“Deadpool & Wolverine” shows how the Marvelization of movie storytelling loses the plot
Last weekend I joined millions of people worldwide in helping “Deadpool & Wolverine” set records for the sixth-biggest film opening of all time. Chock full of chuckles, the movie unites Reynolds’ Deadpool with his one-time "X-Men Origins: Wolverine" co-star Hugh Jackman to revive the clawed cigar aficionado, last seen in 2017’s “Logan,” the film that was meant to close the “Wolverine” trilogy. “Deadpool & Wolverine” also pulls in threads from other “Avengers”-adjacent titles in the MCU, including the mostly forgettable “Fantastic Four” movies and TV's “Loki.” There’s a throwaway line from the villain that’s probably a tip of the hat to “She-Hulk,” fourth-wall-breaking jokes about Marvel heroes, and DC heroes, and a wink at Reynolds’ run of mediocre romantic comedies in the aughts. With 34 MCU films released over 16 years, it’s the most reliable brand around next to “Spider-Man” and “Star Wars.” As demand for these movies exploded, their plots stagnated. “They are sequels in name but they are remakes in spirit, and everything in them is officially sanctioned because it can’t really be any other way.” He continued, “That’s the nature of modern film franchises: market-researched, audience-tested, vetted, modified, revetted and remodified until they’re ready for consumption.” We need your help to stay independent Subscribe today to support Salon's progressive journalism There may be no better proof of that than the MCU’s current runaway success – for now.












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