Spacing things out so that a title with the scope of Spider-Man: Homecoming can compliment upcoming Phase Four or Five movies that are denser endeavors would go a long way to guaranteeing that the Marvel Cinematic Universe remains accessible to the general public and not just die-hard fans.She-Hulk: Attorney At Law bowed out on a shocking note. Sometimes, lots of lore can be exciting, but when so many adventures in a row lean so heavily on vast cosmic mythology, it can feel overwhelming to the general public. Similarly, balancing out mythology-heavy adventures like Thor: Love and Thunder or Eternals with smaller-scale escapades, like the original two Ant-Man movies, would also be a wise idea. Forthcoming theatrical films in this series will need to thread a very careful needle in recognizing these productions while making stories cogent for general audiences. With projects like She-Hulk: Attorney at Lawand Echo on the horizon, Marvel Studios has lots of small-screen entertainment arriving in the future. However, this could turn into a widespread issue if the crossovers between movies and TV continue to be prominent. ![]() However, it does suggest that issues with accessibility to certain Marvel Cinematic Universe entries are more of an issue with specific titles in the franchise rather than a massive problem plaguing every corner of the saga. Looking at movies like Shang-Chi and No Way Home doesn’t erase some audience members being confused by Multiverse of Madness. If anything, it was a key reason why people loved it so much. No wonder general audiences had no problem digesting this feature.īuilding off past movies didn’t make No Way Home inaccessible. Even if you hadn’t seen that earlier Iron Man adventure, Slattery could still work as an enjoyable character. The greatest connection it had to prior Marvel Cinematic Universe titles was the presence of Trevor Slattery ( Ben Kingsley) from Iron Man 3, who was able to function as a standalone source of comic relief. Shang-Chi and the Legend of the Ten Rings, for instance, became a leggy word-of-mouth driven hit partially because it was largely a standalone project. However, just because a handful of recent Marvel Cinematic Universe titles have dealt with mythology that some viewers found impenetrable doesn’t mean all movies from Marvel Studios are now inaccessible to the broader public. The issue of accessibility isn’t just restricted to crossovers with small-screen programs, it’s also with feature films whose scale and mythos can be too gargantuan. But for general moviegoers, this installment in the Marvel Cinematic Universe might just seem like a lot of cosmic mumbo jumbo without a hook to lean on. For those who enjoy a pulpy unabashedly strange sci-fi tale, Eternals will work just fine. Unlike in Guardians of the Galaxy, there are neither any Earth-originated humans nor steady streams of humor to make this material go down easier. Chloe Zhao’s Eternals is a largely standalone affair with zero ties to Disney+ programming, but it is seeped deep in cosmic Marvel lore. Multiverse of Madness isn’t even the only Phase Four film to feel like it might ward off general moviegoers. All of this is to say that vastly fewer people are watching the Disney+ shows compared to the movies, which becomes a bit of a hazard to attracting the general populace when movies like Multiverse of Madness function as sequels to those TV shows. Even if one were to multiply that number four times over (to compensate for the households SambaTV does not cover), that would mean fewer households tuned into this WandaVision episode than tuned into a random November 2010 episode of Mike & Molly on CBS. The service reported that 1.4 million households tuned into the sixth episode of this program. Still, third-party outlets like Samba TV (which do not cover all possible viewers) do give a more concrete glimpse into how much reach something like WandaVision has. While streamers like Disney+ like to boast in emails about having “ their most watched show ever” over a given weekend, they’ll never specify how many people are watching. ![]() Now, concrete and comprehensive viewership data for streaming programs is impossible to procure because streamers hide those numbers behind walls of self-concocted measurements of success (“minutes watched” and other metrics). This is primarily due to streaming shows, much like their predecessors the premium cable show, don’t attract massive amounts of viewership. This isn’t inherently a bad idea, but it already puts people at risk of being confused when something from those shows crosses over into the movies. RELATED: Why Marvel's Content Explosion Has Watered Down the Quality
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