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In Episode 5 of House of the Dragon, “We Light the Way,” we gather at the Vale. Runestone seat of House Royce overlooks the sea and Lady Rhea Royce (Rachel Redford) rides on horseback on her way back from a hunt. A hooded figure approaches her, and she immediately recognizes it is Daemon Targaryen (Matt Smith) — her estranged husband.
She asks if he has finally returned to consummate their marriage, to which Daemon offers no reply. Rhea goes on further to say, their sheep are willing, even if she is not. It is evident at this point that she is aware of the cruel things being said about her beyond the Vale. Daemon still doesn’t respond and spooks Rhea’s horse. She hits the ground and is paralyzed. As Daemon begins to walk away, she calls him “craven.” He walks back towards her and picks up a large rock.
As Otto Hightwower (Rhys Ifans) prepares to return to Oldtown, Alicent Hightower (Emily Carey) stops him outside the Red Keep’s gates. Otto suggests that siding with Rhaenyra Targaryen (Milly Alcock) contributed to his dismissal. As Otto continues to pull the strings, even out of the power of being the Hand, he plants a seed in Alicent’s head about her loyalty to Rhaenyra. Otto tells her that Viserys will not live to be an old man. If Rhaenyra succeeds him, the kingdom will be at war, and they will not accept her. The only way to secure her claim is for Rhaenyra to kill her children. He tells her to prepare Aegon to rule or stay close to Rhaenyra and hope she will be merciful.
As Otto’s words still remain indelibly printed in Alicent’s mind, she is approached by Larys Strong (Matthew Needham) in the Godswood. He says, “An outsider among the natives,” comparing Alicent to the novelis flowers indigenous to Braavos blooming in the garden. While Larys is using a flower as a metaphor for Alicent being an outsider to the realm, there is another metaphor of planting and growing happening in this moment. Just as Otto planted the seed to sow division between Alicent and Rhaenrya, arguably Larys is doing the same with Alicent in this scene. However, he is not sowing division, he is seeking allyship. Larys believes Otto’s dismissal was an injustice. Alicent asks him what he knows of it, and he states, “When one is not invited to speak, one learns to instead to observe.” He offers to help.
Viserys Targaryen (Paddy Considine) is on his way to Driftmark and is seasick. He throws up overboard, and Lyonel Strong (Gavin Spokes) gives him a handkerchief to clean himself off. On the lower deck, Rhaenyra and Ser Criston Cole (Fabien Frankel) look ahead at the castle on shore. As the king arrives at Driftmark, Lyonel is outraged Corlys is not present to greet Viserys and company. Instead, they are met with a teenaged Laena (Savannah Steyn).
As they enter the home of the Velaryons, Corlys greets the king and congratulates Lyonel on his new post as Hand of the King. Viserys proposes a marriage between Laenor Targaryen (Theo Nate) and Rhaenyra, noting it is high time their families unite. Corlys is honored but wants some clarification on succession. Viserys confirms Rhaenyra will be Queen, but their firstborn child regardless of gender will inherit the throne. Corlys inquires about the children’s last name as it is customary for them to carry their father’s names. Viserys compromises; the children will bear their father’s name, but when the heir ascends the throne, they will take on the name Targaryen. Corlys and Rhaenys agree to the terms.
Rhaenyra and Laenor walk along the beach. She knows this marriage is not what he would choose, but he says he has nothing against her. They both have their own distinct tastes in what they want and mutually agree that they will have an open marriage where both are free to “dine as they see fit.”
Rhaenys worries that this union will put Laenor in danger as Rhaenyra’s claims will be challenged. Corlys states that with the combined power of their houses, ships, and dragons any opponents will be crushed.
Joffrey Lonmouth (Solly McLeod) and Laenor relax among the dunes, and we finally see the intimacy shared between the two secret lovers. Joffrey unveils to Laenor that he believes Rhaenyra has a paramour of her own.
Rhaenyra sails back home with Criston, and he uses this opportunity to speak with her privately. He suggests that they should elope together to Essos and marry for love and not the crown. Sadly, Rhaenyra turns Criston down as she is loyal to both the crown and the realm. Criston takes this as an insult and asks if he’s her whore. He broke his own vows fornicating with the Princess. Marrying her would restore his honor. Unfortunately, this is not enough for Rhaenyra, and Criston leaves.
As the seed begins to take root, Alicent summons Criston to her chambers. She voices concerns for Rhaenyra and the night Daemon returned. She speaks of the rumors and wonders as Criston is her sworn protector if he knows anything about what Rhaenyra has done. When Criston realizes that Alicent is aware of their tryst, he asks for mercy and requests a quick death as opposed to being tortured. Alicent appreciates his honesty and lets him go unharmed.
In his chambers, Viserys is looked after by the Grand Maester. He is feverish and weak. He wonders if he will be remembered as a good king. What will they say of him when the histories are written? He has never conquered anything or suffered a great defeat. Lyonel assures him that is good fortune, but Viserys notes it’s not the thing songs are written about. Lyonel tells him he’s carried on Jaeherys’ legacy and has kept the peace.
A wedding feast is to begin, and the Velaryons are en route to King’s Landing with their great fleet and dragons. Viserys begins to make a speech when Alicent enters, dressed in Hightower green (as opposed to her usual Targaryen red and black). Jerrold confronts Daemon on Rhea’s death. Daemon disarms him by noting he wishes to collect his inheritance as he is heir to Runestone. After the wedding, he plans to fly to the Eyrie and petition for his land to Lady Jeyne Arryn. Jerrold leaves, shaken.
Joffrey tells Laenor that Criston is Rhaenyra’s paramour. Now they both know each other’s secrets. Joffrey introduces himself to Criston and taunts him about Laenor and Rhaenyra being a good match. This infuriates Criston. Suddenly screams are heard and the crowd surges. Criston is fighting Joffrey, and Laenor tries to help but is pushed off. Criston begins to beat Joffrey’s face in, fatally wounding him.
The wedding resumes, and they seal their union with a kiss. Viserys faints. The camera pans to a rat drinking from a puddle of blood on the floor.
Tune in with us every Sunday night at 9pm ET on Twitter using the hashtag #DragonsYall as we live-tweet each episode this season! You can catch the series during the broadcast on HBO or stream it later on HBO Max.
This recap was co-written by Angelica Monk.
In Episode 5 of House of the Dragon, “We Light the Way,” we gather at the Vale. Runestone seat of House Royce overlooks the sea and Lady Rhea Royce (Rachel Redford) rides on horseback on her way back from a hunt. A hooded figure approaches her, and she immediately recognizes it is Daemon Targaryen (Matt Smith) — her estranged husband.
She asks if he has finally returned to consummate their marriage, to which Daemon offers no reply. Rhea goes on further to say, their sheep are willing, even if she is not. It is evident at this point that she is aware of the cruel things being said about her beyond the Vale. Daemon still doesn’t respond and spooks Rhea’s horse. She hits the ground and is paralyzed. As Daemon begins to walk away, she calls him “craven.” He walks back towards her and picks up a large rock.
As Otto Hightwower (Rhys Ifans) prepares to return to Oldtown, Alicent Hightower (Emily Carey) stops him outside the Red Keep’s gates. Otto suggests that siding with Rhaenyra Targaryen (Milly Alcock) contributed to his dismissal. As Otto continues to pull the strings, even out of the power of being the Hand, he plants a seed in Alicent’s head about her loyalty to Rhaenyra. Otto tells her that Viserys will not live to be an old man. If Rhaenyra succeeds him, the kingdom will be at war, and they will not accept her. The only way to secure her claim is for Rhaenyra to kill her children. He tells her to prepare Aegon to rule or stay close to Rhaenyra and hope she will be merciful.
As Otto’s words still remain indelibly printed in Alicent’s mind, she is approached by Larys Strong (Matthew Needham) in the Godswood. He says, “An outsider among the natives,” comparing Alicent to the novelis flowers indigenous to Braavos blooming in the garden. While Larys is using a flower as a metaphor for Alicent being an outsider to the realm, there is another metaphor of planting and growing happening in this moment. Just as Otto planted the seed to sow division between Alicent and Rhaenrya, arguably Larys is doing the same with Alicent in this scene. However, he is not sowing division, he is seeking allyship. Larys believes Otto’s dismissal was an injustice. Alicent asks him what he knows of it, and he states, “When one is not invited to speak, one learns to instead to observe.” He offers to help.
Viserys Targaryen (Paddy Considine) is on his way to Driftmark and is seasick. He throws up overboard, and Lyonel Strong (Gavin Spokes) gives him a handkerchief to clean himself off. On the lower deck, Rhaenyra and Ser Criston Cole (Fabien Frankel) look ahead at the castle on shore. As the king arrives at Driftmark, Lyonel is outraged Corlys is not present to greet Viserys and company. Instead, they are met with a teenaged Laena (Savannah Steyn).
As they enter the home of the Velaryons, Corlys greets the king and congratulates Lyonel on his new post as Hand of the King. Viserys proposes a marriage between Laenor Targaryen (Theo Nate) and Rhaenyra, noting it is high time their families unite. Corlys is honored but wants some clarification on succession. Viserys confirms Rhaenyra will be Queen, but their firstborn child regardless of gender will inherit the throne. Corlys inquires about the children’s last name as it is customary for them to carry their father’s names. Viserys compromises; the children will bear their father’s name, but when the heir ascends the throne, they will take on the name Targaryen. Corlys and Rhaenys agree to the terms.
Rhaenyra and Laenor walk along the beach. She knows this marriage is not what he would choose, but he says he has nothing against her. They both have their own distinct tastes in what they want and mutually agree that they will have an open marriage where both are free to “dine as they see fit.”
Rhaenys worries that this union will put Laenor in danger as Rhaenyra’s claims will be challenged. Corlys states that with the combined power of their houses, ships, and dragons any opponents will be crushed.
Joffrey Lonmouth (Solly McLeod) and Laenor relax among the dunes, and we finally see the intimacy shared between the two secret lovers. Joffrey unveils to Laenor that he believes Rhaenyra has a paramour of her own.
Rhaenyra sails back home with Criston, and he uses this opportunity to speak with her privately. He suggests that they should elope together to Essos and marry for love and not the crown. Sadly, Rhaenyra turns Criston down as she is loyal to both the crown and the realm. Criston takes this as an insult and asks if he’s her whore. He broke his own vows fornicating with the Princess. Marrying her would restore his honor. Unfortunately, this is not enough for Rhaenyra, and Criston leaves.
As the seed begins to take root, Alicent summons Criston to her chambers. She voices concerns for Rhaenyra and the night Daemon returned. She speaks of the rumors and wonders as Criston is her sworn protector if he knows anything about what Rhaenyra has done. When Criston realizes that Alicent is aware of their tryst, he asks for mercy and requests a quick death as opposed to being tortured. Alicent appreciates his honesty and lets him go unharmed.
In his chambers, Viserys is looked after by the Grand Maester. He is feverish and weak. He wonders if he will be remembered as a good king. What will they say of him when the histories are written? He has never conquered anything or suffered a great defeat. Lyonel assures him that is good fortune, but Viserys notes it’s not the thing songs are written about. Lyonel tells him he’s carried on Jaeherys’ legacy and has kept the peace.
A wedding feast is to begin, and the Velaryons are en route to King’s Landing with their great fleet and dragons. Viserys begins to make a speech when Alicent enters, dressed in Hightower green (as opposed to her usual Targaryen red and black). Jerrold confronts Daemon on Rhea’s death. Daemon disarms him by noting he wishes to collect his inheritance as he is heir to Runestone. After the wedding, he plans to fly to the Eyrie and petition for his land to Lady Jeyne Arryn. Jerrold leaves, shaken.
Joffrey tells Laenor that Criston is Rhaenyra’s paramour. Now they both know each other’s secrets. Joffrey introduces himself to Criston and taunts him about Laenor and Rhaenyra being a good match. This infuriates Criston. Suddenly screams are heard and the crowd surges. Criston is fighting Joffrey, and Laenor tries to help but is pushed off. Criston begins to beat Joffrey’s face in, fatally wounding him.
The wedding resumes, and they seal their union with a kiss. Viserys faints. The camera pans to a rat drinking from a puddle of blood on the floor.
Tune in with us every Sunday night at 9pm ET on Twitter using the hashtag #DragonsYall as we live-tweet each episode this season! You can catch the series during the broadcast on HBO or stream it later on HBO Max.
This recap was co-written by Angelica Monk.
Though it’s still almost 100 degrees while I write this, we are officially in spooky season. September has hit and with it comes the promise of ghosts, ghouls, and warm spiced cider. Basically all the loveliest things fall has to offer. To help you make the most of this delightful time I’ve curated a list of 15 brilliant books to help you embrace Halloween. From final destination-inspired folk horror to witchy romance there are plenty of new stories for every type of reader. So wrap up warm—or get your fan running—and prepare ready to get spooky with these Halloween book recommendations.
The Weight of Blood by Tiffany D. Jackson – Available Now
Taking on a legendary horror novel like Carrie is no easy feat but in The Weight of Blood, Tiffany D. Jackson does just that and makes it look effortless. This contemporary YA reimagining centers Madison Washington, a young biracial woman in Georgia. As her high school embarks on its first integrated prom the star quarterback asks Madison to the dance. She’s always been an outcast but prom offers a chance to be “normal.”
However, as anyone who has read Carrie knows, things aren’t what they seem. Madison has a secret too and it’s a powerful one.
The Gathering Dark: An Anthology of Folk Horror by Various Authors – Available Now
Folk horror is one of our favorite genres here at Nerdist. And there have been some brilliant new additions and explorations of the genre in recent years. A new anthology featuring a ton of brilliant authors looks to add to that this fall. Collecting tales from Erica Waters, Chloe Gong, Tori Bovalino, Hannah Whitten, Allison Saft, and more, this book takes on local myths, urban legends, and classical folklore bringing them to life in terrifying ways. A perfect autumn read that will deliver a story for every kind of spooky season mood.
How to Survive Your Murder by Danielle Valentine – Available Now
Slasher fans rejoice! Danielle Valentine has delivered a Scream level meta-homage horror that delivers wild final girl fan service. When a man stabs Alice’s sister Claire during a Halloween party, Alice’s life falls apart. She spent years studying horror to stay safe and yet she let her sister go into a corn maze alone. But just as Alice is about to testify against the man who killed her sister she’s attacked by a Sidney Prescott look-alike who throws her back in time to the night Claire was killed. Alice has until midnight to find out the truth about what happened and save her sister in this wonderfully twisted thriller.
Angelika Frankenstein Makes Her Match by Sally Thorne – Available Now
Looking for something more romantically inclined but with a spooky gothic edge? Then look no further than Angelika Frankenstein Makes Her Match. This charming spin on the classic Mary Shelley yarn sees the titular inventor become inspired by her more famous brother’s experiments to create a man all her own. Angelika’s delightfully chaotic choice sparks the events of the book. It leads her on a monstrous romance featuring plenty of candles, shadows, and a mystery to be solved.
Raising the Horseman by Serena Valentino – Available Now
Disney has been doing a delightful job of recontextualizing some of their most famous films recently. And their newest title takes on The Legend of Sleepy Hollow! Kat Van Tassel is sick of the legend that defines her family. But when her mother gifts her her namesake’s diary on a very special anniversary, Kat is suddenly dragged into the very past she’s desperate to ignore. Then, when a delightful new girl arrives to town, Kat suddenly has to reimagine her life, her history, and her love life while trying to solve a 200-hundred-year-old mystery to save the place she loves.
The Depths by Nicole Lesperance by Available Now
We’ve been getting a lot of great tropical horror recently and The Depths is another delightfully terrifying addition. When Addie’s mother drags her along to her secluded island honeymoon Addie couldn’t be less enthused. Eulalie Island seems like a paradise but Addie is lonely and tired. That is until she meets a mysterious boy who tells her the “island loves you” and suddenly Eulalie Island opens itself up to her. But behind the beautiful foliage and sandy beaches lie dark secrets connected to the deaths of two girls.
Lucky Girl, How I Became a Horror Writer: A Krampus Story by M. Rickert – Available Now
If you can’t wait until Christmas but want to embrace the inherent spookiness of the season, make sure to add this to your to-read list. Lucky Girl, How I Became a Horror Writer: A Krampus Story takes place over the festive season as a lonely young writer, Ro, hopes to find companionship. After bumping into some strangers in a diner she organizes an impromptu dinner party which quickly becomes a stage from shared ghost stories. But stories have a certain power and at Christmas the veil between worlds is thinner than ever…
Valley of Shadows by Rudy Ruiz – Available September 20
This startling neo-Western blends the boundaries of horror, magical realism, and mystery. Solitario Cisneros’ life has been lost to tragedy. But when a savage series of killings begin to ravage his quiet life he has to reluctantly embrace the living once again. Finding unexpected inspiration and support from Onawa, a gifted and enchanting Apache-Mexican seer, the pair head into the desert. This genre-defying literary thriller delves deep into the dark past of the US Mexico border shining a light on the injustice, suffering, and isolation it’s built on.
The Kiss Curse by Erin Sterling – Available September 20
Expanding the world of her charming witchy romance The Ex Hex, Erin Sterling returns to Graves Glen. It’s here we first met the founding Penhallows and Gwyn Jones. Cousin to the first book’s leading lady Vivi, Gwyn became a firm fan favorite and is now getting entangled with a new handsome Penhallow of her own. This time it’s Wells, the dutiful Penhallow son who has come home to set up shop in Graves Glen. But when a new band of witches arrives in town he’ll have to team up with Gwen. Don’t be surprised if some magical sparks fly.
Demon in the Wood Graphic Novel by Leigh Bardugo and Dani Pendergast – Available September 27
If you know us here at Nerdist, then you know we love Shadow and Bone. Leigh Bardugo’s brilliant fantasy series has been delighting us for a decade and now she’s bringing the Darkling to comics. Adapting her prequel Demon in the Wood with artist Dani Pendergast this is an absolutely vital addition to the Shadow and Bone world and hopefully the first of many comic book stories set in the Grishaverse. Centering on the Darkling when he was just a boy, this tragic and beautiful story adds layers to the villain we know and the scared child he once was.
Lute by Jenn Thorne – Available October 4
Final Destination meets The Wicker Man is this utterly enthralling folk horror story. Lute is the kind of book you’ll read in a single sitting. Lute takes its name from the small island where it’s set. Nina Treadway thought that The Day was nothing but a silly tradition when she first moved from Florida. Of course someone would have noticed if seven people died every seven years on the exact same day. But Nina is wrong. The Day is very real. Affecting, unexpected, and both terrifying and joyfu,l Lute is like nothing else you’ll read this year.
As a spooky season treat, Jenn Marie Thorne shared this exclusive insight into the story with Nerdist. “The origin of Lute is a mystery to even me. Sometimes my ideas come from news stories or events in my life, but in this case, the set-up for Lute simply popped into my head right before I fell asleep one night. Once I’d outlined the “what if,” though, bigger questions arose, ones that were definitely tied into what I was experiencing at the time, particularly as an American living in England, looking out at the shifting political landscape around me. I wanted to look at the personal choices we make when faced with fear—do we protect ourselves or embrace community? Often folk horror is about the perils of tradition, of the community over the individual. With Lute, I wanted to examine that more critically and turn it on its head.”
Malice House by Megan Shepherd – Available October 4
There’s plenty of family-based horror on our list this spooky season and we’re eternally grateful. Excavating the horrors of home is fertile ground for genre and Malice House adds depth and darkness to a monstrously good tale. Haven Marbury wants nothing more than to be an artist, but the death of her father and a duty to clear out his rambling seaside home must be dealt with first. Uncovering a lost—and rather terrifying—manuscript by her Pulitzer-winning patriarch seems like the opportunity she needs but when the monsters from the pages begin to appear in her very real world, suddenly she has to rewrite everything she knows about herself and her life.
Little Eve by Catriona Ward – Available October 11
Catriona Ward has firmly established herself as one of the best horror authors of our age with her novels Last House on Needless Street and Sundial. Little Eve focuses on another unusual family, this time living in an isolated area of Scotland during the early 1900s. This gothic novel already won the Shirley Jackson Award for Best Novel and promises to be a delightfully gothic chiller about family, home, and the end of the world.
Will Do Magic for Small Change by Andrea Hairston – Available October 11
Another perfectly timed rerelease is Andrea Hairston’s stunning historical fantasy Will Do Magic For Small Change. This epic family saga follows Cinnamon Jones, the granddaughter of famed performers and conjurers, Redwood and Wildfire. You may have read their tale in Hairston’s award-winning 2011 novel. If not, no worries as this is a wonderful novel in its own right and a great jumping on point. When Cinnamon is given a book about a Dahomean warrior woman and an interdimensional alien at the 1893 World’s Fair, she’s drawn into a centuries old mystery that she dedicates herself to solving alongside her theater troupe in this utterly unique tale.
Black Paradox by Junji Ito – October 25
It wouldn’t be Halloween without Junji Ito and Viz has a gorgeous new edition of one of his most infamous stories. Four strangers meet on a strange website known as Black Paradox: a nurse, Maruso; Taburo, a man with a strange obsession; an engineer, Pit-tan who has created something terrible; and Baracchi, a woman devastated by a birthmark on her face. There, they plan to end their lives. But their chance encounter leads them to an unexpected fate. Ito is a master for a reason and this lengthy tale showcases exactly why he’s as beloved as he is.
The post 15 Awesomely Atmospheric Books to Read This Spooky Season appeared first on Nerdist.
Four episodes of She-Hulk are in the bag as of writing this, keeping us entertained with topical comedy, cameos, and a little intrigue. While it’s lighthearted and enjoyable, the storyline has yet to land its plane. I’ll be going back and forth with my co-author Frantz Jerome to see just where this show is going and where it’s taking the MCU.
Opening Remarks
Aisha Jordan: First, let me say I was pleasantly surprised by the composition of the She-Hulk series so far. My skepticism came before it even aired. Learning it was being packaged as a comedy, that the casting was different than many would have thought, and that the first leaked images were not so promising, it was so hard to discern the direction the show might take. I was glad to be pleasantly surprised. Making a weekly comedic procedural superhero TV series sounds like a choose-your-own-adventure situation. I was taken aback by the performances, the witty repartee, and the storylines; which were much more intriguing than the trailers let on. I could do with some pulling back on breaking the fourth wall, let’s be real, Deadpool set the bar pretty high for meta-comedy. In light of all this, She-Hulk hasn’t turned me away just yet.
Bringing in storylines from the previous Hulk media was expected (it’s Marvel’s whole appeal, really) and they’ve done it more tastefully than I would have thought. It’s hokey at times, but it feels like an intentional device to grab as wide an audience as possible. Jennifer Walters (Tatiana Maslany) and her paralegal Nikki (Ginger Gonzaga) are a really fun duo. They make She-Hulk a nice break in your program day. One issue I have is with every male character being reduced to an example of toxic masculinity except for Augustus ‘Pug’ Pugliese (Josh Segarra). You know, the season is still young, he still has time to get canceled. In spite of its shortcomings, I am still invested in seeing where the narrative is going to take us in the larger scheme. Right now, it’s giving heavy-handed modern feminism with cameos (like Megan Thee Stallion’s viral moment) to distract us from its overwhelming white lady politics. My co-author has a bit more context in the She-Hulk universe to track the show’s decisions.
Frantz Jerome: All of the tonal things that have been hit or miss with audiences can actually be chalked up to good research by the creative team. In John Byrne’s 1989 run of the Sensational She-Hulk comic, we get the fourth wall breaks, the comical D-list villains, and the use of the courts to provide nuance to said villains and to She-Hulk herself. Also, in these runs of She-Hulk, Jennifer is looking to move away from her sheepish and timid ‘human’ self and really step into her identity as the ‘Emerald Amazon.’ A lot of the comedic takes in the show are derived from the Sensational She-Hulk comic. But the depth, lively writing, and layering of the lore happen in Slott’s 2004 run, She-Hulk: Attorney at Law. The formula was so cut and dry, that Slott took to Twitter to let folks know what it is:
As it stands, the show is good. All of the pieces needed are there. Tatiana Maslany knocks this character and their alter ego out of the park. If you’re a fan of Orphan Black, you already know she’s the goods. No one drops the ball on their acting, and the special effects are on par with the other Marvel shows. Which includes that one glaring issue in each show. In She-Hulk it’s definitely the graphics on the titular character that sometimes look off. They got Jenny looking like a cartoon sometimes. Mind you, it’s way better now than the first trailer, but it ain’t all the way up yet. But that’s the only real technical issue I have with the show.
Permission to Approach the Bench
FJ: For readers of the comics this show is based on, you already know. This show has limitless potential. At some point in Dan Slott’s She-Hulk: Attorney at Law, Jennifer is tapped to practice “Universal Law” in outer space and represents The Living Tribunal (whose head we see floating around in Multiverse of Madness!). I say that to say this; using these two runs would allow this show to go ANYWHERE and change the direction of the MCU if Feige sees fit. That said, using the courts as a hub for the greater Marvel Cinematic Universe will be a breeze.
Phase four left the MCU a scattered kaleidoscope of scales and dimensions. Spider-Man: NWH, Moon Knight, Hawkeye, Falcon and The Winter Soldier (and a few others) have been fleshing out the street-level and Earth-based heroes. On the other hand, Eternals, Love and Thunder, Ms. Marvel, Multiverse of Madness, and Loki are expanding the limits of the cosmic part of the cinematic universe. It’s baffling to no end, based on the source material, how far-reaching She-Hulk can go. So it makes perfect sense for the entirety of the MCU to pop in and out of this show for as long as it’s running. We’ve already got a direct connection to Shang-Chi and an indirect shoutout to New Asgard, so the sky’s the limit. Other than an Avengers movie, no other property can crossover this easily.
The Art of Distraction
AJ: I agree completely. My producer’s brain found it hard to discern which direction She-Hulk was really going to take because it’s hard to tell which direction the MCU is going to take. With the way Eternals shook out, it was almost a stand-alone notwithstanding /the mention of Thanos and the ripple effect of reversing his snap. I’m of the right mind to think the events of Eternals weren’t even in our universe. Which, brings me to the Multiverse of Madness – utter insanity! The entire movie was a ball of confusion. This mixed with the allusion to mutants in Ms. Marvel, no one even knowing who Peter Parker is and Thor distancing himself, it’s all pretty disorienting. I’m not saying it has to be as streamlined as it was before. The first four phases were a careful trail of breadcrumbs. Not every movie was top notch but with every easter egg, viewers could put the puzzle pieces together.
With She-Hulk entering the chat and bringing bits and pieces of everything with it, there are a million and one theories you could make from what we are seeing, and it’s anyone’s game as to what direction they’re taking things. I think this format is an intentional play at the art of distraction. Feige is operating on ‘put everything out there so once all is revealed,’ so we would never see anything coming. This is what I hope and feel to be true. The thing that concerns me is the next phase of DEI (entertainment jargon for ‘diversity, equity, and inclusion’) the MCU is pulling.
Objection!
AJ: The MCU has been working on the level of its DEI efforts in its cinematic world. Bringing to life characters like Kamala Khan aka Ms. Marvel the first Pakistani superhero, Riri Williams the Black girl genius taking up the armored mantle of Iron Heart; and of course Captain Marvel, Black Panther, you know the names. For some time the thought has been, ‘are we doing this just for representation’s sake’? Or are we ‘bout it ‘bout it? Whenever mainstream media projects do anything we have to ask this question: is the diversity just in the casting? Are there women, Black and Brown folks, and allies alike in the writer’s room? At the producing table? In the director’s chair? Anywhere? Over time, Marvel has gotten better at this, and the subsequent two phases of the MCU have shown there will be a plethora of writers, directors, producers, etc. Now for me – the authenticity of progress lies in the execution. How does this all lead back to She-Hulk (if you didn’t guess already, let me just jump into it.)?
To say the show is feminist would be a little on the nose for this article, but the series is taking the on-the-nose approach, so why not? She-Hulk the series is feminist. From episode one, it’s pretty clear what lens Jennifer Walter’s story is meant to take. She is on the ‘women work twice as hard,’ ‘don’t compare my struggle to a man,’ ‘guys are douches,’ ‘I can do this on my own,’ ‘everyone looks down on me because I am a woman,’ and laying this on with the thickness while hulk-smashing the plane down. We see this in a moment during training with Bruce. While he is providing his expertise as a ‘Hulk-type,’ she quickly hits him with the ‘anything you can do I can do better.’ Bruce tries to lead Jennifer through meditation, and she turns Tyra on him! Like, “You don’t know where I’ve been, what I’ve gone through!!”
Not to say she doesn’t have a point. Yes, women deal with a lot in society, and the world has been built this way. Did I need She-Hulk to say that on behalf of all women? No, probably not. I know someone out there needed that. Someone watching was like “f*ck yeah!” I’m not here to belittle anyone’s experience or put down what helps someone be seen. But I am a critic, so I’m here to be critical. Sometimes the most powerful moments are held in the subtleties, and we are given none in the message thrown at us in She-Hulk. Would I have felt a better sense of connection to Jennifer Walters had she used specific inferences where she was put down or made to feel less than? Or told a first-person account of having to hold in her anger to get through the day? Yes! I would have felt a deeper connection to the character’s plight.
It is important to say I am a cishet Black and Latine woman writing this. As a Black woman, I will say it, it is hard to feel genuinely connected to white women when it comes to feminist moments. The initial reaction of – ‘we’re all in this together’ can be a bit triggering. Now, I speak from the I because I don’t want to lump all of Black feminism into my experience as an example (cough cough). I bring this up because in the history of feminism there is the narrative of Black women being largely excluded. In Maia Niguel Hoskin’s Forbes article, they speak directly to the sometimes absent rhetoric for Black women in predominantly white feminist spaces. This isn’t to say all white women feminists exclude the Black experience, not at all. Unfortunately, the issue has not been thoroughly addressed or unpacked enough, so it’s still a little triggering for Black women like me. All of this is to say when Jennifer Walters brings up the plight of women as her ability to keep from hulking out without meditation, I was not the one cheering ‘yaaasss queen.’ I was giving a look to the side and shrugging shoulders emoji like, “Okayyyyy.”
I was hoping this was not going to be the basis of the series, but as episodes progressed, this became more and more a platform for She-Hulk to hulk jump off of; mainly the juxtaposition of the male character’s performativity of toxic masculinity versus the literal strong woman and independent boss b*tch. I’m talking namely about the Dennis Bukowski character (played by Drew Matthews.) Attorney Dennis Bukowski is an exaggerated caricature of a toxic man. He is, literally, toxic masculinity personified. His cartoony personality starts to make She-Hulk look like what haters claimed Captain Marvel would be. Because there is no reason to take Bukowski seriously, it almost waters down the themes that She-Hulk is presenting. It’s not to say people like this don’t exist but making every other character a hyper-masculine man is not a requirement in showing the depth of a woman’s experience. I understand keeping the themes big and clear to read works, but if I am being critical of execution then a subtle knife is what’s missing. Now maybe I’ve been off-base with the source material, so I’ll let Frantz take the mic.
Power of Attorney
FJ: The politics at play in She-Hulk are very upfront and smash mouth. It’s…a style. Despite its first-wave feminist overtones (not to be confused with later ‘waves’ that were inclusive of Black, Brown, and Indigenous women), this show is based on a run written by Dan Slott that ran from 2004 to 2006. Slott’s run with the character brought them back into comics’ popularity by focusing more on her capability as a lawyer and the ways the Marvel comics universe interacts with the law. Or breaks the law. Prior to Dan Slott and perhaps more influential to the style of the show is John Byrne’s run of Sensational She-Hulk published in 1989.
In Byrne’s 1989 run, we get the fourth wall breaks (see above), the comical D-list villains, and the use of the courts to provide nuance to said villains and to She-Hulk herself. Also, in these runs of She-Hulk, Jennifer is looking to move away from her sheepish and timid ‘human’ self and really step into her role as the ‘Emerald Amazon.’ The more comedic takes of the show are derived from Sensational She-Hulk, but the depth and layering of the lore happen in Slott’s run. At some point in She-Hulk: Attorney At Law, Jennifer is tapped to practice “Universal Law” in outer space and represents The Living Tribunal (!). I am reiterating these point to say that using these two runs would allow this show to go ANYWHERE and change the direction of the MCU if Feige sees fit.
While the feminist lens is front and center with Jessica Gao as the show’s creator and lead writer, there is a spectacular irony that this show is sourced from comics written by two cishet, white, men. I bring that to the forefront to illustrate a particular toxicity: male experiences are being made fun of in She-Hulk, and it’s at the same time disturbing yet apropos. After the many centuries (to present-day) of mistreatment that became unspoken second-class citizenship, there is a lot that women and femme-identified folks need to say. Out loud. On large platforms. Unfiltered. These are some of the ideals that appear to validate so many of the decisions made on the show.
Closing Remarks
FJ: I am a firm proponent of ‘talk your shit!’, but also that there’s a need to read the room. The creative team on Black Panther didn’t diminish the lived experience of white people to make Wakanda look good. It simply and carefully explored the ways Wakandans navigate the world and let that example speak for itself. Unlike the scene in episode one of She-Hulk where Jennifer explains why she’s a better Hulk (which, for the record – she is, even canonically) was indicative of this uneven messaging. As we know, Bruce has struggled with all types of abuse and suffers from a gamma-mutated mental health issue. He confessed in Avengers, “You can’t kill me; I know, I’ve tried. […] I put a bullet in my mouth, and the other guy spit it out.” For Bruce’s experience of self-harm to be not only shrugged off but then highlighted as an example of mansplaining is a one-to-one instance of toxicity performed by She-Hulk. The scene pits men’s mental health issues in opposition to the injustices women face daily. When in reality, those things are connected. In my opinion, the show is cutting off its nose in spite of its face. The character, their mythos, and their cultural impact are what suffers in the end. She-Hulk herself is becoming a symbol of feminism as opposed to an example of womanism (coined by Alice Walker and centers fighting sexism and racism) in action.
The Verdict
Even with all of this at play, She-Hulk is still entertaining and is going to be a staunch and widely popular piece of feminist media. But the hope is that it becomes a great female-led show that challenges sexism. Great performances and never knowing what’s coming next keep the show afloat. Can the lore stay ahead of its need to put feminism over everything? We’ll find out together as Jennifer Walters stakes her claim in Marvel Universe. She-Hulk Attorney at Law episodes drop on Thursdays on Disney+. Check it out and let us know what you think!
Cover image via Disney+
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The post Is ‘She-Hulk’ the Potential Nexus of the MCU? appeared first on Black Nerd Problems.
Fan-Favorite Disney Night will Expand to Disney+ Night,
Featuring Content from the Streaming Service’s Marquee Brands
‘Dancing with the Stars’ Premieres Live,
Monday, Sept. 19 on Disney+
BURBANK, Calif. (Sept. 11, 2022) – Today, Disney+ released new photos of season 31 “Dancing with the Stars” celebrity cast and their professional dancing partners. The series, hosted by supermodel and businesswoman Tyra Banks and new co-host, actor and television personality Alfonso Ribeiro, returns to the ballroom Monday, Sept. 19, at 8 p.m. EDT / 5 p.m. PDT, only on Disney+.
Judges Carrie Ann Inaba, Bruno Tonioli and Derek Hough were joined by executive producer Conrad Green and co-executive producer Deena Katz for the “Dancing with the Stars” 31st Season Celebration at D23 Expo: The Ultimate Disney Fan Event. During the panel, they shared that the fan-favorite Disney Night will expand this season to Disney+ Night and feature content from the streaming service’s marquee brands.
Celebrities and Professional Dancers:
· Fitness model and actor Joseph Baena with partner Daniella Karagach
· Movie star Selma Blair with partner Sasha Farber
· Comedian, actor and singer Wayne Brady with partner Witney Carson
· Good Morning America contributor and WABC-TV New York’s weather
anchor Sam Champion, with partner Cheryl Burke
· TikTok star Charli D’Amelio with partner Mark Ballas
· Heidi D’Amelio (“The D’Amelio Show”) with partner Artem Chigvintsev
· Country star Jessie James Decker with partner Alan Bersten
· TV star Trevor Donovan with partner Emma Slater
· Daniel Durant (Oscar®-winning “CODA”) with partner Britt Stewart
· Teresa Giudice (“The Real Housewives of New Jersey”) with partner
Pasha Pashkov
· Vinny Guadagnino (“Jersey Shore”) with partner Koko Iwasaki
· “Charlie’s Angels” star Cheryl Ladd with partner Louis van Amstel
· Jason Lewis (“Sex and the City”) with partner Peta Murgatroyd
· Drag queen superstar Shangela with partner Gleb Savchenko
· Platinum recording artist Jordin Sparks with partner Brandon
Armstrong
· Gabby Windey (“The Bachelorette”) with partner Val Chmerkovskiy
After an impressive 30 seasons on ABC, “Dancing with the Stars” moves to its new home on Disney+, premiering exclusively in the U.S. and Canada this fall, and making “Dancing with the Stars” the first live series to debut on the streaming service.
“Dancing with the Stars” is produced by BBC Studios Los Angeles Productions.
About Disney+
Disney+ is the dedicated streaming home for movies and shows from Disney, Pixar, Marvel, Star Wars, and National Geographic, along with The Simpsons and much more. In select international markets, it also includes the new general entertainment content brand, Star. The flagship direct-to-consumer streaming service from The Walt Disney Company, Disney+ is part of the Disney Media & Entertainment Distribution segment. The service offers commercial-free streaming alongside an ever-growing collection of exclusive originals, including feature-length films, documentaries, live-action and animated series, and short-form content. With unprecedented access to Disney’s long history of incredible film and television entertainment, Disney+ is also the exclusive streaming home for the newest releases from The Walt Disney Studios. Disney+ is available as a standalone streaming service or as part of The Disney Bundle that gives subscribers access to Disney+, Hulu, and ESPN+. For more, visit disneyplus.com, or find the Disney+ app on most mobile and connected TV devices.
About BBC Studios
BBC Studios, a global content company with bold British creativity at its heart, is a commercial subsidiary of the BBC. Able to take an idea seamlessly from thought to screen and beyond, its activities span content financing, development, production, sales, branded services, and ancillaries across both its own productions and programs and formats made by high-quality UK independents. Award-winning British programs made by the business are internationally recognized across a broad range of genres and specializations, with brands like Dancing with the Stars/Strictly Come Dancing, Top Gear, and Doctor Who. BBC.com, BBC Studios’ global digital news platform, provides up-to-the-minute international news, in-depth analysis and features to more than 139 million unique browsers each month. BBC Studios has offices in 20 markets globally, including ten production bases in the UK and production bases or partnerships in a further nine countries around the world. The company, which ordinarily makes around 2,000 hours of content a year for both the BBC and third parties including Apple, Netflix, and Migu, is a champion for British creativity around the world. It is also a committed partner for the UK’s independent sector through a mix of equity partnerships, content investment, and international distribution for program titles.
In the U.S, BBC Studios operates both a distribution business and one of its major production units. The production unit, based in Los Angeles, creates and produces adaptations of UK programs, as well as all new original programs, for linear and digital platforms in the U.S. This production unit is responsible for the phenomenally successful, Emmy®-winning Dancing with the Stars, the multi-award-winning Life Below Zero franchise, the revved up Top Gear America, and the popular reboot of the classic quiz show Weakest Link, among others. In scripted, the team has achieved success adapting British hits, including Call Me Kat (based on the UK format Miranda), Welcome to Flatch (This Country in the UK), and Ghosts for top U.S. broadcast networks
The post DISNEY+ RELEASES NEW PHOTOS OF ‘DANCING WITH THE STARS’SEASON 31 CELEBRITY CAST AND PROFESSIONAL DANCINGPARTNERS appeared first on The Nerd Element.