return from the death that was part of his origin arc. Complicating things still further, a recording of Simon’s brain patterns was used by Ultron when creating the Vision, making them essentially brothers, and earning Vision a place on the Grim Reaper’s hit list as well. Things aren’t that serious, at least not yet, but we do get to see that Eric and Simon don’t get on in the MCU as well as the comics as we attend a celebration in “Pacoima.”
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