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The DCEU Has Fixed The MCU Post-Credits Scene Mistake But At What Cost?

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The DCEU Has Fixed The MCU Post-Credits Scene Mistake But At What Cost?

The DCEU has improved on the MCU’s post-credits scenes with Peacemaker, but the show’s handling of them might be to their detriment in the end.

Warning: Contains spoilers for Peacemaker.

The DCEU has fixed a problem with the post-credits scenes of the MCU through Peacemaker, but it might be worse off for doing so. Both franchises have tried their hand at post-credits scenes over the years with differing amounts of success, and for a while, the post-credits scenes, especially the MCU’s, have had a problem with how much engagement they require from the audience. Recent efforts from the DCEU make it seem as if they’re changing that, but it comes at the cost of giving people less reason to care about them.

Ever since Iron Man‘s post-credits scene in 2008 teasing the formation of the Avengers, it’s been common for superhero movies to end with a post-credits scene teasing a future development in their franchise. Post-credits scenes quickly became an integral part of superhero movies that many moviegoers looked forward to. But as the years went by, the stingers started to go from fun little supplementary add-ons to becoming required viewing by laying out vital parts of the future story that needed to be seen to understand whatever came next. The post-credits scene became as important as the movie that preceded it, and not only was that not what they started out as, the evolution had the effect of creating even more material for audiences to keep up with, which could be extremely draining.

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Related: Every Marvel End-Credits Scene Explained

The DCEU’s Peacemaker seems to have fixed that problem with its post-credits scenes. Every episode of Peacemaker so far has had a post-credits scene, and unlike a lot of modern-day post-credits scenes, they harken back to the older post-credits scenes that were largely miscellaneous content that could be skipped over. At the same time, however, Peacemaker‘s post-credits scenes don’t give people as much reason to watch them.

Peacemaker’s Post-Credits Scenes Are What They Used To Be

Every episode of Peacemaker has had a post-credits scene so far, and all of them have just been extensions of scenes from earlier in the episode. Episode 1’s post-credits scene adds on to Peacemaker getting his new helmet, episode 2 shows more of Peacemaker‘s Auggie Smith being framed in a lineup, episode 3 adds more banter to a scene between Peacemaker, Harcourt, and Vigilante, and episode 4’s post-credits scene has Peacemaker and Vigilante arguing about if it’s possible for a duck to wear a human suit. Each post-credit scene adds more to the story, but all that’s really being added is a goofy scene that’s largely inconsequential and doesn’t need to be watched to understand the larger story.


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This is what most of the MCU’s post-credits scenes used to be: bonus scenes that added more to the story but weren’t essential viewing for the franchise. Some of them were short gags like the Peacemaker ones, but others were merely short scenes about the MCU movie next in line, like Iron Man 2‘s tie-in to Thor. Initially, they could be skipped without missing out on too much. It makes sense that Peacemaker’s post-credits scenes would harken back to that style since the show was created by Guardians of the Galaxy director James Gunn, and many of the post-credits scenes for those movies were also just gags that didn’t advance the overall plot of the franchise.


Marvel’s Post-Credits Scenes Have Become A Problem

Peacemaker’s post-credits scenes are a breath of fresh air from those of the MCU, which have simply gotten too big. As previously mentioned, as the years went on, fun post-credits scenes started devoting their time to setting up major plot points of future films. The post-credits scenes became essential to understanding what would happen next in the MCU and where the franchise would be going next. While that’s a definite draw to watch them, it just piles on the number of things the viewer needs to keep track of.

Related: Eternals Mid-Credits Scene Sets Up GOTG3’s Adam Warlock In A Sneaky Way


What makes it even worse is that there’s sometimes no way of knowing how long it’ll be until there’s any payoff. For example, Guardians of the Galaxy Vol. 2 had a post-credits scene teasing the appearance of MCU’s Adam Warlock, something undoubtedly important to the series, but Guardians of the Galaxy Vol. 3 not coming out until 2023 means that six years will go by before the post-credits scene is paid off. Part of that wait is due to COVID and Gunn briefly being fired from the project, but it’s a long wait, regardless. More recently, the Spider-Man: No Way Home post-credits scene ends with a fraction of Venom’s symbiote abandoned in the MCU, a clear setup for a symbiote story in the MCU, but there’s no way of knowing how many years it’ll take for that to happen.

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The MCU’s post-credit scenes force people to take in even more knowledge than what they gained from the movie alone and expect them to hold onto it for years at a time. That’s not a problem for people who are highly invested in the MCU, but for the casual moviegoer, it adds an element of inaccessibility to the movies that asks for more investment than they’re willing to give. As exciting as post-credits scenes can be, they shouldn’t need to be essential viewing for upcoming projects that don’t even have a proper release date.

Peacemaker’s Post-Credits Scenes Will Not Be As Popular

Peacemaker’s post-credits scenes are far less vital than those of the MCU, and while that’s ultimately a good thing, it also means that they’re likely to not be as popular. The MCU’s post-credits scenes require a high degree of investment, but that’s also one of their draws, as many people, especially hardcore fans of the MCU, get excited to know what’s next for the franchise. With Peacemaker’s post-credits scenes being nonessential gags, there’s less reason to care about them because they basically amount to a deleted scene or a blooper reel; it’s nice that they’re included and are available for viewing, but they don’t need to be there for the story to make sense. Ultimately, James Gunn’s Peacemaker shows the DCEU doing a lot to fix the MCU‘s post-credits scenes problem, but it comes at the cost of making them less engaging, and that makes it hard to tell if this is for better or for worse.


More: Peacemaker Episode 4’s Ending Creates A Huge Butterfly Plot Hole

Peacemaker releases new episodes Thursdays on HBO Max.

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  • The Batman (2022)Release date: Mar 04, 2022
  • DC League of Super-Pets (2022)Release date: May 20, 2022
  • Black Adam (2022)Release date: Jul 29, 2022
  • The Flash (2022)Release date: Nov 04, 2022
  • Aquaman and the Lost Kingdom (2022)Release date: Dec 16, 2022
  • Shazam! Fury of the Gods (2023)Release date: Jun 02, 2023
  • Blue Beetle (2023)Release date: Aug 18, 2023


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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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