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From ‘Wandavision’ to ‘Thor’: 7 Saddest Endings in the Marvel Cinematic Universe, Ranked

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From ‘Wandavision’ to ‘Thor’: 7 Saddest Endings in the Marvel Cinematic Universe, Ranked

[Editor’s note: The following contains spoilers]Every story deserves a happy ending, but we all know that’s not how life works. The Marvel Cinematic Universe is known for its vibrant, cheerful stories and characters—you expect to leave an MCU property with a smile on your face and a skip in your step. While many MCU films and shows like the Guardians of the Galaxy films and Thor: Ragnarok to name a few, capture this tone, on occasion the franchise has been known to switch things up a bit.

At the risk of being a downer, let’s take a look at the saddest endings in the franchise, across films and shows. These are heartbreaking, melancholic moments that continue to haunt us through the closing credits. The ranking is based on the final scenes and not the mid-/post-credit scenes since those scenes are often tied to other properties. Get your tissues ready.

RELATED: 7 MCU Movies That Would Have Been Better As TV Shows

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7. Thor

Thor was a Shakespearean look at a superhero origin story, and it included all the tragicomedy that comes with the Bard’s style of storytelling. In the third act of the film, Thor (Chris Hemsworth) goes head-to-head with his resentful brother Loki (Tom Hiddleston) which ends with the latter seemingly falling to his death. On top of that, Thor’s access to Earth—the Bifrost—has been destroyed in the battle, cutting him off from his newfound love Jane Foster (Natalie Portman). Despite Thor and his family attending a celebratory meal at the end of the film, the scene is tinged with a sense of melancholy. Nothing will be the same for Thor again. He has evolved from being an impulsive young warrior at the start of the film to a mellow and responsible prince. He’s learned some hard truths about his family along the way and over the course of Thor’s solo trilogy, he will deal with these revelations and so much more. The film still ends on a hopeful note, though. Thor’s family may be irreparably fractured, but his return to Earth won’t be. The Bifrost is slowly repairing itself and Jane, an astrophysicist, is searching for the God of Thunder. There is hope in despair for Thor.

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6. Agents of S.H.I.E.L.D.

It’s still hard to fathom how Agents of S.H.I.E.L.D. has a happy ending and still feels like such a downer. Throughout the spin-off show’s final season, the team is aware of a disconcerting prophecy that this will be their last mission together. They’ve stuck together through thick and thin, through betrayals and resurrections, through trips to the past and the future. The agents make a great go of it, and in the end, they survive and they save the timeline from the Chronicoms. Each of the agents get individual happy endings—Alphonso ‘Mack’ Mackenzie (Henry Simmons) remains director of S.H.I.E.L.D. with his partner Elena ‘Yo-Yo’ Rodriguez (Natalia Cordova-Buckley), his top agent; Jemma Simmons (Elizabeth Henstridge) and Leo Fitz (Iain De Caestecker) retire to raise their daughter; Daisy Johnson/Quake (Chloe Bennet) becomes a space traveller alongside her long-lost sister and boyfriend; Melinda May (Ming-Na Wen) becomes an academy instructor, while Phil Coulson (Clark Gregg) embraces his new life as a Life Model Decoy, and gets an upgraded version of his beloved car Lola. And yet, when they meet—via VR—the former professional family are awkward with each other; out of touch and uncomfortable. The final reunion plays out like the worst school reunion you’ve attended—these people were part of each other’s lives for a long time, but now they’ve moved on. It was a surprisingly depressing way to bid farewell to a group that was once so tight. Saddest happy ending ever.


5. Jessica Jones

Jessica Jones (Krysten Ritter) deserved a happy ending. In the series, she goes through hell and back and struggles because of it. Every time it seems Jessica is getting her life back on track, something—or someone— comes along and derails her plans. In the final season, serial killer Gregory Salinger (Jeremy Bobb) keeps trying to defame Jessica’s heroism, but the real villain turns out to be Jessica’s adoptive sister Trish (Rachael Taylor). Trish, who’d coveted superpowers after seeing what a hero Jessica had turned into, epitomizes the phrase, ‘the path to hell is paved with good intentions’. She transforms into a violent vigilante after the murder of her mother and Jessica has to stop Trish herself. Jessica then has to watch her best friend imprisoned in the underwater prison, the Raft. This leads to Jessica giving up on being a superhero and a private investigator. Worse, in the final moments of the show, Jessica hears the voice of the supposedly dead mind-controlling villain Kilgrave (David Tennant). Even supporting characters like Jeri Hogarth (Carrie-Ann Moss) and Malcolm Ducasse (Eka Darville) have to face up to harsh truths about themselves. Jessica Jones was always a bold show, and it didn’t pull any punches in ending on a memorable, if an extremely low, note.


4. Spider-Man: No Way Home

Not many people had a sad ending in Spider-Man: No Way Home on their bingo cards. After battling villains from across the multiverse, one would have expected Peter Parker/Spider-Man (Tom Holland) to return home triumphant. But that wasn’t to be. Despite the MCU Spider-Man trilogy’s upbeat tone, the threequel takes a darker turn. Peter, in an effort to reverse the damage done after all of his interruptions to Dr. Steven Strange’s (Benedict Cumberbatch) spell, asks Strange to make everyone forget Peter has ever existed. In the final scene in No Way Home, Peter looks for his best friend Ned (Jacob Batalon) and his girlfriend MJ (Zendaya) to keep his promise and remind them of who he is—instead, Peter sees that the two of them are incredibly happy and on their way to realizing their dream of attending MIT and so, Peter drops the idea. Peter is a teenager and his entire solo arc revolves around how his life is intertwined with his Aunt May (Marisa Tomei) and his friends. For someone like Peter to end up completely alone in a different city and away from his beloved ecosystem, on the heels of losing May, is a crushing blow to the character, and the audience who have loved Peter’s effervescent optimism.


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3. WandaVision

One of the Avengers who’s really had it rough is Wanda Maximoff/Scarlet Witch (Elizabeth Olsen). Wanda loses her parents in childhood, then her brother Pietro (Aaron Taylor-Johnson) and her boyfriend Vision (Paul Bettany) are both killed in different battles. The woman deserves a break, and gives herself one in WandaVision. Whether one knew the recent history of the character in the MCU, or her long-standing comic book arc, it is obvious from the start of the show that Wanda’s idyllic life in Westview is destined for disaster. But it still hurts to see her lose everything all over again. In the final moments of the Disney+ show, Wanda has to reckon with the fact that, in her grief, she had mind-controlled all the residents of Westview and effectively held them hostage. Wanda has become a villain, someone she herself would have hated. And her confrontation with the denizens of Westview comes after Wanda removes her Hex and erases her version of Vision and their twin children—the last modicum of a family she had. Wanda and Vision’s goodbye is moving and effective but tinged with a little bit of hope. The two have indeed said goodbye before, so here’s hoping another hello is on the horizon.


2. Captain America: The First Avenger

Set during the Second World War, audiences watching Captain America: The First Avenger were aware that Steve Rogers/Captain America (Chris Evans) would be brought to the present-day somehow, but we didn’t expect it to be so heartbreaking. After receiving the supersoldier serum, Steve spends two years fighting in the war alongside the Howling Commandos and Peggy Carter (Hayley Atwell), all the while Steve and Peggy silently develop a crush on each other. Just when Peggy makes her feelings for Steve clear, he has to sacrifice himself to save the world. Peggy and Steve’s final scene together echoes how brave both are as they come to terms with Steve’s decision. Their respect for each other is as obvious as the promise of their future that could never be (or so we thought at the time!). The film’s heartbreaking finale is two-fold—Peggy putting on a brave face as the war ends and she looks on wistfully at a picture of ‘skinny Steve’, and later when Steve wakes up in the present and realizes he’s lost Peggy, and his friends, forever. We can all admit, unrequited love stories are fantastic tear-jerkers and Peggy and Steve’s film-long pining for one another is a tragic way to conclude Steve’s MCU introduction.


1. Avengers: Infinity War

The ending of Avengers: Infinity War was a shock. Who in the audience wasn’t left wondering, ‘Did Marvel just do that?’ Did half the MCU, including the majority of the Avengers, actually get dusted by Thanos? Yes, they did. The build-up to the final moments is distressing and brilliantly reflects the despair that enveloped fans through the end credits. Each character’s death is crushing in its own way. Bucky Barnes/Winter Soldier’s (Sebastian Stan) voice cracking as he is the first to be dusted; Sam Wilson/Falcon (Anthony Mackie) disappearing alone just as James Rhodes/War Machine (Don Cheadle) comes looking for him; T’Challa/Black Panther (Chadwick Boseman) vanishing before a shocked Okoye (Danai Gurira); Wanda Maximoff looking almost relieved as she joins her recently dead beloved Vision; even the usually bubbly Guardians of the Galaxy look despondent that they are dying, especially Groot (Vin Diesel) who finally calls Rocket Raccoon (Bradley Cooper) ‘dad’. Of course, the horror is brought home by young Peter Parker’s agonizing death scene, played brilliantly by Tom Holland. The remaining Avengers, as well as the audience, are left with the realization that for the first time Earth’s Mightiest Heroes have lost, and the consequences are devastating. The ending of Infinity War was a gut-punch few MCU fans saw coming.

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Review: SAMARITAN, A Sly Stallone Superhero Stumble

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Review: SAMARITAN, A Sly Stallone Superhero Stumble

Hitting the three-quarter-century mark usually means a retirement home, a nursing facility, or if you’re lucky to be blessed with relatively good health and savings to match, living in a gated community in Arizona or Florida.

For Sylvester Stallone, however, it means something else entirely: starring in the first superhero-centered film of his decades-long career in the much-delayed Samaritan. Unfortunately for Stallone and the audience on the other side of the screen, the derivative, turgid, forgettable results won’t get mentioned in a career retrospective, let alone among the ever-expanding list of must-see entries in a genre already well past its peak.

For Stallone, however, it’s better late than never when it involves the superhero genre. Maybe in getting a taste of the MCU (Marvel Cinematic Universe) with his walk-on role in the Guardians of the Galaxy sequel several years ago, Stallone thought anything Marvel can do, I can do even better (or just as good in the nebulous definition of the word).

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The property Stallone and his team found for him, Samaritan, a little-known graphic novel released by a small, almost negligible, publisher, certainly takes advantage of Stallone’s brute-force physicality and his often underrated talent for near-monosyllabic brooding (e.g., the Rambo series), but too often gives him to little do or say as the lone super-powered survivor, the so-called “Samaritan” of the title, of a lifelong rivalry with his brother, “Nemesis.” Two brothers entered a fire-ravaged building and while both were presumed dead, one brother did survive (Stallone’s Joe Smith, a garbageman by day, an appliance repairman by night).

In the Granite City of screenwriter Bragi F. Schut (Escape Room, Season of the Witch), the United States, and presumably the rest of the world, teeters on economic and political collapse, with a recession spiraling into a depression, steady gigs difficult, if not impossible, to obtain, and the city’s neighborhoods rocked by crime and violence. No one’s safe, not even 13-year-old Sam (Javon Walker), Joe’s neighbor.

When he’s not dodging bullies connected to a gang, he’s falling under the undue influence of Cyrus (Pilou Asbæk), a low-rent gang leader with an outsized ego and the conviction that he and only he can take on Nemesis’s mantle and along with that mantle, a hammer “forged in hate,” to orchestrate a Bane-like plan to plunge the city into chaos and become a wealthy power-broker in the process.

Schut’s woefully underwritten script takes a clumsy, haphazard approach to world-building, relying on a two-minute animated sequence to open Samaritan while a naive, worshipful Sam narrates Samaritan and Nemesis’s supposedly tragic, Cain and Abel-inspired backstory. Schut and director Julius Avery (Overlord) clumsily attempt to contrast Sam’s childish belief in messiah-like, superheroic saviors stepping in to save humanity from itself and its own worst excesses, but following that path leads to authoritarianism and fascism (ideas better, more thoroughly explored in Watchmen and The Boys).

While Sam continues to think otherwise, Stallone’s superhero, 25 years past his last, fatal encounter with his presumably deceased brother, obviously believes superheroes are the problem and not the solution (a somewhat reasonable position), but as Samaritan tracks Joe and Sam’s friendship, Sam giving Joe the son he never had, Joe giving Sam the father he lost to street violence well before the film’s opening scene, it gets closer and closer to embracing, if not outright endorsing Sam’s power fantasies, right through a literally and figuratively explosive ending. Might, as always, wins regardless of how righteous or justified the underlying action.

It’s what superhero audiences want, apparently, and what Samaritan uncritically delivers via a woefully under-rendered finale involving not just unconvincing CGI fire effects, but a videogame cut-scene quality Stallone in a late-film flashback sequence that’s meant to be subversively revelatory, but will instead lead to unintentional laughter for anyone who’s managed to sit the entirety of Samaritan’s one-hour and 40-minute running time.

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Samaritan is now streaming worldwide on Prime Video.

Samaritan

Cast
  • Sylvester Stallone
  • Javon ‘Wanna’ Walton
  • Pilou Asbæk

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Matt Shakman Is In Talks To Direct ‘Fantastic Four’

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According to a new report, Wandavision’s Matt Shakman is in talks to direct the upcoming MCU project, Fantastic Four. Marvel Studios has been very hush-hush regarding Fantastic Four to the point where no official announcements have been made other than the film’s release date. No casting news or literally anything other than rumors has been released regarding the project. We know that Fantastic Four is slated for release on November 8th, 2024, and will be a part of Marvel’s Phase 6. There are also rumors that the cast of the new Fantastic Four will be announced at the D23 Expo on September 9th.

Fantastic Four is still over two years from release, and we assume we will hear more news about the project in the coming months. However, the idea of the Fantastic Four has already been introduced into the MCU. John Krasinski played Reed Richards aka Mr. Fantastic in Doctor Strange in the Multiverse of Madness. The cameo was a huge deal for fans who have been waiting a long time for the Fantastic Four to enter the MCU. When Disney acquired Twenty Century Fox in 2019 we assumed that the Fox Marvel characters would eventually make their way into the MCU. It’s been 3 years and we already have had an X-Men and Fantastic Four cameo – even if they were from another universe.

Deadline is reporting that Wandavision’s Matt Shakman is in talks to direct Fantastic Four. Shakman served as the director for Wandavision and has had an extensive career. He directed two episodes of Game of Thrones and an episode of The Boys, and he had a long stint on It’s Always Sunny in Philadelphia. There is nothing official yet, but Deadline’s sources say that Shakman is currently in talks for the job and things are headed in the right direction.

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To be honest, I was a bit more excited when Jon Watts was set to direct. I’m sure Shakman is a good director, but Watts proved he could handle a tentpole superhero film with Spider-Man: Homecoming. Wandavision was good, but Watts’ style would have been perfect for Fantastic Four. The film is probably one of the most anticipated films in Marvel’s upcoming slate films and they need to find the best person they can to direct. Is that Matt Shakman? It could be, but whoever takes the job must realize that Marvel has a lot riding on this movie. The other Fantastic Four films were awful and fans deserve better. Hopefully, Marvel knocks it out of the park as they usually do. You can see for yourself when Fantastic Four hits theaters on November 8th, 2024.

Film Synopsis: One of Marvel’s most iconic families makes it to the big screen: the Fantastic Four.

Source: Deadline

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Dan Aykroyd, Chevy Chase Star in ‘Zombie Town’ Mystery Teen Romancer (Exclusive)

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Dan Aykroyd and Chevy Chase have entered Zombie Town, a mystery teen romancer based on author R.L. Stine’s book of the same name.

The indie, now shooting in Ontario, also stars Henry Czerny and co-teen leads Marlon Kazadi and Madi Monroe. The ensemble cast includes Scott Thompson and Bruce McCulloch of the Canadian comedy show Kids in the Hall.

Canadian animator Peter Lepeniotis will direct Zombie Town. Stine’s kid’s book sees a quiet town upended when 12-year-old Mike and his friend, Karen, see a horror movie called Zombie Town and unexpectedly see the title characters leap off the screen and chase them through the theater.

Zombie Town will premiere in U.S. theaters before streaming on Hulu and then ABC Australia in 2023.

“We are delighted to bring the pages of R.L. Stine’s Zombie Town to the screen and equally thrilled to be working with such an exceptional cast and crew on this production. A three-time Nickelodeon Kids Choice Award winner with book sales of over $500 million, R.L. Stine has a phenomenal track record of crafting stories that engage and entertain audiences,” John Gillespie, Trimuse Entertainment founder and executive producer, said in a statement.

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Executive producers are Trimuse Entertainment, Toonz Media Group, Lookout Entertainment, Viva Pictures and Sons of Anarchy actor Kim Coates.  

Paco Alvarez and Mark Holdom of Trimuse negotiated the deal to acquire the rights to Stine’s Zombie Town book.

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