Original Run: November 19th, 1994 – January 31st, 1998
Created by: John Semper, Bob Richardson, Avi Arad, Stan Lee
Directed by: Bob Richardson
Written by: John Semper, various
Based on: Spider-Man by Stan Lee, Steve Ditko
Music by: Kussa Mahchi, Jeremy Sweet, Shuki Levy, Joe Perry, Shuki Levy, Kussa Mahchi, Udi Harpaz
Cast: Christopher Daniel Barnes, Ed Asner, Jennifer Hale, Roscoe Lee Brown, Mark Hamill, Hank Azaria, Joseph Campanella, Martin Landau, Richard Moll, Don Stark, Dawnn Lewis, Majel Barrett, David Warner, Earl Boen
New World Entertainment Films, Genesis Entertainment, Marvel Enterprises, Fox, 65 Episodes, 23 Minutes (per episode)
After the success of the early ’90s X-Men cartoon on Fox, it was natural for the network to ask for more Marvel properties to adapt for their Saturday morning audience. The Spider-Man series was the longest running and most successful of these animated spinoffs.
While the X-Men show still stands as my favorite of these animated Marvel series, Spider-Man is a very, very close second and nearly as good.
The stories are generally well written and even if they have to take some liberties and alter the plots from the comics. This was due to time constraints and by trying to wedge in the debut of Venom really early in the series, which changes the overall timeline of events in Spider-Man’s life, greatly. Also, the showrunners probably wanted to get as many villains added into the mix, early on, so that each new episode felt fresh.
Spider-Man has a massive rogues gallery and this show utilized the core villains really damn well.
The tone of the cartoon is pretty perfect. Sure, there are cheesy and hokey bits in every episode because this is a kid’s cartoon but it does stay pretty true to the tone and style of the source material. Most importantly, it’s true to the characters and the writers obviously knew the Spider-Man mythos well.
I love this show and it’s still fun to have minimarathons of episodes. Honestly, to me, it’s one of the highlights of Disney+.
Pairs well with: the other animated Marvel television series from the ’90s.
Original Run: March 19th, 2021 – April 23rd, 2021
Created by: Kevin Feige, Louis D’Esposito, Victoria Alonso, Nate Moore, Kari Skogland, Malcolm Spellman
Directed by: Kari Skogland
Written by: various
Based on: Falcon by Stan Lee, Gene Colan; Bucky Barnes by Joe Simon, Jack Kirby; Winter Soldier by Ed Brubaker, Steve Epting
Music by: Henry Jackman
Cast: Sebastian Stan, Anthony Mackie, Wyatt Russell, Erin Kellyman, Danny Ramirez, Georges St-Pierre, Adepero Oduye, Don Cheadle, Daniel Brühl, Emily VanCamp, Florence Kasumba, Julia Louis-Dreyfus
Marvel Studios, Disney+, 6 Episodes, 49-60 Minutes (per episode)
Out of all the Marvel television shows that were originally announced for the Disney+ streaming service, this was the one I was most excited for.
That being said, I was severely disappointed and it kind of made me not really care about three of my favorite characters from the Marvel Cinematic Universe.
I don’t even know where to start with this awful mess but here I go.
I guess the biggest thing is that this show is woke as fuck, which I was pretty sure the MCU was gearing up to do with their entire franchise once Avengers: Endgame was over and they had the obvious intention of making Captain Marvel, an unlikable cunt, the focal point of the universe going forward. Now they’ve potentially switched gears due to immense backlash of the Brie Larson character and its lack of charisma or any real purpose other than trying to be a Mary Sue boss bitch. However, the suits at Disney want identity politics injected into Marvel even more so than what they’ve done with Star Wars.
Anyway, I guess the one big takeaway from this show is that I now know that Falcon is black. I never really noticed it before, so I guess it’s good that this show points it out to its audience about six times per episode.
The plot, which makes little sense, shows Falcon turn over Captain America’s shield to the US government even though Cap gave it to him because he earned it. But oh no! Falcon, who was given the endorsement from Cap himself, can’t be Captain America because he’s black. So the entire series deals with Falcon being mad that a black man can’t be Cap, even though he willingly gave that up when the torch was passed to him. So when another white dude gets named Captain America, suddenly Falcon is like, “Oh, hell no!” By the end, Falcon gets the shield back and is Captain America, so we’re right back where we started in the first place.
Additionally, whoever wrote this doesn’t understand these characters or understand actual morality. The reason I say this is because they have Falcon sympathize with the murdering terrorist girl over his own allies and against his actual mission. I get it, dude, she’s a confused teenager… but the fact of the matter is, despite whatever her fight is, she murders lots of people. But Falcon, he just wants to bring her over to the light.
Also, the terrorists have no real objective other than, “Shit’s fucked up! It’s America’s fault!” They have no plan, no actual goal, they just want to blow shit up and kill people.
Then when Falcon gives his big speech at the end, calling out politicians and leaders he blames for the terrorist girl’s tough life, he can only criticize and can’t give actual solutions. He’s just as stupid as the terrorists.
This show felt like it was written by a pissed off, rich, white teen girl that went down some social justice rabbit hole on TikTok.
Bucky had a good story when the show started but then it was dropped to deal with Falcon’s blackness. Then it was resolved at the end but you didn’t care about Bucky’s journey by that point.
Also, I was really looking forward to the return of Baron Zemo and finally seeing him in his mask. However, he only wears the mask in one episode for about five minutes.
Beyond that, Sharon Carter has a heel turn. It doesn’t make sense, it’s stupid and the only way to make it work is to reveal that she’s a Skrull. But then, the MCU fucked up the Skrulls too and made them babyfaces in Captain Marvel.
Sadly, this show is probably a clear sign of what’s to come from the MCU, which is hot garbage.
Like Disney’s Star Wars, I’m starting to lose interest with each new release. I guess I’ll have to see how bad things get with Loki when it debuts next month.
Pairs well with: white non-binary pineapple fembots on TikTok lecturing and shaming everyone, even though they’re not old enough to get a driver’s permit.
Original Run: October 23rd, 2020
Created by: Scott Frank, Allan Scott
Directed by: Scott Frank
Written by: Scott Frank
Based on: The Queen’s Gambit by Walter Tevis
Music by: Carlos Rafael Rivera
Cast: Anya Taylor-Joy, Bill Camp, Moses Ingram, Isla Johnson, Christine Seidel, Rebecca Root, Chloe Pirrie, Akemnji Ndifornyen, Marielle Heller, Harry Melling, Patrick Kennedy, Jacob Fortune-Lloyd, Thomas Brodie-Sangster, Marcin Dorocinski
Flitcraft Ltd., Wonderful Films, Netflix, 7 Episodes, 46-67 Minutes (per episode)
While everyone was hyping this up over the last few months, I wasn’t sure what to expect, as my opinion often times differs greatly from the modern consensus. However, I’m a big fan of Anya Taylor-Joy’s work ever since first seeing her in The Witch and Split.
I’m glad to say that this was actually damn good. In fact, it was kind of refreshing and it should be held up as a great example of how to tell the story of a strong female character.
The 2010s were the decade of the Mary Sue, especially in regards to popular cinema like the Disney Star Wars movies and Marvel films like Captain Marvel, where female characters are the best at everything by default and every other character in the story has to constantly reassure them that they’re the greatest, the bestest and just f’n perfect.
The Queen’s Gambit ignores that terrible trend and it gives us a young girl that has to overcome a really difficult life, her own failures, her own faults, her addictions and the rivals that are presented like real mountains to climb and not just annoying obstacles.
Additionally, this doesn’t build up the woman by trashing every male character and making them all awful. Just about every character is handled with care and comes off as truly genuine. There are a lot of great male characters in this series and we’ve gotten to a point in entertainment where that’s really rare.
Frankly, this is how you tell a feminist story and with that it’s not specifically a feminist story, as much as it is an inspirational story regardless of the viewer’s gender.
The Queen’s Gambit isn’t just a great story, executed exceptionally well on screen by the director and his crew, it’s also highly emotional due to how goddamned talented the cast is.
The heavy lifting is really done by Anya Taylor-Joy, though, and she proves, once again, that she’s quite possibly the best actress of her generation. She also recently won the Golden Globe, her first major award, for her performance in this. While I now take major awards very lightly, I can’t think of anyone who deserves it more than her for this performance.
Man, I really loved this show and it ends pretty f’n perfectly. I’m glad that it was a limited series, as you can’t really do anything else with it and you don’t need to.
Pairs well with: other recent period dramas.
Original Run: January 15th, 2021 – March 5th, 2021
Created by: Jac Schaeffer
Directed by: Matt Shakman
Written by: various
Based on: Scarlet Witch by Stan Lee, Jack Kirby; The Vision by Roy Thomas, John Buscema
Music by: Kristen Anderson-Lopez
Cast: Elizabeth Olsen, Paul Bettany, Kathryn Hahn, Teyonah Parris, Randall Park, Kat Dennings, Evan Peters, Debra Jo Rupp, Fred Melamed
Disney Platform Distribution, Marvel Studios, Disney+, 9 Episodes, 29-47 Minutes (per episode)
There’s been some criticism over the last few years that movies set within the Marvel Cinematic Universe have become too formulaic and predictable. Well, with the announcement that there would now be MCU television series streamed exclusively on Disney+, the possibility of breaking the mold and doing something very different had apparently arrived.
WandaVision is pretty ambitious and it doesn’t fit into any mold that came before it, MCU or otherwise. Because of its originality, I at least found it refreshing, interesting and intriguing, as it was initially hard to figure out where it could go.
However, its attempts at being so different also kind of bogged it down in the first half of the season.
The show recreates the world of sitcom television through multiple eras. As each episode progresses, we see WandaVision through a new decade’s lens. It starts with two episodes that take place in what appears to be late ’50s/early ’60s sitcoms then moves on to the ’70s, ’80s, ’90s and ’00s. It was a cool concept but it started to get tiresome by episode three. Thankfully, the show evolved beyond just the sitcom format at the end of episode three and started to allow the regular Marvel Cinematic Universe to creep in, as it began to show the real world outside of the sitcom setting.
By episode four, we’re introduced to new characters for the show, many of which we’ve seen before in the films. This is where things started to be revealed and the mystery behind what was going on got really interesting. While there were some Easter eggs and clues in the first three episodes, the fourth one is where everything took shape and got the viewer grounded in the concept.
For the most part, I really liked this show. It has its hiccups and faults but the chemistry between Elizabeth Olsen and Paul Bettany was so damn good that it kind of overshadows everything else that one might find faulty or annoying.
I also really liked Kathryn Hahn in this but then I like her in everything. It was really cool seeing her get to do something so large beyond just comedy, though. She obviously does the comedy parts well but when she has to get serious and more dramatic, she proves she can hang with actors on the same level as Olsen and Bettany.
Additionally, I really liked Teyonah Parris, as the adult version of Monica Rambeau, who becomes another version of Captain Marvel in the comics. She’s pretty solid in this show and really carries the production on her back in the real world scenes. Also, this show serves as her superhero origin story, as we see how she gets her powers towards the end of the series.
WandaVision was a pretty cool concept and it was mostly executed well. While I’m familiar with the comics well enough to kind of know what was happening from the get go, the show still had some good surprises that kept my interest till the end.
Pairs well with: other films and television series that take place in the MCU.
Original Run: May 10th, 2019 – May 31st, 2019
Created by: Sacha Jenkins
Directed by: Sacha Jenkins
Written by: Paul Greenhouse, Sacha Jenkins, Peter J. Scalettar
Music by: J. Ralph, Wu-Tang Clan
Cast: Wu-Tang Clan, various
Showtime, 4 Episodes, 58-59 Minutes (per episode)
I don’t know why I didn’t know about this documentary series until a few weeks ago. I’m a lifelong fan of Wu-Tang Clan and if I’m being honest, they’re one of the few music groups that actually had an effect on my life. They forever changed hip-hop music and culture and since that was something I was a part of in my younger years, it changed the way I was doing things and my creative approach to making my own music.
This was actually quite great and I enjoyed this immensely. It really goes through the history of Wu-Tang before they were even formed up until now.
With this, you get to have an intimate view into their lives, past and present, you meet their families and you get to hear their personal stories about their struggles and triumphs.
You also learn a lot about the group behind the scenes and how even with their differences over the years, they always find a way back home to each other.
For fans of the group, there are some sad, disheartening moments in this. However, by the time you get to the end, you really understand their bond and it’s actually really inspirational to see how they still come together and unify as a family. This sort of unity is unheard of in the music industry, especially when this group has now existed for three decades.
Pairs well with: the Hulu drama series about Wu-Tang Clan’s lives, as well as other music documentaries.