The biggest piece in the Toronto sun‘s Eternals Sunday’s article is about Marvel Studios producer Nate Moore, stating that a Eternals the sequel is “not something that is a must.” It could just play a preemptive defense in case the film, which has garnered the worst reviews of any previous MCU movie (52% rotten with an average critical rating of 5.7 / 10 on Rotten Tomatoes), fails to meet standards. Global conventional MCUs. box office (both in terms of global box office and post-debut word of mouth). More amusing are the elements of the post claiming that Kit Harington’s Dane Whitman, Gemma Chan’s celestial-powered (and immortal) Sersi’s human boyfriend, could have a great future with the MCU. Slight spoiler, but it’s also in the article, Whitman’s eventual future as “Black Knight” positions him for a future MCU adventure. Could the most diverse / inclusive MCU movie to date be a backdoor pilot for the solo spinoff film of a white man?

It’s not a shadow over Kit Harrington saying yes to the opportunity, and that certainly doesn’t mean every “inclusive” franchise newbie has to get a sequel, regardless of the commercial reception. I’m also not arguing that every ‘not a white man’ franchise should continue solely through the relatively underrepresented demographics that were in the initial hit, but STX was quickly scrapped. plans to capitalize on Bad moms Going through Bad dads is an excellent example of this ironic train of thought. This Eternals is genuinely inclusive and arguably ugly is almost a step forward. This flies in the face of the unfortunate perception that films created by / featuring / intended for “not a white guy” must perform artistically at a higher level of quality. Even though we maintain that Eternals may be less than perfect because it is / despite the diversity we can also accept this reasoning for (offhand) Cop Shop, Birds of Prey, Pacific Rim: Uprising or something of that ilk that’s not just Marvel’s Black Panther or disney Aladdin.

Speaking of Aladdin, we’ll see if Eternals ends with another example where the success of a film directed by a woman and / or a minority leads to a sequel or fallout for the white character (s). In 2012, Universal said that plans for Kristen Stewart Snow White and the Hunter was for a sequel featuring Chris Hemsworth’s Huntsman exclusively. The $ 170million fantasy started with $ 56million in June and earned $ 155million / $ 397million worldwide. Universal was desperate enough for franchises (like Battleship bombed but before Jurassic World, Fast Furious and Illumination went into hyperdrive) that they wanted to preventively create a franchise. Additionally, they said they intended to build on what was going to be and turned out to be a successful female-led hit by giving the white guy his solo film. The Hunter: The Winter War bombed by $ 165 million on a budget of $ 115 million, Hemsworth’s third big-budget bombshell (after Black hat and In the heart of the sea) in just under a year.

Producers promoted Denis Villeneuve and Taylor Sheridan Sicario by promising a spin-off / sequel starring not Emily Blunt (the film’s protagonist) but co-stars Josh Brolin and Benicio Del Toro. Even like Sicario was promoted through the prism of how hard it was to get investors to agree to a dark action thriller with a young actress in the lead role rather than a dude, the producers were playing kick Blunt out of his own moot franchise even before the opening of the first part wide. The formidable Sicario earned $ 85 million on a budget of $ 30 million. Three years later we have Sicario: Day of the Soldaldo starring Del Toro and Brolin with their “the end justifies the means” villains of drug warriors now turned into sympathetic antiheroes. The sequel (which played as an arguably dangerous fantasy remake of Clear and present danger where the overzealous drug war agents were the heroes) earned a pretty good $ 75 million worldwide on a budget of $ 35 million.

Had Snow White and the Hunter bombed, duskKristen Stewart may well have received the lion’s share of the blame, with the film’s failure playing into the still conventional wisdom that films for / about women are box office poison compared to their male counterparts. Heck, the film was a modest success and Stewart has always been “blamed” for the possible media fallout falsely claiming that she was kicked out due to her filmed affair with director Rupert Sanders. Had Sicario bombed, Emily Blunt would have taken 95% of the responsibilities for her male co-stars. Heck, acting talent and movie quality aside, Josh Brolin was outright poison at the box office for a decade with people like W., Jonah Hex, Wall Street: Money Never Sleeps, Gangster Squad, Old Boy, Labor Day, Sin City: A Dame to Kill For, Inherent Vice and Only the brave it would have demolished any “not white” actor.

In both cases, the success of a female-directed genre film, the respective success of which was partially rooted in the appeal of a woman playing in the genre of film generally directed by a guy, served only. ” to create a male-led action franchise. When The hunter and Soldier’s Day Disappointed compared to their respective predecessors, the guys did not suffer in terms of the film’s perceived fame / bankability. These moves occurred amid a large number of great TV ladies (Nicole Beharie on Sleeping Hollow, Megan Boone on The blacklist, Katie Cassidy on Arrow, Stana Katic on Chateau and AJ Cook and Paget Brewster on Criminal minds) being written from their own broadcast. Meanwhile, Gillian Anderson accused Fox

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for initially trying to pay well below David Duchovny’s salary for the 2016 X files the comeback. These simultaneous developments have argued that women are expendable even when co-responsible or leading in blockbuster movies and TV shows.

I understand that Disney and Marvel rely on the notion of inclusiveness as a main course rather than a seasoning. After all, A) Eternals is featured by a slew of ‘not a white’ actors (Gemma Chan is the unequivocal protagonist of the film), B) directed by Oscar winner Chloe Zhao and C) does not feature any famous characters or a lot of mainstream appeal beyond being the last MCU movie, as I seriously challenge the rhetoric online claiming that the film’s lesser reviews are a reaction to its diverse cast (Black Panther and Shang-Chi have the two highest MCU tomatometer ratings with 96% and 94% while Captain MarvelThe 79% rating isn’t exactly a parody), it’s more online fandom as opposed to corporate messaging. I’ll take much more of a problem if the only net result of Eternals to be successful (or not) is that one of its only white male supporting characters gets a franchise of its own.

We will see how it goes, in terms of Eternalsreception (especially after its opening weekend) and which ends up where in the larger continuity of the MCU. But it won’t be beautiful if Marvel’s end result Eternals, which has been heavily promoted and (so far) adopted as a win for on-screen / off-screen inclusivity, is primarily used as a stepping stone for Kit Harrington’s Black Knight in his own solo adventure. Alas, this won’t be the first time this situation has played out so much, not even through Disney. After all, Aladdin was embraced as a major win in screen inclusivity, reaching $ 353 million nationally and $ 1.053 billion globally. Meanwhile, Mena Massoud said in late 2019 that the film’s success had not led to any new auditions as Disney was going to give the green light to a Disney + movie starring Billy Magnussen’s Prince Anders, the only character in the movie. movie played by a white man.