Perhaps no singular series has defined the modern era of filmmaking more than the Marvel Cinematic Universe, otherwise known as the MCU. Starting in 2008 with the original Iron Man, this franchise has gone on to comprise over 30 entries and counting – consisting of a mixture of both films and television shows. Not only is the cumulative box office gross of this franchise mind-boggling, but so is the cultural impact it has had.
Despite this, the MCU is perhaps the singularly best example in recent memory of the importance of a satisfying conclusion and the necessity of letting a story end… by being a cautionary tale. So, let’s discuss why this is, what went wrong, and what we should learn from it about telling our own stories.
An Inauspicious Start
While known as a behemoth in the modern era, it’s important to remember that before 2008, the general public had never heard of the MCU – and superhero films, while still common, we’re not yet the juggernaut that they would soon become. Sure, there had been very notable box office successes, from the Sam Raimi Spider-Man trilogy to Fox’s X-Men franchise and even the – at the time – recent Christopher Nolan Batman films, but nearly all of these were standalone projects that (due to the success of their original entry) eventually garnered sequels.
Another important factor was that each of these franchises were entirely distinct and separate from one another. The characters and events in the Spider-Man movies had no bearing or relation to what was happening in the X-Men franchise. Some of this was no doubt due to the fact that the rights to these characters were held by entirely different studios (Sony and Fox) who would’ve had no reason to work together.
But, even if they weren’t, producers still had no reason to think that audiences interested in one franchise would necessarily be interested in another – after all, “superhero films” weren’t really a genre as much as they were an occasional theme within already-existing ones (action, sci-fi, etc). As a result, traditional wisdom at the time held that people who like Spider-Man don’t necessarily like the X-Men – each was its own distinct thing, catering to different audiences. (This was of course more true for the general public and less applicable to existing comic book fans, who would no doubt be interested in seeing the adaptation of many a beloved franchise hit the silver screen.)
But going back to the fragmentation of characters – part of the reason that so many various studios held the rights to the Marvel roster revolved around the fact that, during the 90s, Marvel Comics was in quite the slump. Fearing another bankruptcy, the studio was quick to sell off the film rights to any and all of its most famous characters. At the time, given that Marvel had absolutely zero interest or ability to enter the world of filmmaking, this was a good way to keep both the characters and comics on people’s minds (while also lining their pockets and keeping the business afloat). That said, after nearly a decade of seeing their characters and franchises succeed with flying colors in theaters, Marvel began toying with the notion of attempting some of that same “magic” for themselves.
In this way, it would allow them to keep complete creative and financial control. Being that they were the ones with decades of experience and lore to draw on, it only made sense. So, Marvel took a relatively large bet on themselves and gathered the funds to independently produce their first superhero feature film. With the cost required to bring such a spectacle to life – from visual effects to well-known actors – the studio was gambling on its ability to please and entertain audiences. In fact, if the film failed, there was a good chance that the entire Marvel Comics empire could as well.
But they had an even bigger problem – as mentioned previously, most of their popular characters were already owned by other studios at this point. With no access to some of its biggest draws, Marvel was forced to think outside the box and look deeper into their catalog – to find relatively obscure characters that could resonate with modern audiences. After much debate, it was eventually decided that Iron Man – a story about a tech billionaire who builds a suit of mechanical armor – would be the first choice.
Without getting into the weeds on this project (which would be very easy to do), I’ll just say that the combination of a fantastic script, wonderful direction, and the inspired (soon-to-be iconic) choice of Robert Downey Jr. as the titular Tony Stark, eventually led to this film’s thunderous success.
Because of this, Marvel quickly felt the confidence to continue along with their true master plan…
Building a World
You see, unlike most other studios, who only held the rights to a handful of Marvel characters and villains, Marvel themselves had access to a very deep catalog of both. While perhaps not the “top tier” known to the general public, there were plenty of undiscovered gems just waiting to be adapted to film. And Marvel had every intention to do just that – releasing a series of standalone films, each centered on a different comic book hero. The Incredible Hulk, Captain America, and Thor – each was visually and stylistically distinct while also enticing audiences with unique stories and memorable characters.
While each of these films were successful to varying degrees in their own right, this was all part of a much larger and more important plan. You see, marvel had decades of experience in telling superhero stories. They knew that while any individual franchise could be a big success on its own, the true spectacle came from crossovers. These were events – singular books or even entire series – which saw their various heroes meeting up with one another to either defeat a greater foe or come to blows themselves. These sorts of stories were big sellers in the comic book industry and, thus, it only stood to reason that the exact same idea could be applied to the medium of film.
Don’t get me wrong: the idea of two already-known characters interacting with one another was not new. The Universal Monsters franchise did it back in the 30s and 40s, and the early 2000s was rife with crossovers such as Alien vs Predator and Freddy vs. Jason. Still, these were usually standalone films that relied more on the novelty of seeing franchises intersect than on any larger narrative or thrust. Effectively, they were fun gimmicks but little else.
But Marvel had an entirely different idea of what a crossover could be: beyond upping the stakes (with villains that required the combined powers of multiple heroes to defeat), crossovers also allowed the creation of a larger, interconnected world. The fun of seeing the wholesome Steve Rogers bounce off the arrogant Tony Stark and the excitement of setting up of larger plot threads yet to come, as with introducing Thanos during the ending credits of the first Avengers. A true Marvel Cinematic Universe.
I’m not giving anything away by saying that this strategy paid off in spades. The first Avengers (in 2012) was a smashing success and began Marvel on a hot streak of profits and storytelling that would last nearly a decade. Year after year, 2 to 3 films would hit theaters – each usually revolving around an entirely different character. Then, every few years, there would be a large team-up film full of crossovers and spectacle. This continued all the way through 2019, culminating in perhaps the biggest cinematic spectacle in history.
Infinity War and Endgame
The practice of splitting a final entry in a franchise into two separate parts had already been done many times before – from the Harry Potter franchise to Twilight. Usually, this was so that a studio could milk an ending franchise as much as possible before it disappeared. After all, there would be no new entries – and, thus, no new chances to make money from these characters. (Which is not to say that there was never a storytelling reason to split a final entry in twain, as sometimes the narratives did need a bit more room to breathe. Just that, on the whole, this is more often than not a financial gimmick rather than something warranted by the story itself.)
However, for the final two films in what Marvel had now come to call “The Infinity Saga,” this was most definitely not the case. Both of these films contained an appearance by nearly every Marvel character introduced to date. Not only that, their narratives were intertwined in a large, galaxy-spanning storyline with stakes higher than anything seen in the franchise before. It truly was the culmination of a decade of storytelling across over 20 films. To say that nothing like this had ever been attempted in film before was an understatement.
Not only were characters and plot threads from previous films expanded upon, but they were also critical to the success of this narrative. Older villains and events took on greater importance, particularly as the idea of time travel was introduced. The spectacle on display was astounding and, when coupled with the deaths and effective retirements of many of the franchise’s most beloved characters, it truly felt like an amazing capstone to one of the grandest stories ever told in moving pictures.
And audiences agreed! From both critical and financial perspectives, these two films did spectacularly – becoming two of the highest-grossing films of all time. Audiences were not only thrilled, they were satisfied with a story well told. They felt that their investment in both this world and its characters was rewarded and they were witnessing something truly special. Because they were.
[Note: While there was technically one more film in the third Phase of the MCU, Spider-Man: Far from Home, that movie felt more like an epilogue than a full continuation. It let us spend time with a character we love as he dealt with the passing of a close friend and mentor – effectively allowing the audience to grieve alongside him for someone we’ve come to know and love.]
Nevertheless, it’s safe to say that the Marvel Cinematic Universe had done something no one could’ve even dreamed about back in 2008: They not only changed the way that movies were made, by introducing the idea of large, interconnected worlds, but they had also pulled off one of the greatest magic tricks in movie history. They managed to take a back catalog of B-tier characters and turn them into some of the most beloved and iconic to ever grace the screen. No longer were Iron Man and Captain America known only to fans of the comics, they stood alongside Batman, Superman, and Spider-Man as some of the all-time greats.
In essence, Marvel had truly done the impossible. Despite entering the film industry as a long shot, they managed to grow into one of (if not the) largest powerhouses around – from both a spectacle and financial perspective (even managing to be acquired by Disney in the process).
When taken together, these two films were the perfect note to end on and a wonderful way to cement an everlasting legacy in cinematic history.
Covid and Continuation
[Note: While all of these films are now a few years old, there will be spoilers for major plot events in the MCU through 2022 in the following section. Just a heads up.]
Of course, Marvel and Disney never had any intention of killing their golden goose – especially after what were some of the most financially successful films in history. The idea was always to continue on in new directions with new characters, along with some existing ones. At the same time, there was also the idea of expanding the MCU to incorporate television shows in a way never previously done.
While Netflix had a string of successful Marvel shows, like Daredevil, and Disney had even done the same to a smaller degree with Agents of Shield on ABC, most of these were quite far removed from the rest of the larger MCU. Disney’s new idea was to make shows that directly impacted their movie counterparts and were integral parts of the narrative. This was all to be done alongside a continued output of around 3 feature films a year.
Well, that was the plan until…
The 2020 coronavirus pandemic occurred. At that point, all of Disney’s plans were ground to a halt, alongside most of the rest of the industry. When things did eventually began to resume, the public had now had a little over a year to “mourn” the passing of the MCU and come to terms with its conclusion. But Disney wouldn’t let something silly like consumer demand stop “progress” – so in early 2021, it was the shows that trickled out first (starting with WandaVision), followed soon after by some of the long-delayed feature films (with Black Widow being the first return to the big screen). While some people were still excited by this at first – a complete drought of new content from the industry for nearly an entire year will do that to you – it quickly became apparent that something felt… off.
The stories didn’t feel as well thought out. They didn’t feel as important or impactful. Not only were audiences now missing iconic characters such as Iron Man and Captain America, the new characters brought in to fill the void just didn’t have the same pizzazz. The Eternals failed to connect with people and even beloved characters such as Black Widow did very little to excite them – especially when you consider that her entry was a prequel that took place prior to her death in Infinity War. (That she should have had her own entry long before now, and certainly before her death, is an entirely different argument.)
So, what was wrong, exactly? Well, there are many potential reasons why Phase 4 didn’t seem to have the same level of excitement or intrigue as the previous 3. As mentioned, killing off some of your major stars, while one hell of a storytelling device, does leave you with a bit of a shackle around your wrists. As does watching your heroes take down the biggest threat imaginable – effectively, leaving no way for the story to “up” the stakes. Because of this, going back to smaller-scale, individualized stories feels a bit like a downgrade – particularly when they involve characters you’ve never heard of before.
Don’t get me wrong, I completely understand the importance of setting up a new batch of heroes to replace the ones you’ve lost – but this sort of introductory phase works far better at the beginning of a franchise than it does so far in. After all, audiences were willing to accept these types of things when they felt that they were all leading to a larger whole (be that the first Avengers film or the final entries in Phase 3). But with Phase 4, Marvel was forced to do a “soft reset.” Sure, all of the previous events occurred, but they were now over. As a result, they now had to start setting up a new threat on the horizon – something that it would likely take another decade to build up to. Not only is that a slow and laborious process, however necessary (as skipping straight to the big threat removes all of the weight and anticipation – just ask DC), it’s one they managed to bungle along the way.
Phase 4, while introducing elements of the multiverse (and kick-starting an entire slew of multiverse films within the marketplace), did very little to give audiences much of an idea of where the overall story was going. Moreover, Marvel had decided to do away with the traditional idea of having an Avengers film cap off every Phase. Instead, they would now only be two Avengers films… and they would both take place at the end of Phase 6. Clearly, they were attempting to replicate what had been done with Infinity War and Endgame, but put it on an even grander scale – now requiring all three Phases to build to this one event.
Of course, that also requires your audience to be just as invested and interested in this world (and these new characters) as they were in the original… and for quite some time. I suppose it’s possible that Marvel thought that, instead of having the occasional Avengers films, the television shows would now act as the glue that kept the entire thing together. Unfortunately for them (and us), the sheer glut of films and shows – each with middling quality and each only tangentially (if it all) connected to each other – seemed to have the opposite effect. After over a decade of Marvel, and having already experienced a satisfying end, people were just kind of over the MCU.
Now, that doesn’t mean that there weren’t still successes: like Spider-Man: No Way Home, which successfully managed to combine all three sagas of Spider-Men into a singular film. But, I also think it can be argued that that film succeeded more on its own merits (and the nostalgia for the previous entries) more than it did as a part of the larger narrative of the MCU. In effect – people weren’t showing up to watch that film set up the next big villain of the franchise, but rather to see the return of characters and actors they loved from years past.
For a franchise that has always relied heavily on building anticipation for the next entry, Marvel in Phase 4 and on has found itself in the precarious position of facing waiting interest from audiences.
Why is this? Well…
All Stories Need to End
In what is perhaps one of the least surprising things ever said: all stories need to have a beginning, a middle, and an end. It’s just basic structure. A story needs to have finality to have weight and importance. To leave an impression, it needs to mean something – and in many cases, this meaning is often imparted only by being able to view the completed work as a whole. [While there are certain exceptions, such as long-running daytime soap operas, it can also be argued that those are more akin to “disposable media” than they are traditional film and television.]
No matter how grand or epic your tale is, it always needs to conclude. The Lord of the Rings, while one of the most beloved trilogies in history (and with a length surpassing many others), only became so beloved by its ability to deliver an emotionally satisfying conclusion. The same is true for the Star Wars saga (which consists of six amazing films… and absolutely no more).
But this lesson isn’t just true in franchises – it’s equally true in individual films or even single episodes of television. Having a proper ending allows the audience catharsis and encourages them to reflect upon the choices, characters, and events that they just witnessed. It allows them to truly absorb and appreciate the material. In effect, it adds meaning.
With the MCU, audiences had over a decade to get to know this world and its characters. They felt invested and involved as they watched the plotlines hurtle toward their inevitable conclusions and as their favorite characters grew and changed from the struggles they had to overcome. They were encouraged by the promise that all of this meant something. That it was going somewhere. “It’s all Connected” wasn’t just a marketing slogan, it was a promise. A promise that every movie meant something. That they were chapters of an epic story – one that would reward patient and loyal viewers with a satisfying conclusion.
And the truth was, they were rewarded. The MCU did get an incredible conclusion that justified its methodology and promises. It wasn’t just lightning in a bottle, it was lightning in over 20 bottles, packaged together to form an incredibly cohesive whole from a variety of disparate sources. While not every film was heralded as a masterpiece, the whole was easily greater than the sum of its parts.
It’s perhaps no surprise, then, that the idea of extending what should’ve been a completed story, far beyond its natural conclusion, would result in a disconnect with audiences. Much like adding a single unnecessary sequel in a completed franchise is a bad idea, the idea of adding multiple additional Phases to a story that felt complete was just… wrong.
And while I will admit that comic books have a long-held precedent for having large events occur and then effectively “resetting the universe” to do it all again, this is one of those areas where the difference between mediums becomes crystal clear. Comic books and their form of storytelling lend themselves to this type of storytelling – film and visual media do not. Even long-running television shows eventually either need to reach a satisfying conclusion or live long enough to find themselves become objects of ridicule or even disdain by those that ones that once enjoyed them.
Conclusion
Perhaps the best way to sum up the above is to say that, in choosing to artificially extend and continue a story that has reached its natural conclusion, studios and creators show a distinct lack of respect for the intelligence (emotional or otherwise) of their viewers. Audiences aren’t stupid – and they can tell when there is a narrative justification for a new entry… or when it is merely being made to continue to line the pockets of those involved. [And, yes, I am entirely aware that television and film are industries built upon making a profit. This is not to say that the pursuit of profit is a bad thing, on its face, but rather that it’s always better as the result of a story well told than as the primary driving engine.]
After all, throughout history, the mediums in which we humans have managed to tell stories to one another have changed. From oral traditions to the written word, from radio plays to the recorded image – humanity has always entertained itself and learned through the art of storytelling. And, while each medium has strengths and weaknesses all its own, each also relies on the fundamental truths that belay all good narratives – one of the most important of which being that all stories must come to an end.
This is because finality is a defining feature of not just stories, but of life itself. Each of our own lives is a story told to us, by us, from our own perspectives – and one that must inevitably end. This notion is baked into our very DNA. Consciously or not, it’s something that just clicks with each of us and that feels wrong when it’s ignored.
So, it’s for all these reasons – the lack of catharsis, the stripping of meaning, the feeling of greed (either financial or narrative) on the behalf of the creator, and the direct opposition to our natural inclinations – that forcibly continuing a story past its natural conclusion serves to do nothing but to sour the taste in the mouth of the viewer. It also retroactively lessens the legacy of what has come before: after all, while no one will ever force audiences to re-watch films they don’t enjoy, they will always know that the “ending” to the story was never really an ending at all – just a waystation along the way where are they now have to make an active decision to stop. The intentionality behind the story is stripped as a result of this, leaving all of it to feel less impactful and less meaningful.
So, despite the cliché nature of it, I will end with a phrase whose timelessness knows no bounds and whose truth is just as relevant today as ever:
All good things must come to an end.
Even this article.
Chris