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The one with the learning difficulty couldn't get through to SHIELD which I guess makes sense if you consider their sole job is to handle this sort of thing.

It's a series of incredibly small anomoly that isn't affecting anyone UNTIL Malekith brings the ship out in London, then Jane & Selvig are manipulating them to make 'em bigger.  There's nothing for S.H.I.E.L.D. to even notice until maybe Darcy calls the cops, but even then it's on the far low end of the threat scale.

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Hey, Thor was on screen for like, that intro that didn't actually show his face, I think.

 

And stock footage from Thor one was used...

 

Fuck it, I'm tapping on this until I see a recognizible Marvel name appear.

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They've been pushing the character arc of him not being combat worthy and not being much use and how Generic-Ops-Guy-Whose-Name-I-Can't-Remember is a hero and saves the day while Fitz is ultimately useless and how he saved Simmons and Fitz didn't, etc. 

 

I kind of know how those arcs pay off in Whedon shows and they fall more along the lines of "Sacrifice" than "Actualization." 

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The twist of the professor being an Asgardian was lame.  So he's super-powered and wants to keep the staff hidden, but he:

 

*gives SHIELD accurate clues on how to find the pieces.

*gets one piece just before SHIELD does, but doesn't have a big enough bag to put it in, so any random person might accidentally see or touch it. (I was willing to excuse this when I thought he was just a professor, but given that it's his staff, he would know how big the piece is.  He couldn't bring a blanket to wrap it in, at least?)

*gets that piece stolen from him by humans even though he's Asgardian.

*refuses, after being captured by SHIELD, to help them find the last piece until they out him as Asgardian.  If he didn't want anybody to get all three pieces, he should have told SHIELD right away.

*Plus, after he told the chick about the staff 500 years ago, couldn't he have maybe re-hidden them in a new place so the clues were no longer valid?  He had time!

 

All that on top of the fact that, after 500 years of these clues being out there, suddenly they get solved all in the same week.  Days after a completely coincidental Asgardian showdown.  Why didn't they come up with some sort of plot connection?  Odd.

 

Anyway, we'll see how it plays out, but I don't know about May grabbing the staff.  Ward's dark journey into the mind actually differentiated him for a moment there.  But now we're back to the three stoic badasses on the team all being the same (Ward and May haunted by the staff bringing up old memories and Coulson nightmaring about Tahiti).  Plus May's explanation for how she keeps anger in check was an awful lot like Banner's from the Avengers film.

 

And speaking of questionable character development, Simmons' major turning point was... summoning the courage to answer a call from her parents.  Whoa.  There's the bravery I expect from a Marvel hero.

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Okay so we saw Thor: The Dark World and it's pretty good. I felt they could have shown a little more of Thor's capabilities but the fight scenes were a lot of fun.. Dark Elves really fucked some shit up in Asgard..   Loki was Loki, he's awesome and commands your attention every time he appears on screen. Hiddleston is tremendous.

 

The humor spots were done well. Little things like Thor hanging up the hammer on the coat rack. When Loki turned into Cap, it had the whole theater rolling. That was great.

 

This was much better than Iron Man 3.

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Alan Moore: Incredible writer. Incredible douche.

 

 

Alan Moore has been talking about the state of superhero comics and films in the 21st century, stating that he no longer likes the genre, and saying that he finds audiences going to see The Avengers in their droves “alarming.”

"I haven't read any superhero comics since I finished with Watchmen,” the writer told The Guardian while promoting his latest work, Fashion Beast. “I hate superheroes. I think they're abominations. They don't mean what they used to mean. They were originally in the hands of writers who would actively expand the imagination of their nine-to-13-year-old audience. That was completely what they were meant to do and they were doing it excellently.

 

“These days, superhero comics think the audience is certainly not nine to 13, it's nothing to do with them. It's an audience largely of 30-, 40-, 50-, 60-year old men, usually men. Someone came up with the term graphic novel. These readers latched on to it; they were simply interested in a way that could validate their continued love of Green Lantern or Spider-Man without appearing in some way emotionally subnormal.

“This is a significant rump of the superhero-addicted, mainstream-addicted audience. I don't think the superhero stands for anything good. I think it's a rather alarming sign if we've got audiences of adults going to see the Avengers movie and delighting in concepts and characters meant to entertain the 12-year-old boys of the 1950s."

From IGN

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