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MCU: The Reign of Marvel Studios
“I watched all the movies. I devoured all the articles. I listened to all the pods. I thought I knew everything there was to know about the MCU . . . and then I read this magnificent book. For fans, by fans; hilarious, gripping, and emotional; no infinity stone is left unturned. I loved it three thousand.” —Damon Lindelof
The unauthorized, behind-the-scenes story of the stunning rise—and suddenly uncertain reign—of the most transformative cultural phenomenon of our the Marvel Cinematic Universe.
Marvel Entertainment was a moribund toymaker not even twenty years ago. Today, Marvel Studios is the dominant player both in Hollywood and in global pop culture. How did an upstart studio conquer the world? In MCU , beloved culture writers Joanna Robinson, Dave Gonzales, and Gavin Edwards draw on more than a hundred interviews with actors, producers, directors, and writers to present the definitive chronicle of Marvel Studios and its sole, ongoing production, the Marvel Cinematic Universe. For all its outward success, the studio was forged by near-constant conflict, from the contentious hiring of Robert Downey Jr. for its 2008 debut, Iron Man , all the way up to the disappointment of Ant-Man and the Quantumania and shocking departures of multiple Marvel executives in 2023. Throughout, the authors demonstrate that the original genius of Marvel was its resurrection and modification of Hollywood’s old studio system. But will it survive its own spectacular achievements? Dishy and authoritative, MCU is the first book to tell the Marvel Studios story in full—and an essential, effervescent account of American mass culture.
The unauthorized, behind-the-scenes story of the stunning rise—and suddenly uncertain reign—of the most transformative cultural phenomenon of our the Marvel Cinematic Universe.
Marvel Entertainment was a moribund toymaker not even twenty years ago. Today, Marvel Studios is the dominant player both in Hollywood and in global pop culture. How did an upstart studio conquer the world? In MCU , beloved culture writers Joanna Robinson, Dave Gonzales, and Gavin Edwards draw on more than a hundred interviews with actors, producers, directors, and writers to present the definitive chronicle of Marvel Studios and its sole, ongoing production, the Marvel Cinematic Universe. For all its outward success, the studio was forged by near-constant conflict, from the contentious hiring of Robert Downey Jr. for its 2008 debut, Iron Man , all the way up to the disappointment of Ant-Man and the Quantumania and shocking departures of multiple Marvel executives in 2023. Throughout, the authors demonstrate that the original genius of Marvel was its resurrection and modification of Hollywood’s old studio system. But will it survive its own spectacular achievements? Dishy and authoritative, MCU is the first book to tell the Marvel Studios story in full—and an essential, effervescent account of American mass culture.
527 pages, Kindle Edition
First published October 10, 2023
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December 3, 2023
*Yeah, so in complete honesty, being overtly critical about popular media scares me, especially when it comes to Marvel movies because their fans can be pretty intense. So, I’ll put a disclaimer the moment I start to be negative towards the MCU. Don’t worry, you won’t be able to miss it! Please forgive the essay, and also… I’m going to spoil all the movies ha ha.
Like lots of folks, I loved the MCU for a really long time. I even did the whole, “sit-through-the-credits-and-then-Wikipedia-the-random-dude-who-appears-through-the-shadows” thing! Just like everybody else! I mean, you’d probably have to at least be somewhat of a fan to even be interested in reading a book that goes into every little behind-the-scenes detail behind the entire history of the whole Marvel thing, going all the way back to 2008. And for the longest time I kept up with every Marvel property and was embarrassingly invested in everything they were doing; past, present, and future. So yeah, like I said, I used to be a pretty big fan. Warning: I’m going into hater mode now! Heavy emphasis on the “used to” part, because, man… I just do not enjoy any of these movies and shows anymore. If I can get the same amount of enjoyment out of a movie from reading the synopsis on Wikipedia as I do when I actually watch the damn thing, you know there’s a problem. I think I fell off around the time their show Moon Knight was coming out. I know that’s not all that long ago, but you have to consider the fact that they have at least five billion shows and movies coming out every month. I’m sure this has been said many times before, but keeping up with Marvel content started to seriously feel like a thankless chore. Consume content, consume content, consume content. And you know, in retrospect, not liking Moon Knight was probably my last straw because… if you can’t make me care about Oscar Isaac as a superhero, then I figure there’s really nothing left in this cinematic universe for me to like!
So, while the endless mid Disney Plus shows may have been my breaking point, I really started noticing the cracks a couple years before that with their big Avengers: Endgame movie. Culmination of ten years… blah blah blah. For all of my days, I’ll always clearly remember all the congratulatory articles about how it would feature “Disney’s first LGBT+ character” (They’ve since said this about several other movies, like live-action Beauty and the Beast and Frozen 2, by the way). Seriously, it was advertised pretty heavily and it was paraded and celebrated how the biggest corporation around was finally breaking necessary barriers and portraying more diverse characters! Yay! Yeah well… it turned out that “Disney’s First LGBT+ Character,” never named so I have to call him, “Nameless-Gay-Man,” is a nameless gay man and has three lines of dialogue where his sole purpose is to show the audience that Captain America isn’t homophobic. I even remember Kevin Feige (guy with the baseball caps) doing an interview where he was patting himself and Marvel on the back, talking about how great it was that Captain America wasn’t bothered by the fact that the dude had a husband and didn’t say anything!? Like, what do you want us to be like? “Gee, thanks Captain American for managing to refrain yourself from hurling all the 1940’s homophobic slurs you’re thinking towards this random guy in your support group! Let’s all give you a round of applause!” But hey, at least the scene gave way to “Disney’s Second LGBT+ Character,” “Nameless-Gay-Man’s-Dead-Husband!” The poor guy didn’t even get a line of dialogue before fulfilling the “bury-your-gays” trope! Groundbreaking stuff right here.
You know, one of the best things about this book is how it shines a light on everything that went on behind the cameras of the MCU, good or bad. But really, it was mostly bad. One common thread I noticed is how a lot of the bigwig higher-ups would commonly fight against the inclusion of female characters in their movies. According to them, action figures of female superheroes didn’t sell well, so I guess they’d figured the best option was that they’d just not include them in their movies. Bizarre choice, in my opinion. But it makes sense when you really look at the way Marvel’s women are written throughout their eighty-seven movies. For example, remember their “woman-killing-mountain” from the last two Avengers movies? If that sounds really bad, it’s because it is really bad. In both Avengers: Infinity War and Avengers: Endgame they put a plot point where the characters have to travel to an ugly purple CGI planet in outer space and, to get a magic purple stone, a person has to sacrifice someone they love by… throwing them off a mountain, where we're then treated to the camera lingering on their mangled body for some reason (they couldn’t just have them walk into a giant blue beam of light? It’s not like Marvel are strangers to giant blue beams of light). Now, I think you can probably guess that both times they used this dumb plot point that the victims being sacrificed and thrown off the mountain were two prominent female characters (Gamora and Black Widow). And then the only explanation for why the characters can’t be brought back (in a movie where the plot centered around the Avengers collecting magic stones to bring everyone back to life) was that “the magic stones wouldn’t let them” … yeah sure, whatever. And look, I’m sure there are a million lore reasons as to why it just had to be these specific characters to to die on the “woman-killing-mountain,” but I’m really just explaining the reasons why I started to lose interest in Marvel.
Homophobia and misogyny aside, in my opinion, MCU movies also have also have had an impressive track record of creating interesting moral dilemmas for their heroes to struggle with by writing nuanced villains with backstories that often make them more sympathetic than the good guys. And then, without fail, this is always squandered by the writers realizing that the heroes have to be in the “moral right” by the end of the movie so they have the villain randomly dive right into full-on evil in the third act. It’s actually a little funny how often I was able to predict the plots of upcoming Marvel movies based on this pattern. Not like that’s an impressive feat or anything, but I’m just saying. Also, isn’t it a little odd how a lot of the bad guys, who are portrayed as unequivocally in the wrong by the end, are usually the ones who are trying to impart some kind of social change? This was especially noticeable in Falcon and the Winter Soldier, Black Panther, and Secret Invasion. Now, I’m not saying that these characters were in the right (because they're purposefully written to make a complete villain turn), but I'm simply questioning the basic principle of frequently writing the “bad guys” as being characters who are forgotten, stepped on, and ignored and then promptly killed off. All I can really say is that it got to the point where I’d be relieved whenever Marvel would just write an unabashedly, straight-up, evil character, like Hela from Thor Ragnarok! Of course, this whole issue might just be the trappings of the superhero genre. A lot of folks like to say that superhero movies have a unique advantage in that they’re able to portray any kind of genre while still being about caped heroes. Captain America: the Winter Solider is a spy thriller! Thor is a Shakespearean play! And I guess you could describe those movies like that, but they’d only fit those definitions by the barest minimum. Personally, I actually think these movies existing within the confines of the superhero genre limits what they can actually be. A movie that should be about the exploration of grief is bogged down by the fact that there has to be a punch-up at the end with excessive CGI. And you know that there’s just got to be a new costume that the characters can suit-up in so that Marvel can sell more toys. It’s a little like how banana always overpowers every other fruit in the smoothie.
Anyway, if you’re wondering why I’d read a book about the ins-and-outs of a movie franchise that I don’t even like, it’s mostly because I think the book itself is really good! It gives an unbiased account on some of the biggest movies out there, without sugar-coating, or talking about how “nobody’s done something like this before.” And that’s interesting to me. Believe it or not, it’s been a little hard to find to find articles or books or whatever about the MCU that are even slightly negative. And whenever somebody does say something negative, they’re called pretentious and “unable of letting people enjoy things.” So, I’ll get this out of the way, I think it’s totally cool to enjoy a Marvel movie! I’m aware that this loyalty is largely due to the fact that these have been the biggest movies around for the better part of a decade, garnering the love and adoration of millions (to the point where I’m still a little scared of writing any of this, and I’m not a huge fan of endlessly trashing something that a lot of people care about). *End of hater mode: But I get it, you know? I loved these movies for a long time too, and was just as excited as everyone else when I’d see Spider-Man swinging around with Iron Man in *Oops, hater mode again* an ugly gray airport *End of hater mode again. Besides, it’s not like I’m completely closing the book on everything Marvel, always and forever! I still like the Guardians of the Galaxy movies and I’ll still watch a Loki if they ever do another one of those (maybe I still kind of have a crush on Tom Hiddleston). And I can't deny that I still get chills and a lovely feeling of nostalgia whenever I see Tony Stark using a suitcase that turns into an Iron Man suit or whenever I see Star Lord dancing to “Come and Get Your Love” by Redbone! And nothing can take that away from me, not even Marvel! Er… that sounded a lot better in my head.
Like lots of folks, I loved the MCU for a really long time. I even did the whole, “sit-through-the-credits-and-then-Wikipedia-the-random-dude-who-appears-through-the-shadows” thing! Just like everybody else! I mean, you’d probably have to at least be somewhat of a fan to even be interested in reading a book that goes into every little behind-the-scenes detail behind the entire history of the whole Marvel thing, going all the way back to 2008. And for the longest time I kept up with every Marvel property and was embarrassingly invested in everything they were doing; past, present, and future. So yeah, like I said, I used to be a pretty big fan. Warning: I’m going into hater mode now! Heavy emphasis on the “used to” part, because, man… I just do not enjoy any of these movies and shows anymore. If I can get the same amount of enjoyment out of a movie from reading the synopsis on Wikipedia as I do when I actually watch the damn thing, you know there’s a problem. I think I fell off around the time their show Moon Knight was coming out. I know that’s not all that long ago, but you have to consider the fact that they have at least five billion shows and movies coming out every month. I’m sure this has been said many times before, but keeping up with Marvel content started to seriously feel like a thankless chore. Consume content, consume content, consume content. And you know, in retrospect, not liking Moon Knight was probably my last straw because… if you can’t make me care about Oscar Isaac as a superhero, then I figure there’s really nothing left in this cinematic universe for me to like!
So, while the endless mid Disney Plus shows may have been my breaking point, I really started noticing the cracks a couple years before that with their big Avengers: Endgame movie. Culmination of ten years… blah blah blah. For all of my days, I’ll always clearly remember all the congratulatory articles about how it would feature “Disney’s first LGBT+ character” (They’ve since said this about several other movies, like live-action Beauty and the Beast and Frozen 2, by the way). Seriously, it was advertised pretty heavily and it was paraded and celebrated how the biggest corporation around was finally breaking necessary barriers and portraying more diverse characters! Yay! Yeah well… it turned out that “Disney’s First LGBT+ Character,” never named so I have to call him, “Nameless-Gay-Man,” is a nameless gay man and has three lines of dialogue where his sole purpose is to show the audience that Captain America isn’t homophobic. I even remember Kevin Feige (guy with the baseball caps) doing an interview where he was patting himself and Marvel on the back, talking about how great it was that Captain America wasn’t bothered by the fact that the dude had a husband and didn’t say anything!? Like, what do you want us to be like? “Gee, thanks Captain American for managing to refrain yourself from hurling all the 1940’s homophobic slurs you’re thinking towards this random guy in your support group! Let’s all give you a round of applause!” But hey, at least the scene gave way to “Disney’s Second LGBT+ Character,” “Nameless-Gay-Man’s-Dead-Husband!” The poor guy didn’t even get a line of dialogue before fulfilling the “bury-your-gays” trope! Groundbreaking stuff right here.
You know, one of the best things about this book is how it shines a light on everything that went on behind the cameras of the MCU, good or bad. But really, it was mostly bad. One common thread I noticed is how a lot of the bigwig higher-ups would commonly fight against the inclusion of female characters in their movies. According to them, action figures of female superheroes didn’t sell well, so I guess they’d figured the best option was that they’d just not include them in their movies. Bizarre choice, in my opinion. But it makes sense when you really look at the way Marvel’s women are written throughout their eighty-seven movies. For example, remember their “woman-killing-mountain” from the last two Avengers movies? If that sounds really bad, it’s because it is really bad. In both Avengers: Infinity War and Avengers: Endgame they put a plot point where the characters have to travel to an ugly purple CGI planet in outer space and, to get a magic purple stone, a person has to sacrifice someone they love by… throwing them off a mountain, where we're then treated to the camera lingering on their mangled body for some reason (they couldn’t just have them walk into a giant blue beam of light? It’s not like Marvel are strangers to giant blue beams of light). Now, I think you can probably guess that both times they used this dumb plot point that the victims being sacrificed and thrown off the mountain were two prominent female characters (Gamora and Black Widow). And then the only explanation for why the characters can’t be brought back (in a movie where the plot centered around the Avengers collecting magic stones to bring everyone back to life) was that “the magic stones wouldn’t let them” … yeah sure, whatever. And look, I’m sure there are a million lore reasons as to why it just had to be these specific characters to to die on the “woman-killing-mountain,” but I’m really just explaining the reasons why I started to lose interest in Marvel.
Homophobia and misogyny aside, in my opinion, MCU movies also have also have had an impressive track record of creating interesting moral dilemmas for their heroes to struggle with by writing nuanced villains with backstories that often make them more sympathetic than the good guys. And then, without fail, this is always squandered by the writers realizing that the heroes have to be in the “moral right” by the end of the movie so they have the villain randomly dive right into full-on evil in the third act. It’s actually a little funny how often I was able to predict the plots of upcoming Marvel movies based on this pattern. Not like that’s an impressive feat or anything, but I’m just saying. Also, isn’t it a little odd how a lot of the bad guys, who are portrayed as unequivocally in the wrong by the end, are usually the ones who are trying to impart some kind of social change? This was especially noticeable in Falcon and the Winter Soldier, Black Panther, and Secret Invasion. Now, I’m not saying that these characters were in the right (because they're purposefully written to make a complete villain turn), but I'm simply questioning the basic principle of frequently writing the “bad guys” as being characters who are forgotten, stepped on, and ignored and then promptly killed off. All I can really say is that it got to the point where I’d be relieved whenever Marvel would just write an unabashedly, straight-up, evil character, like Hela from Thor Ragnarok! Of course, this whole issue might just be the trappings of the superhero genre. A lot of folks like to say that superhero movies have a unique advantage in that they’re able to portray any kind of genre while still being about caped heroes. Captain America: the Winter Solider is a spy thriller! Thor is a Shakespearean play! And I guess you could describe those movies like that, but they’d only fit those definitions by the barest minimum. Personally, I actually think these movies existing within the confines of the superhero genre limits what they can actually be. A movie that should be about the exploration of grief is bogged down by the fact that there has to be a punch-up at the end with excessive CGI. And you know that there’s just got to be a new costume that the characters can suit-up in so that Marvel can sell more toys. It’s a little like how banana always overpowers every other fruit in the smoothie.
Anyway, if you’re wondering why I’d read a book about the ins-and-outs of a movie franchise that I don’t even like, it’s mostly because I think the book itself is really good! It gives an unbiased account on some of the biggest movies out there, without sugar-coating, or talking about how “nobody’s done something like this before.” And that’s interesting to me. Believe it or not, it’s been a little hard to find to find articles or books or whatever about the MCU that are even slightly negative. And whenever somebody does say something negative, they’re called pretentious and “unable of letting people enjoy things.” So, I’ll get this out of the way, I think it’s totally cool to enjoy a Marvel movie! I’m aware that this loyalty is largely due to the fact that these have been the biggest movies around for the better part of a decade, garnering the love and adoration of millions (to the point where I’m still a little scared of writing any of this, and I’m not a huge fan of endlessly trashing something that a lot of people care about). *End of hater mode: But I get it, you know? I loved these movies for a long time too, and was just as excited as everyone else when I’d see Spider-Man swinging around with Iron Man in *Oops, hater mode again* an ugly gray airport *End of hater mode again. Besides, it’s not like I’m completely closing the book on everything Marvel, always and forever! I still like the Guardians of the Galaxy movies and I’ll still watch a Loki if they ever do another one of those (maybe I still kind of have a crush on Tom Hiddleston). And I can't deny that I still get chills and a lovely feeling of nostalgia whenever I see Tony Stark using a suitcase that turns into an Iron Man suit or whenever I see Star Lord dancing to “Come and Get Your Love” by Redbone! And nothing can take that away from me, not even Marvel! Er… that sounded a lot better in my head.
February 15, 2024
4.5 stars
"[Actor] Mark Ruffalo had no idea how big the future could be. But when he became a Marvel superhero, he found out . . . " -- the opening line, on page 1
Authored by the mighty triumvirate of Robinson, Gonzales, and Edwards (maybe they're secretly some sort of superhero team, just like the Avengers?), the thorough MCU: The Reign of Marvel Studios documents the origin, successes, and missteps - as well as the expected behind-the-scenes show biz drama, but more so concerning the production end of things (not the performers) - of the juggernaut that has been responsible for a non-stop number of super-heroic movies and streaming TV series in the 21st century. Although it began with the trilogies of X-Men (an ensemble cast headed by Patrick Stewart, 2000-2006) and Spider-Man (starring Tobey Maguire, 2002-2007) films, the studio both fully cemented itself as a major industry player AND began a long-range multi-project timeline with the surprising blockbuster success of Iron Man in 2008, providing a redemptively career-rejuvenating second act for formerly maligned leading man Robert Downey Jr. Multiple film series then followed (including Thor, Captain America, The Avengers, and Guardians of the Galaxy) and said movies pretty much ruled at the global box office for the MCU's amazing inaugural ten years (2008-2018). To be clear, the narrative here is much more focused on behind-the-camera personalities like wunderkind MCU producer Kevin Feige, former Disney chairman Bob Iger, and visual effects producer Victoria Alonso than it is about those "guys named Chris" (lead actors Evans, Hemsworth, and Pratt, who respectively portrayed Captain America, Thor, and Star-Lord). It is also an unauthorized project, so it's free of the type of excessive sugar-coating or forced cheeriness that would likely be attached to anything with an official blessing or oversight. However, it's also sort of melancholy-inducing in reminding us that their more recent efforts (since 2020) have not carried quite the same impact, either because of shifts in quality or misguided pandering to certain segments of the audience.
"[Actor] Mark Ruffalo had no idea how big the future could be. But when he became a Marvel superhero, he found out . . . " -- the opening line, on page 1
Authored by the mighty triumvirate of Robinson, Gonzales, and Edwards (maybe they're secretly some sort of superhero team, just like the Avengers?), the thorough MCU: The Reign of Marvel Studios documents the origin, successes, and missteps - as well as the expected behind-the-scenes show biz drama, but more so concerning the production end of things (not the performers) - of the juggernaut that has been responsible for a non-stop number of super-heroic movies and streaming TV series in the 21st century. Although it began with the trilogies of X-Men (an ensemble cast headed by Patrick Stewart, 2000-2006) and Spider-Man (starring Tobey Maguire, 2002-2007) films, the studio both fully cemented itself as a major industry player AND began a long-range multi-project timeline with the surprising blockbuster success of Iron Man in 2008, providing a redemptively career-rejuvenating second act for formerly maligned leading man Robert Downey Jr. Multiple film series then followed (including Thor, Captain America, The Avengers, and Guardians of the Galaxy) and said movies pretty much ruled at the global box office for the MCU's amazing inaugural ten years (2008-2018). To be clear, the narrative here is much more focused on behind-the-camera personalities like wunderkind MCU producer Kevin Feige, former Disney chairman Bob Iger, and visual effects producer Victoria Alonso than it is about those "guys named Chris" (lead actors Evans, Hemsworth, and Pratt, who respectively portrayed Captain America, Thor, and Star-Lord). It is also an unauthorized project, so it's free of the type of excessive sugar-coating or forced cheeriness that would likely be attached to anything with an official blessing or oversight. However, it's also sort of melancholy-inducing in reminding us that their more recent efforts (since 2020) have not carried quite the same impact, either because of shifts in quality or misguided pandering to certain segments of the audience.
August 20, 2023
As a lifelong comic book fan, I naturally fell in love with the Marvel Cinematic Universe, and I've kept up with related news and rumors, so I didn't have high expectations regarding this book as far as deep dark secrets were concerned. I own the slipcased two-volume hardcover set that was published a few years ago, which was basically a glossy propaganda effort, so I was mainly hoping to have my main two questions answered by this book, which were: What happened to Terrence Howard, and what happened to Edward Norton?
MCU: THE REIGN OF MARVEL STUDIOS did, indeed, answer those questions (Cost too much and was a pain in the ass, respectively), and answered so many other questions that I didn't even know that I had, so....highly recommended for fans who want a deep-dive on the history of the studio. Not so much of a recommendation for fans who are looking for dirt on the making of individual films and the actors, though. This is a real Inside Baseball type of book, with page after page of mover-and-shaker machinations and dollars and cents breakdowns.
My main takeaways were:
The cheapness and shittiness of Trump sycophant Ike Permutter, and his obsession with selling toys.
The deplorable treatment of screenwriters by Hollywood. Almost every time a screenwriter gets mentioned, there follows a story about how James Gunn, Edward Norton, Joss Whedon, etc., tried to steal their credit and fuck them out of residuals . Fuck these millionaires....no amount of money is ever enough for them. Support the writers strike, because they are the heart and soul of filmmaking, and they need to be protected and compensated.
The ego of Robert Downey, Jr., who seemed to be forever trying to make Tony Stark the center of every film he appeared in.
The cheapness and shittiness of Disney, who clings to the thought that, no matter how much of a comic-book story they steal, the original creators and writers and artists really deserve nothing but a "Special Thanks..." credit., because, hey....they signed a work-for-hire contract, so they should just be happy that we reused their storyline and made billions of dollars off of it. Yeah, I pay to see these movies, watch the streaming service, buy the ancillary products, but I shouldn't, until they decide to share the wealth.....I feel guilty for giving Disney my money. There's just no way to defend their use of The Winter Soldier and reconcile it with Ed Brubaker and Steve Epting receiving no compensation for the wholesale use of their ideas and storylines from the Captain America comics. Stan Lee should have died a billionaire, and the estates of Jack Kirby and Steve Ditko should likewise be worth billions. Honestly, just fuck Disney, Iger, Chapek, all of them. Don't even get me started on the near-slavery of the effects house employees they hire on to provide their excessive CGI.....
There's a lot to recommend here, if you have the stomach to endure hundreds of pages of inside stuff about producers and behind-the-scenes folks. I'm one of those people who find that all fascinating, so...your mileage may vary.
MCU: THE REIGN OF MARVEL STUDIOS did, indeed, answer those questions (Cost too much and was a pain in the ass, respectively), and answered so many other questions that I didn't even know that I had, so....highly recommended for fans who want a deep-dive on the history of the studio. Not so much of a recommendation for fans who are looking for dirt on the making of individual films and the actors, though. This is a real Inside Baseball type of book, with page after page of mover-and-shaker machinations and dollars and cents breakdowns.
My main takeaways were:
The cheapness and shittiness of Trump sycophant Ike Permutter, and his obsession with selling toys.
The deplorable treatment of screenwriters by Hollywood. Almost every time a screenwriter gets mentioned, there follows a story about how James Gunn, Edward Norton, Joss Whedon, etc., tried to steal their credit and fuck them out of residuals . Fuck these millionaires....no amount of money is ever enough for them. Support the writers strike, because they are the heart and soul of filmmaking, and they need to be protected and compensated.
The ego of Robert Downey, Jr., who seemed to be forever trying to make Tony Stark the center of every film he appeared in.
The cheapness and shittiness of Disney, who clings to the thought that, no matter how much of a comic-book story they steal, the original creators and writers and artists really deserve nothing but a "Special Thanks..." credit., because, hey....they signed a work-for-hire contract, so they should just be happy that we reused their storyline and made billions of dollars off of it. Yeah, I pay to see these movies, watch the streaming service, buy the ancillary products, but I shouldn't, until they decide to share the wealth.....I feel guilty for giving Disney my money. There's just no way to defend their use of The Winter Soldier and reconcile it with Ed Brubaker and Steve Epting receiving no compensation for the wholesale use of their ideas and storylines from the Captain America comics. Stan Lee should have died a billionaire, and the estates of Jack Kirby and Steve Ditko should likewise be worth billions. Honestly, just fuck Disney, Iger, Chapek, all of them. Don't even get me started on the near-slavery of the effects house employees they hire on to provide their excessive CGI.....
There's a lot to recommend here, if you have the stomach to endure hundreds of pages of inside stuff about producers and behind-the-scenes folks. I'm one of those people who find that all fascinating, so...your mileage may vary.
November 15, 2023
I would describe myself as a casual Marvel person. Partially because these movies have been so ubiquitous in my lifetime, easily coming to dominate the blockbuster landscape of my teenage and early adulthood. Parts of this were validating as a person who has never bought that these films were made with quite the level of inter-connectedness capitalism would like me to believe and seeing the more spontaneous beginnings to the reaching back and having so much product that years-long planning can just be simulated in post. The reliance on fixing everything in post has clearly caught up with the Marvel machine, and that was sort of touched upon in this.
Honestly, the amount of 2023 developments included in this final book is pretty impressive and I can only imagine the down-to-the-wire editing that was happening to get this book out to meet its publication time.
It's not a book that looks to tear down the Marvel machine or blame the collapse of cinema on how superhero movies have come to dominate the release schedule. It's really just an honest look at how a company on the verge of bankruptcy was able to become the highest-grossing film franchise of all time, and how it's also started to falter under some of the systems in place that were responsible for the success in the first place. It's well-reported and well-written for fans and non-fans alike. The bonus chapter after the epilogue in a nod to the post-credit scene was definitely cute.
Honestly, the amount of 2023 developments included in this final book is pretty impressive and I can only imagine the down-to-the-wire editing that was happening to get this book out to meet its publication time.
It's not a book that looks to tear down the Marvel machine or blame the collapse of cinema on how superhero movies have come to dominate the release schedule. It's really just an honest look at how a company on the verge of bankruptcy was able to become the highest-grossing film franchise of all time, and how it's also started to falter under some of the systems in place that were responsible for the success in the first place. It's well-reported and well-written for fans and non-fans alike. The bonus chapter after the epilogue in a nod to the post-credit scene was definitely cute.
August 27, 2023
This book is the equivalent of a published Thomas' English muffin: there are so many nooks and crannies filled with the buttery goodness of Hollywood dirt.
Want to read
October 13, 2023I am Ringer-pilled and addicted to inside baseball
August 11, 2023
Thank you W. W. Norton & Company for providing me with an ARC
I've been a Marvel fan since X-Men '92 and watched every MCU entry since Iron Man. However, I didn't know about the behind-the-scenes process and the people behind the studio. For example, I knew that getting a female fronted solo film was not happening because they (the faceless they) didn't think it would sell toys. But I didn't know the who specifically, or the why, or the culture of Marvel. MCU was a great deep-dive into twenty-plus years of the cinematic history of Marvel movies and the MCU.
It's fast-paced for a non-fiction book. I couldn't put it down, which is a non-fiction rarity for me. I was interested in reading this book because of one author: Joanna Robinson, who I listen to on the House of R podcast on the Ringerverse network. If you are a Marvel fan, I'd recommend that pod, and this book.
I've been a Marvel fan since X-Men '92 and watched every MCU entry since Iron Man. However, I didn't know about the behind-the-scenes process and the people behind the studio. For example, I knew that getting a female fronted solo film was not happening because they (the faceless they) didn't think it would sell toys. But I didn't know the who specifically, or the why, or the culture of Marvel. MCU was a great deep-dive into twenty-plus years of the cinematic history of Marvel movies and the MCU.
It's fast-paced for a non-fiction book. I couldn't put it down, which is a non-fiction rarity for me. I was interested in reading this book because of one author: Joanna Robinson, who I listen to on the House of R podcast on the Ringerverse network. If you are a Marvel fan, I'd recommend that pod, and this book.
December 29, 2023
A fairly breezy overview of the history of the Marvel Cinematic Universe, largely compiled from pre-existing reportage but which draws on some independent reporting. (Who was willing to speak to the authors clearly shapes the book's framing; let's just say that I'm sure in a few years there'll be another book about Marvel which doesn't try to deify Kevin Feige.)
If you're anything beyond a casual fan, you'll likely have heard of much of this before, but there are occasional interesting nuggets plus the disorientation of imagining the alternate universe where Tony Stark is played by Tim Olyphant, Natasha Romanov by Emily Blunt, Drax by Chadwick Boseman (!?), and Scott Lang by (ugh) Armie Hammer. The authors do document some of the issues of racism/sexism both within Marvel and its fandom, and the fact that for instance something like 50-75% of the franchise's male stars are on steroids, but they don't really have anything to say about them.
Main take-aways:
• The scrappy spontaneity and seat-of-the-pants quality (Jeff Bridges apparently said that making Iron Man was like being part of a $200m student film) which made the first couple of MCU movies such unexpected successes was also the harbinger of the series' later decline.
• "Toyetic" is a horrible word, even worse than "content."
• Christ, Ike Perlmutter is an asshole.
If you're anything beyond a casual fan, you'll likely have heard of much of this before, but there are occasional interesting nuggets plus the disorientation of imagining the alternate universe where Tony Stark is played by Tim Olyphant, Natasha Romanov by Emily Blunt, Drax by Chadwick Boseman (!?), and Scott Lang by (ugh) Armie Hammer. The authors do document some of the issues of racism/sexism both within Marvel and its fandom, and the fact that for instance something like 50-75% of the franchise's male stars are on steroids, but they don't really have anything to say about them.
Main take-aways:
• The scrappy spontaneity and seat-of-the-pants quality (Jeff Bridges apparently said that making Iron Man was like being part of a $200m student film) which made the first couple of MCU movies such unexpected successes was also the harbinger of the series' later decline.
• "Toyetic" is a horrible word, even worse than "content."
• Christ, Ike Perlmutter is an asshole.
April 5, 2024
Very good! Have a lot of insight into this movie powerhouse and its sudden decline in its film. Definitely recommend it for Marvel fans and movie buffs.
November 30, 2023
I love the nitty gritty inner workings of how movies and television get made. It’s the reason why I listen to so many pop culture and Hollywood history podcasts. Podcasts are another reason I knew I was going to enjoy MCU: The Reign of Marvel Studios. Two of its authors are podcasters that I have been listening to for the better part of a decade (Joanna Robinson and Dave Gonzales) and I trust them to be able to put together a narrative in a way that keeps me engaged and to do the work to bring a well-researched and nuanced take as they do in their various shows and articles.
MCU: The Reign of Marvel Studios delivers on that trust. The four years of research, interviews, writing, and addition of a third author in Gavin Edwards created a narrative that brings into focus all of the unlikely things that had to happen for Marvel Studios to exist in the first place and the strategies, luck, and good timing that led to the truly impressive track record and cultural phenomenon that it has become. I’m not a big comic book fan, but I watched almost all of the MCU content that has been put out since 2008 (well, with a significant drop off in Phase 4 which as the book chronicles is not necessarily uncommon). This book goes a long way to explaining the whys and how's of fans like me and for fans like me. It even has its own version of a mid-credits' scene, which while silly is also indicative of the way in which this book was crafted.
I received this book as an ARC from the publisher via NetGalley. It has not affected the contents of this review, only its timing.
MCU: The Reign of Marvel Studios delivers on that trust. The four years of research, interviews, writing, and addition of a third author in Gavin Edwards created a narrative that brings into focus all of the unlikely things that had to happen for Marvel Studios to exist in the first place and the strategies, luck, and good timing that led to the truly impressive track record and cultural phenomenon that it has become. I’m not a big comic book fan, but I watched almost all of the MCU content that has been put out since 2008 (well, with a significant drop off in Phase 4 which as the book chronicles is not necessarily uncommon). This book goes a long way to explaining the whys and how's of fans like me and for fans like me. It even has its own version of a mid-credits' scene, which while silly is also indicative of the way in which this book was crafted.
I received this book as an ARC from the publisher via NetGalley. It has not affected the contents of this review, only its timing.
Read
November 10, 2023Limited hangout. The authors mostly summarize known information but come off as both defensive and pandering. Early on they compare the original Iron Man to a Douglas Sirk movie without explanation, seemingly to bolster their cinephile credibility. Later, in the chapter on Chadwick Boseman, they include parentheticals explaining to the reader who James Brown and Jackie Robinson were.
January 3, 2024
A thorough exploration of Phase One and Two of the MCU that gripped me pretty quickly. Unfortunately, I found as we moved into Phase Three/Four, details grew more sparse, the sections felt a bit cobbled together, and there was slightly more conjecture than I liked. All in all, it was a good read and made me sad that I just don't like the MCU anymore.
January 12, 2024
This received so much positive buzz from fans that I felt it was a must-read book. I had hoped it would provide tons of previously unreported details or analysis of the films and television series. I got a well-researched book (despite errors I caught in chapter one alone) that didn't uncover a lot of new material, but did show just how heavy-handed Ike Perlmutter was, an impediment based on outmoded thinking and inbred prejudices. The wheels started to come off the machine in 2023 and I wish they delayed the book six to twelve months to better report on what went wrong and if things could be righted.
I did enjoy it enough, but after all the superlatives, I had expected more.
I did enjoy it enough, but after all the superlatives, I had expected more.
December 18, 2023
The book was written as a celebration, but reads better as an obituary. I did enjoy some of this book. Not sure I learned anything new about marvel, not sure that was the intention of this book, but it was cool confirming stories that were always talked about. The biggest flaw of this book was it didn’t really care to go beyond surface level on any of business dealings. The author is such a fan of all the marvel products it felt like they threw the cgi teams working with marvel under the bus.
In the end this book was written as a form of myth building. It was written to be a victory lap for Kevin Feige and Disney but it’s bizarre reading this book after the recent marvel flops. If you can read between the lines it’s actually easy to see why marvel/Disney fell off. They have really started to believe they created it all.
Anyways easy read. Not very insightful, but nonetheless very interesting.
In the end this book was written as a form of myth building. It was written to be a victory lap for Kevin Feige and Disney but it’s bizarre reading this book after the recent marvel flops. If you can read between the lines it’s actually easy to see why marvel/Disney fell off. They have really started to believe they created it all.
Anyways easy read. Not very insightful, but nonetheless very interesting.
November 23, 2023
Se amate l’universo cinematografico marvel e siete curiosi di sapere come funziona l’industria cinematografica, questo è un libro che non dovete lasciarvi sfuggire.
L’ho adorato perché mi sembra che gli autori siano stati quanto più possibile obiettivi. Ovviamente provo molto affetto per questi film e i loro personaggi, ma non volevo un libro capace solo di tessere lodi alla Marvel, a Stan Lee, Kevin Feige e compagnia. E infatti questo libro mi ha dato proprio questo: una cronologia del mondo cinematografico marvel, delle persone in gioco, anche delle ombre della compagnia, del sessismo e razzismo di cui si sono macchiati, dello sfruttamento di chi lavora agli effetti speciali, di come è nato ogni film. È incredibile scoprire come, quella che viene chiamata ora Infinity Saga, che sembra così coesa e frutto di uno studio accurato, sia nata letteralmente A CASO. Tantissime coincidenze fortunate. Per esempio, l’inserimento di Thanos nella post credit del primo Avengers è stato voluto dal regista, che voleva spiegare dove Loki avesse trovato l’armata aliena e per fare l’occhiolino agli appassionati che già conoscevano Thanos. PER NIENT’ALTRO. Nessun altro grande piano o cose simili. Iron Man 1 è stato praticamente tutto improvvisato. Tom Hiddleston è stato chiamato a riprendere il ruolo di Loki un mese prima delle riprese del primo Avengers, perché fino all’ultimo gli scrittori e il regista non sapevano neanche chi sarebbe stato l’antagonista del film. Ed è incredibile quanti film di queste prime fasi siano stati realizzati in questo modo.
L’unica pecca è che forse ci si è concentrati un po’ troppo su tutto ciò che precede l’MCU, tra fumetti, esperimenti falliti, i primi spiderman, gli x-men…per poi non fare una vera e propria riflessione su quello che l’MCU è ora, negli ultimissimi anni. Ci sarebbe stato tantissimo da dire sull’era post-endgame, però il libro dedica un capitolo alle prime serie di disney+ senza parlare veramente a fondo del modo in cui sono state ricevute. Peccato!
Punto bonus per il capitolo dopo l’epilogo, messo come una scena post credits. NICE!
L’ho adorato perché mi sembra che gli autori siano stati quanto più possibile obiettivi. Ovviamente provo molto affetto per questi film e i loro personaggi, ma non volevo un libro capace solo di tessere lodi alla Marvel, a Stan Lee, Kevin Feige e compagnia. E infatti questo libro mi ha dato proprio questo: una cronologia del mondo cinematografico marvel, delle persone in gioco, anche delle ombre della compagnia, del sessismo e razzismo di cui si sono macchiati, dello sfruttamento di chi lavora agli effetti speciali, di come è nato ogni film. È incredibile scoprire come, quella che viene chiamata ora Infinity Saga, che sembra così coesa e frutto di uno studio accurato, sia nata letteralmente A CASO. Tantissime coincidenze fortunate. Per esempio, l’inserimento di Thanos nella post credit del primo Avengers è stato voluto dal regista, che voleva spiegare dove Loki avesse trovato l’armata aliena e per fare l’occhiolino agli appassionati che già conoscevano Thanos. PER NIENT’ALTRO. Nessun altro grande piano o cose simili. Iron Man 1 è stato praticamente tutto improvvisato. Tom Hiddleston è stato chiamato a riprendere il ruolo di Loki un mese prima delle riprese del primo Avengers, perché fino all’ultimo gli scrittori e il regista non sapevano neanche chi sarebbe stato l’antagonista del film. Ed è incredibile quanti film di queste prime fasi siano stati realizzati in questo modo.
L’unica pecca è che forse ci si è concentrati un po’ troppo su tutto ciò che precede l’MCU, tra fumetti, esperimenti falliti, i primi spiderman, gli x-men…per poi non fare una vera e propria riflessione su quello che l’MCU è ora, negli ultimissimi anni. Ci sarebbe stato tantissimo da dire sull’era post-endgame, però il libro dedica un capitolo alle prime serie di disney+ senza parlare veramente a fondo del modo in cui sono state ricevute. Peccato!
Punto bonus per il capitolo dopo l’epilogo, messo come una scena post credits. NICE!
May 21, 2024
The movies that came out from Marvel till Endgame are some of the most excitement I have felt in a movie hall. The thrill of watching the trailer of Infinity War for the first time, the excitement that buzzed through the movie hall when a bearded Steve Rogers stepped out of the shadows, the cheer that went up when Thor arrived in Wakanda and later when Captain America lifted Mjolnir and the gasps when Iron Man sacrificed himself are all moments I will cherish forever. Having said all this, my interest in the MCU died with Tony Stark and I have never been emotionally invested in any of their movies or shows post that. And yes, that is it about my relationship with Marvel.
This is an extremely easy-to-read and very comprehensive history of Marvel studios and how it rose from relative obscurity to become a global cultural icon. MCU has made truckloads of money, it has given global stardom to multiple actors and influenced the lives of many people in the movie industry. How did they really do it ? And what is Kevin Feige’s secret sauce ? These are the questions that the authors tackle in this book. If you are/have been a Marvel fan, this is a book I would surely recommend to you.
Being an unauthorized work, it doesn’t have a glossy picture overall to paint either. Recommended.
This is an extremely easy-to-read and very comprehensive history of Marvel studios and how it rose from relative obscurity to become a global cultural icon. MCU has made truckloads of money, it has given global stardom to multiple actors and influenced the lives of many people in the movie industry. How did they really do it ? And what is Kevin Feige’s secret sauce ? These are the questions that the authors tackle in this book. If you are/have been a Marvel fan, this is a book I would surely recommend to you.
Being an unauthorized work, it doesn’t have a glossy picture overall to paint either. Recommended.
November 8, 2023
What a great read! Tells the story from the uncertain beginning to the uncertain present of Marvel. It makes you root for these movies to come back around to goodness, just maybe leaving a little space for others things as well.
December 30, 2023
I liked this book but I m type that would like this book… summed up this covers the MCU from a 1994 fantastic 4 movie (I never knew existed), through avengers peak, to current not so great state.
Read
March 5, 2024Ty Emma for the ARC!!!!
This was such a good look behind the curtain of the Marvel empire. Behind the shiny superhero suits, and empathetic characters we all love lies corporate greed, messy legal negotiations, and probably the most mind boggling movie/show making processes I've ever heard of.
INSANE to me that these writers are crafting their stories, all the while knowing that the path of the broader MCU vision may change at any time, and they somehow just have to build in the new plot lines as they come.
This was such a good look behind the curtain of the Marvel empire. Behind the shiny superhero suits, and empathetic characters we all love lies corporate greed, messy legal negotiations, and probably the most mind boggling movie/show making processes I've ever heard of.
INSANE to me that these writers are crafting their stories, all the while knowing that the path of the broader MCU vision may change at any time, and they somehow just have to build in the new plot lines as they come.
February 27, 2024
Had a blast with this - so well researched, and so much detail (some I knew already, some was new to me). If you're at all interested in Marvel, it's worth a read.
November 4, 2023
A breezy yet in-depth look at a studio that’s changed Hollywood (for worse, I’d say) by some of the my favourite culture critics. It leans a bit too into the “genius” of Feige, but because of it, I can finally say I am educated hater.
This was a bit like reading about the rise and fall of the Roman Empire (by the way, if your boyfriend thinks about the MCU or the Roman Empire often, that’s a red flag). Marvel Studios, this creative vacuum and cultural monolith that has all but erased the independent/mid-budget movie from existence, never really had a plan. The very things that kick-started its dominance - the slapdash improv culture, the throw-everything-at-the-wall, consistency-what’s-that approach - never had a chance for any kind of sustainability, let alone the scale-up and cultural overload that capitalism demanded of it.
But it’s also wild how the pure dumb luck they had suddenly became extraordinarily bad luck - Marvel was betting on Chadwick Boseman, Tom Holland, Brie Larson, and Jonathan Majors to lead “Phase 4.” But whether through tragedy, petty studio negotiations, misogyny, or abuse allegations, the MCU lost all of them, leaving the studio rudderless not just in plot but characters. And if a studio has no characters to care about and no plot to follow, what’s left?
This was a bit like reading about the rise and fall of the Roman Empire (by the way, if your boyfriend thinks about the MCU or the Roman Empire often, that’s a red flag). Marvel Studios, this creative vacuum and cultural monolith that has all but erased the independent/mid-budget movie from existence, never really had a plan. The very things that kick-started its dominance - the slapdash improv culture, the throw-everything-at-the-wall, consistency-what’s-that approach - never had a chance for any kind of sustainability, let alone the scale-up and cultural overload that capitalism demanded of it.
But it’s also wild how the pure dumb luck they had suddenly became extraordinarily bad luck - Marvel was betting on Chadwick Boseman, Tom Holland, Brie Larson, and Jonathan Majors to lead “Phase 4.” But whether through tragedy, petty studio negotiations, misogyny, or abuse allegations, the MCU lost all of them, leaving the studio rudderless not just in plot but characters. And if a studio has no characters to care about and no plot to follow, what’s left?
November 13, 2023
In retrospect, I’m the wrong reader for this book. I covered this material professionally since 2008, and traveled in the circles where people shared behind-the-scenes gossip. But that’s a me problem.
The larger problem with the book is that I don’t think it succeeds as a work of non-fiction. Instead, it feels more like a collection of articles loosely stapled to chronology. In addition to reporting what happened behind the scenes, you also get tangents about workout regiments and unrealistic demands put on VFX studios. And yet even after reading this book, I don’t feel like I have even a slightly better sense of who Kevin Feige is as a creator other than he’s a film nerd who knows how to manage studio politics. But anyone would probably gather that without needing to read a book. Ironically, the book suffers from the same problem now facing Marvel—there’s too much ground to cover and you’re left wondering if there’s even a point to it all.
Is this book better than the studio-approved coffee table histories that get released? Sure. But it also feels like ultimately this book exists more as something with reporting that can be referenced by a person who writes a better MCU book.
The larger problem with the book is that I don’t think it succeeds as a work of non-fiction. Instead, it feels more like a collection of articles loosely stapled to chronology. In addition to reporting what happened behind the scenes, you also get tangents about workout regiments and unrealistic demands put on VFX studios. And yet even after reading this book, I don’t feel like I have even a slightly better sense of who Kevin Feige is as a creator other than he’s a film nerd who knows how to manage studio politics. But anyone would probably gather that without needing to read a book. Ironically, the book suffers from the same problem now facing Marvel—there’s too much ground to cover and you’re left wondering if there’s even a point to it all.
Is this book better than the studio-approved coffee table histories that get released? Sure. But it also feels like ultimately this book exists more as something with reporting that can be referenced by a person who writes a better MCU book.
October 29, 2023
A compulsively readable, breathlessly paced history of Marvel Studios. The authors are a lot less critical of the many ways in which the MCU contributed to the franchise- and IP-driven media monopoly that now governs the American entertainment industry, but they do rightly draw attention to the many complicated ways in which what sometimes seems like a top-down entertainment business developed in messier and less straightforward ways than some might imagine.
October 23, 2023
Four stars but Joanna gets an extra star for House of R. I followed along with this story in real time so not many "revelations" but a good chronological retelling with added context. Most of what I didn't know was about Ike sucking. Which he does!
November 14, 2023
Hey I actually read this one and didn't just audiobook it!
If there was any doubt of my fandom, my reading of a history book on the MCU surely cements it. And, honestly, this gave me both way more appreciation and way more perspective of both the MCU past and where we are now. I won't recount the major themes of the book - go and read it yourself if you're actually interested - but I will provide some things that stuck out in particular.
1. The cracks of the MCU that are so obvious now have actually existed since Iron Man began preproduction. They have become more apparent because of the number and pace of the content being released, but they've always been there. Too many cooks, strain on CGI artists, murkiness around cultural issues - these things have always been around. Certainly part of the issue now stems from these but they are clearer in part due to the oversaturation of content and in part due to not having quality plots and characters that these issues could previously hide behind.
2. One of the greatest strengths of the MCU during Phases 1-3 is now one of its greatest weaknesses - Kevin Feige. When the MCU was releasing 2 or 3 movies a year, that left enough time for Kevin to have the central creative vision for all that was being released. Now, with more shows and movies coming out (in 2021 there were 4 movies + 5 shows released), the quality control has dropped significantly due to the need to delegate things out. This makes consistency and central vision basically not exist.
I could say more about all this, but the final thing I'll add is this - the MCU has already peaked. That's not to say it can't make great films and shows in the future, but it will never be in the cultural zeitgeist as it was in 2019 when Endgame came out. In my unsolicited opinion, what will make great content going forward is not a vast interconnected universe with world-ending or universe-ending stakes. Instead solid character work driven by passionate and patient writers and directors will yield greater quality, and therefore fandom, in the long run.
If there was any doubt of my fandom, my reading of a history book on the MCU surely cements it. And, honestly, this gave me both way more appreciation and way more perspective of both the MCU past and where we are now. I won't recount the major themes of the book - go and read it yourself if you're actually interested - but I will provide some things that stuck out in particular.
1. The cracks of the MCU that are so obvious now have actually existed since Iron Man began preproduction. They have become more apparent because of the number and pace of the content being released, but they've always been there. Too many cooks, strain on CGI artists, murkiness around cultural issues - these things have always been around. Certainly part of the issue now stems from these but they are clearer in part due to the oversaturation of content and in part due to not having quality plots and characters that these issues could previously hide behind.
2. One of the greatest strengths of the MCU during Phases 1-3 is now one of its greatest weaknesses - Kevin Feige. When the MCU was releasing 2 or 3 movies a year, that left enough time for Kevin to have the central creative vision for all that was being released. Now, with more shows and movies coming out (in 2021 there were 4 movies + 5 shows released), the quality control has dropped significantly due to the need to delegate things out. This makes consistency and central vision basically not exist.
I could say more about all this, but the final thing I'll add is this - the MCU has already peaked. That's not to say it can't make great films and shows in the future, but it will never be in the cultural zeitgeist as it was in 2019 when Endgame came out. In my unsolicited opinion, what will make great content going forward is not a vast interconnected universe with world-ending or universe-ending stakes. Instead solid character work driven by passionate and patient writers and directors will yield greater quality, and therefore fandom, in the long run.
November 26, 2023
Rating: 5 stars.
An accessible but in-depth look at the making of the Marvel Cinematic Universe, from Marvel Comics selling movie rights and making deals in the 90s through to Marvel Studio's present-day empire of 2023. I'd say I already knew much more than the average person about Marvel behind the scenes, but this book still served to enlighten me on and contextualise over fifteen years of storytelling and business decisions. Thorough and well-written, The Reign of Marvel Studios is easily recommendable to fans and non-fans alike.
That said, I don't think Marvel haters will be 100% satisfied with this book; it isn't the teardown they might want it to be, and is willing to give credit where credit's due. But this isn't a hug box either, and the line it walks in critically reporting on the behind-the-scenes workings of a notoriously secretive studio is commendable. This book isn't going to tell you the MCU is a cancer on society and the film industry, but it will expertly explain how Marvel went from almost bankrupt to behind some of the highest-grossing movies of all time. In doing so, it reports on both the problems that arose along the way and reveals the behind-the-scenes factors (and, very often, people) that caused them.
Honestly, the worst part of The Reign of Marvel Studios was that the MCU is currently in such a precarious position, still trying to find its footing post-Endgame, that I really wanted the book to keep going and tell me what's going to happen next. I'd love to read an expanded version or sequel in five to ten years—the name perfectly sets them up for a second-part "The Fall of Marvel Studios", though I think people crowing over the MCU's corpse might be getting a little ahead of themselves. But, only time will tell, and if Marvel does collapse, this book will have already covered all the fault lines.
An accessible but in-depth look at the making of the Marvel Cinematic Universe, from Marvel Comics selling movie rights and making deals in the 90s through to Marvel Studio's present-day empire of 2023. I'd say I already knew much more than the average person about Marvel behind the scenes, but this book still served to enlighten me on and contextualise over fifteen years of storytelling and business decisions. Thorough and well-written, The Reign of Marvel Studios is easily recommendable to fans and non-fans alike.
That said, I don't think Marvel haters will be 100% satisfied with this book; it isn't the teardown they might want it to be, and is willing to give credit where credit's due. But this isn't a hug box either, and the line it walks in critically reporting on the behind-the-scenes workings of a notoriously secretive studio is commendable. This book isn't going to tell you the MCU is a cancer on society and the film industry, but it will expertly explain how Marvel went from almost bankrupt to behind some of the highest-grossing movies of all time. In doing so, it reports on both the problems that arose along the way and reveals the behind-the-scenes factors (and, very often, people) that caused them.
Honestly, the worst part of The Reign of Marvel Studios was that the MCU is currently in such a precarious position, still trying to find its footing post-Endgame, that I really wanted the book to keep going and tell me what's going to happen next. I'd love to read an expanded version or sequel in five to ten years—the name perfectly sets them up for a second-part "The Fall of Marvel Studios", though I think people crowing over the MCU's corpse might be getting a little ahead of themselves. But, only time will tell, and if Marvel does collapse, this book will have already covered all the fault lines.
January 3, 2024
The stories behind the stories. The book was coherently written even though three authors collaborated on it. I undertook watching all of the MCU movies in order during lockdown and have seen all of the more recent ones as they were released, so I liked that they organized the story largely by timeline, but also encapsulated how some stories played out if they were not going to be a big part of the overall arc. I liked the nice touch of putting the last chapter in the midst of the appendix material like a mid credits scene in a Marvel movie.
Although I knew of most of the major highlights through media reports, it was interesting to see how largely uncredited writers and producers nurtured stories until they could be made into movies, and how the big egos and small-mindedness of James Gunn and Joss Whedon fought to keep them from getting credit for it. And I feel sorry for anyone who has to work with Ed Norton on anything. It was also shocking to see how long it took to remove the bigoted, misogynist Ike Perlmutter from his executive role. In the case of Victoria Alonzo, it seemed to me that she failed or refused to see that the VFX production model that she drove and which made the business hugely profitable was unsustainable. I wished there had been more information in the book to better illuminate whether she was scapegoated or could not be reasoned with.
Although I knew of most of the major highlights through media reports, it was interesting to see how largely uncredited writers and producers nurtured stories until they could be made into movies, and how the big egos and small-mindedness of James Gunn and Joss Whedon fought to keep them from getting credit for it. And I feel sorry for anyone who has to work with Ed Norton on anything. It was also shocking to see how long it took to remove the bigoted, misogynist Ike Perlmutter from his executive role. In the case of Victoria Alonzo, it seemed to me that she failed or refused to see that the VFX production model that she drove and which made the business hugely profitable was unsustainable. I wished there had been more information in the book to better illuminate whether she was scapegoated or could not be reasoned with.
January 22, 2024
This is a great history of the MCU and lots of fun details about how many important decisions were made. If you don't care about Marvel movies then don't read this, but as someone who is interested in the intricacies of Hollywood, I had a lot of fun.
October 26, 2023
Awesome behind-the-scenes story of how the movies got started, and how the process has changed over time. Not a takedown or a puff piece per se, just solid reporting and knitted together with a great rhythm. As someone who watches most mcu movies/shows but isn’t a comics reader or in the message boards, I learned a lot of stuff that I found pretty fascinating.
Read
December 22, 2023I don't always read non-fiction, but when I do, it's about the film industry.
This was a really accessible not only look inside the MCU, but the film industry as a whole. I thought it was a pretty measured look at both the things MCU did really well and also things that were critical. Really well-written.
This was a really accessible not only look inside the MCU, but the film industry as a whole. I thought it was a pretty measured look at both the things MCU did really well and also things that were critical. Really well-written.
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