In the Silver Age of comics, when Marvel became a serious competitor for DC, there was a distinct contrast in the storytelling styles of the two publishers, especially in the team titles (DC’s Justice League of America and Marvel’s Avengers, primarily). While DC spent most of its comic panels on plotting, Marvel’s approach was something more like: “Forget this silly script treatment–let’s have somebody fight!”

The “Marvel Misunderstanding” subplot became an inside joke with comic book readers–when there were no supervillains handy, excuses were dreamed up to have Marvel’s heroes duke it out with each other.

The difference between Marvel’s characters on the silver screen and in comic book pages is almost as drastic as the spy novels of Ian Fleming compared to the cinematic James Bond in the Roger Moore days. Still, we got a little “Marvel Misunderstanding” throwback in the first Avengers flick.

As the title of this movie (“Civil War”) suggests, most of the screen time is dedicated to fraternal conflict among Marvel’s big screen pantheon. But not due to a misunderstanding–because of a fundamental disagreement about “oversight.”

Collateral damage caused in the previous Marvel movies has caused various globalist interests to call for “hero control” (my term, thank-you).

Iron Man, at one point a free market capitalist hero, is now more of a corporatist bleeding heart who believes the answer is for the Avengers to be leashed by the United Nations. Now there is a brilliant quantum leap in logic: collateral damage caused by saving the planet from despotic monsters must be curbed by putting the good guys under the direct control of an organization with a horrific track record, run exclusively by unelected bureaucrats who don’t believe in representative government and are not accountable to any people anywhere in any way.

On the other side is Captain America. He doesn’t spell it out like I did, but amazingly, he senses the danger in such an arrangement, that would make the problem they’re trying to solve even worse (which is pretty much the de facto purpose of the United Nations).

Interesting analyses can be drawn from this scenario. It can be a metaphor for the whole “gun control” struggle or, more broadly, the march toward police statehood, and the belated reaction to it by Americans who prefer to be free men, partly represented in the Trumpening. Again, it’s amazing how accurately Tony Stark and Steve Rogers represent their respective sides, considering Hollywood’s blatant myopic axe-grinding in every other movie touching on the subject.

Marvel’s done a great job with characterization and humor in their movies, and that continues here, even though this might be their most somber one yet. Suddenly there is a whole subplot regarding Stark’s parents which affects his frame of mind in this movie. Robert Downey Jr. pulls it off with his usual panache.

There’s a lot of character tweaking I found annoying, as a one-time comic afficionado. Of course, I quit reading comics as they became 100% SJW converged, so a lot has probably changed since then. Black Widow is about 20X more badass than in the comics I read, but she has been that way in all the movies, because vagina. It was cool to see Black Panther on the big screen, but he punches way above his weight here, too. But the most annoying is Spiderman.

Apparently the webslinger is getting yet another reboot. This time Peter Parker has a younger, attractive Aunt May, and is given his costume by Tony Stark who, somehow, has discovered his secret identity without ever having met him. Normally Spiderman would be the heavy hitter of all the heroes in this story (when the character was introduced by Stan Lee originally, only Thor, the Thing and the Hulk were stronger), but he is reduced mostly to comedy relief. The way he was brought in, and dismissed, makes him seem like just an afterthought in the script. Too bad, because the actor played him better than any other has, IMO.

Physical prowess is treated inconsistently in every superhero adaptation for big and small screen. Of course part of this is necessary to conform to the feminist aspect of The Narrative. Much of it is no doubt contrived to make scenes more dramatic. Then there is the star clout of Downey Jr., who frankly got more attention in this film than the title character did. Spiderman and Captain America are not played by actors worshipped to the degree he is; therefore the characters must be depicted as inferior to his, one way or the other.

In any case, most moviegoers don’t know much about the source material anyway, so this should be a fun diversion for a couple hours.

So far, there is only one season’s worth of episodes on Netflix. I watched them all to the end without puking. I do admit to some groans and eye-rolls, but grading on the curve, that’s an A+ for a superhero (or, frankly, any) TV show these days.

First of all, in a genre with more reboots than a week’s worth of using Microsux Winblows, the series was fairly faithful to the source material. Remember, Daredevil hit the crimefighting stage in the 1960s. So first of all, everything had to be transposed to this millennium.

I’ll get the eye-rolls out of the way first.

(BTW, I remember the Kingpin being one of Spiderman’s enemies. Maybe Frank Miller switched him over?)

In today’s obsession with gray areas, flawed heroes and sympathetic villains, I guess it was just too tempting for the writers not to try to show the Kingpin’s humanity.

Sometimes these apologetics work. In this instance it was really unnecessary.

Some villains are just crooked, okay? The darker side of human nature is to lust after wealth/ power, and to build one’s own twisted version of morality in order to justify those lusts. The scumbags of the world either see themselves as heroes or victims (often both), and always have an excuse handy for what they do. You don’t need to help them make excuses.

I’ll only mention one more annoyance: the creative team behind Daredevil obviously felt obliged to lament the revolution in media every chance they got. In fact, the reporter character (Ben Urich) really serves no better purpose in the series.

He’s an icon–a symbol of journalistic integrity that the left-wing propagandist tools of the mainstream media would have you believe motivates them. The great tragedy is that since the flow of information has been democratized via the Internet, people have options and are turning away from the Lapdog Press; perusing alternative sources looking for the truth.

The truth that the mainstream media routinely attempts to suppress (and before the Internet, they were consistently successful).

The Daredevil writers (via their Ben Urich character) whine about the demise of Marxist (“mainstream”) newspapers, and complain that inferior proletarian slobs “blogging in their underwear” are responsible. They also seem to believe that those unwashed bloggers are getting filthy rich from doing it.

There was one similar rant in Arrow that I remember, but in this series, once was evidently not enough.

If you can ignore elements like those two eye-rolls summarized above (and I’m sure 99% of folks do), then this is actually a decent series so far. Matt Murdock, Foggy Nelson, Karen Page, Claire Temple and the other supporting characters are likeable. The action is mixed in well. The fight scenes are not bad for TV.

SInce the dark days of the 70s, Marvel’s efforts at live-action adaptation has undergone a tremendous overhaul. The Daredevil series certainly meets current Marvel Studios standards, and is an immense improvement over the big-screen effort of a few years ago.

Of the three different superhero-inspired series I’ve critiqued this month, this is the only one I intend to continue following.

Smallville paved the way for Arrow, and The Flash spun off from that. If you noticed that Smallville became increasingly ridiculous and unimaginative after Season One, you might suspect that the same writers are churning out episode teleplays for the spinoffs.

The Flash does have something going for it–namely special effects and an 8+ babe in the regular cast.

Unfortunately the directing does not raise the bar for superhero adaptations. So many times the Flash is shown moving at super-speed, but repeatedly the actor is instructed to stand around and wait to get punched or shot or zapped when the script calls for a reversal or increase in dramatic tension. This is much harder to forgive in live-action than it is in the panels of a comic book.

Also, Barry Allen, as depicted, couldn’t fight his way out of a paper bag.

The first few episodes suffered from overacting and desperately over-dramatic writing. The actors and writers settled down a little after a while, but it became painfully obvious soon thereafter that this is just another example of a comic book stalwart being hijacked by SJWs and transformed into just another chapter of The Narrative.

Here are two factors that were final nails in the coffin for me:

The Obligatory Sympathetic Homosexual Character

This time they made him a police captain. The creative team are simply/dutifully following Step 1 and 4 of “The Overhauling of Straight America.” (The other steps have been followed so religiously that the cultural svengalis can just maintain The Narrative now–it’s already been programmed into Millenials, Gen X, Gen Y and most Baby Boomers.)

The Obligatory Amazon Superninja

One of the villains (I can’t recall his moniker) could turn his entire body into iron or something. He was a very similar character to comic book villains like the Sandman, Clayface, the Molten Man, etc. In this series the Flash is a lousy fighter and gets his butt handed to him by nearly every opponent (except Green Arrow–Barry Allen suddenly and mysteriously knows how to fight using his super-speed when a feud between him and Oliver Queen is contrived). The Iron Baddie is no exception–always able to transform into iron faster than the Flash can move.

The diversity-by-the-numbers team at Star Labs (Hispanic scientist; female scientist; ostensibly handicapped evil genius white male scientist) tap their keyboards a few times and decide that the way to take out Iron Baddie is for Flash to deliver a punch while running faster than he’s ever run before.

So our hero gets a running start and tops out at like 800 MPH before

nailing Iron Baddie right on the button. Iron Baddie recovers and comes right back at the Crimson Chump the Scarlet Speedster. Ah, but never fear: the aforementioned 8+ babe (Iris West) steps in and knocks him out with one punch. She has no superpowers (unless you count hypergamy) but is obviously superior to ANY man, even the superpowered ones. Because vagina.

Need I waste more verbiage on this series?