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    Hatred of Ultron: Why Did it Receive so Much Backlash?

    At this point in Marvel’s plethora of movies, most fans who have been there in phase 1 and 2 know how the movies are in terms of plot, character, dialogue, and action. In these aspects Age of Ultron fit right into the molds of the expected, so why the huge backlash from the fan base toward the director, Joss Whedon? Are people tired of the circular character development, sexist treatment of the female characters, repetitive plots, and the sacrifice of meaningful dialogue for action-packed sequences? If so, what will this mean for the future phase of marvel movies?

    • I think a major issue with Age of Ultron is that it not only sacrificed meaningful dialogue for action-packed sequences, but it also sacrificed meaningful dialogue for the sake of comedy. When I watched it, I felt like half of the dialogue was one-liners and it started to get annoying (see the "language" joke about Captain America - how many times was that referred to in the movie?). Additionally, it felt like it was trying to stuff too many plots into one movie. A handful of different romances, Ultron, Vision, Scarlet Witch and whatever her brother is named, the fight between the team, shoving in the Infinity Stones (which felt like it was just there to make Guardians of the Galaxy relevant - I don't know much about the Marvel canon) and so on. There was a lot going on and a lot of new characters and it was too much for one movie. Felt like instead of going with a few really solid plotlines, they went with a lot of mediocre ones. – Grace Maich 9 years ago
    • People forget that superhero movies by and large are intended to be CGI eye candy and fangasmic popcorn movies, not Palme d'Or winners. Marvel goes for the lowest common denominator, marketing to kids so that they nag their parents to take them to see it twice. If they featured high-brow plotlines and whatnot then the audience comprised mostly of teenage boys would not understand it. Can we really hold Marvel in contempt for giving their target audience exactly what they want? I don't necessarily think that adults should watch Marvel movies expecting to be intellectually stimulated. If you want an intelligent superhero movie then see Watchmen. If you want intense fighting watch Kick-Ass. If you want to have a dark laugh then give Super a try. Also, I think its worth mentioning that Joss Whedon has a dual degree in Feminist/Gender Studies AND Film from Wesleyan, a historically uber-liberal school. – BriceBlaise 9 years ago
    • I think it was a combination of all the questions you've asked as well as the fact the The Avengers are supposed to be a team and what we've gotten is two movies where they barely are one. – Amna Siddiqui 9 years ago

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    Latest Comments

    My greatest requirement for “super” characters, whether they be heroes, villains, or anti-heroes is predictability. The hero can always be trusted to do the right thing and the villain the wrong thing, but the anti-hero could go either way. That is their appeal for me, in addition to their lack of perfection and general relatable character.

    Anti-Heroes and the Appeal They Have in Comics

    I think the best thing about Harry Potter is that its this world, but more. Everyone, at some point in their life, likes to think that there is a hidden magical world lurking in their garden or under their bed, a dream that Rowling seamlessly makes possible in the series, in a completely believable way.

    Why Harry Potter Appeals to Adults as Well as Younger Audiences

    The “fan service” thing really resonates with me since many of my favorite shows have morphed into half-dead imitations of what they used to be due to season renewals based off fan requests. I don’t mean to point fingers (ehm, Supernatural) but shows that are running a 5 season-long plot line that all interconnects and ends on a perfect note with everything neatly tied into a bow should not be continued just because its popular. The overall quality of literally everything degrades the longer the series is dragged out, because there is nowhere for the characters, the universe, or the authors to go except on and on, just for the sake of it, and get nowhere. Anyhow, the ending of a good show is sad, but the figurative dead horse it becomes is all the more tragic.

    Sherlock Holmes: To "Kill Off", or Not to "Kill Off"