![]() Valentina is the one who gives Yelena the order to kill Clint in “Black Widow,” but we still don’t know who Valentina is working for, or what she means to accomplish. government with no obvious purpose beyond free-floating malfeasance. “The Falcon and the Winter Soldier” ends with several antagonists - Wyatt Russell’s John Walker, Emily VanCamp’s Sharon Carter and Julia Louis-Dreyfus’ Valentina Allegra de Fontaine - still alive and vaguely ensconced within the U.S. The first: Wanda’s aforementioned journey between “WandaVision” and “Multiverse of Madness.” The second: Yelena Belova (Florence Pugh) getting marching orders at the end of “Black Widow” to kill Clint Barton (Jeremy Renner), which she abandons over the course of “Hawkeye” as she and Clint share their grief over the death of Natasha Romanoff. Instead, the MCU has conjured up 10 separate narrative threads with no clear relationship to each other, only two of which have thus far perpetuated through other titles. And even setting aside that Doctor Strange (Benedict Cumberbatch) was already learning about the multiverse five years before “Loki” in his 2016 feature debut, the multiverse hasn’t played a role whatsoever in any of the other Phase Four titles. So far, that’s all its been: Highly entertaining mayhem. That immediately fed into the animated Disney+ series “What If…?” as well as set the stage for the multiversal mayhem in the features “Spider-Man: No Way Home” and “Multiverse of Madness.” ![]() To be sure, the multiverse has played a critical role in several Phase Four titles, starting with the Disney+ series “Loki,” which concluded with a single timeline fracturing into an infinite number of alternate realities. Instead of the incremental escalation of the Infinity Saga, there is no sense yet of where Phase Four is heading - if, indeed, it is heading in any single direction. ![]() It’s provided audiences with the emotional rewards of longform storytelling previously restricted to television, and Disney with the financial rewards of a franchise capable of pumping out two to three blockbuster movies a year, raking in over $22 billion in global box office grosses in the process.īut while Marvel has dramatically increased its output for Phase Four, releasing 11 Disney+ series and theatrical features in a little less than 18 months, that sense of a larger cohesive narrative woven through each title has been missing. This kind of extended - and, for some, controversial - character evolution has been the promise of the Marvel Cinematic Universe since its inception. Fourteen months later, those questions have been resolved in the Marvel Studios feature film “Doctor Strange in the Multiverse of Madness”: Wanda heard variants of her boys from somewhere within the multiverse, and it causes her to break bad in pursuit of a way to get back to them. ![]()
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