Welcome to The Comic Crush Presents… From Panels to Pictures for our review of Marvel’s Eternals. Liz and Paul ask all the important questions in their review, like ‘is the film about spirituality versus artifice’ and ‘is that really Harry Styles?’

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More than any other film in the history of Marvel Cinematic Universe, Spider-Man: Far From Home has a tough act to follow. Not only is it the follow-up to Avengers: Endgame (now tracking to be the highest-grossing film of all time) but also the last film in the MCU’s Phase 3 and the epilogue to the Infinity Saga. It seems apropos that it should be a Spider-Man film that comes with such great responsibility. What’s a friendly neighbourhood web-slinger to do under all that pressure?

Go on vacation, of course!

Following the earth-shattering events of Endgame, the Marvel Cinematic Universe has been forever changed. Iron Man, Captain America and Black Widow are gone and half the world’s population has reappeared to radically different circumstances. A newly returned Peter Parker is trying to acclimate while grieving the loss of his mentor, Tony Stark. As Spider-Man, he’s being hounded with questions: Will he take over for Iron Man now? Will he lead the Avengers? Do the Avengers even exist?
It’s a lot to handle and just this once, Peter wants to forget about being Spider-Man and focus on being a kid. Having chosen to attend a European field-trip, all he wants is to profess his feelings to his crush, MJ on a romantic visit to the top of the Eiffel Tower.
Unfortunately for Peter, former SHIELD Director Nick Fury has other ideas. The earth still needs protecting and Spider-Man is needed, especially after an attack from one of the deadly storm-like monsters dubbed the Elementals. The world needs a new Iron Man, and Tony chose Peter as his successor. Fury is looking to Peter to rise to the occasion.
Enter Quentin Beck, AKA Mysterio, who appears in Venice to help Spider-Man take on a water-based Elemental. Beck is introduced as a costumed hero from another world (Earth-833), which the Elementals have destroyed. He is working with Fury to track them down, and prevent Peter’s world (Earth-616) from suffering a similar fate. As observed by Peter’s classmates, he’s like Iron Man and Thor rolled into one, super-powered and courageous. With Tony gone, there is a mentor-shaped void in Peter’s life and he jumps at the opportunity to have a super-powered big brother figure reassure him and perhaps absolve him of the pressure of filling Iron Man’s armoured shoes.
But though Peter tries to duck his obligations, it becomes clear that he needs to confront them before he can move on. It’s a great metaphor for a film that must contend with the significance of its placement in the MCU timeline. Director Jon Watts takes this challenge by the horns, maintaining a light-hearted tone by diffusing the heavier elements with comedy. The fallout from Endgame is addressed with a hilariously earnest tribute to the fallen heroes, set to Whitney Houston’s rendition of “I Will Always Love You”. Worldwide repercussions are still ongoing, with Aunt May throwing fundraisers for those displaced by the event now referred to as “the Blip”. At Midtown High, students who survived the Blip have aged five years (“My little brother is older than I am now”), while Peter and his friends Ned, MJ, Betty and Flash have not. This creates conflict when Peter’s new classmate Brad (once a scrawny underclassman, now a muscular hunk) becomes his love rival for MJ.

It’s worth emphasizing that, like it’s predecessor, Far From Home is as much a coming-of-age teen romance as it is a superhero film. There are super heroics aplenty (the fight sequences are duly spectacular, with two in particular that are absolutely mind-bending) but Peter’s mission to woo MJ is always at the forefront. The influence of Brat Pack classics like Pretty In Pink and The Breakfast Club is woven into the fabric of Watts’ Spider-Man films, full of awkward hormonal exchanges and set to awesome eighties-inspired soundtracks. As much as we’re rooting for Peter to beat the bad guys, we’re equally invested in seeing him get the girl.
Peter is not the only character with summer romance on the brain. His wingman Ned finds love abroad, while sparks fly between May and Happy Hogan, much to Peter’s dismay. All of the supporting characters are given plenty to do, making it a treat to see them again. MJ especially is given new shades to her character, with her sardonic façade slipping away more often to reveal the vulnerable girl underneath. The dynamic between Peter and MJ is winningly sweet and their love story is worth the price of admission on its own.

The other great love story in this film is between Peter and Tony Stark– a tough act to follow if ever there was one. The spectre of Tony is palpable throughout the film; no matter where Peter goes in the world, Iron Man is unavoidable: in murals, vigils, tributes, newspapers, TV screens, etc. The film makes Tony’s presence felt without ever relying on flashbacks or holograms — it uses the resources that previous MCU films have provided: magazine covers, bits of footage from Iron Man and Captain America: Civil War, and of course oodles of Stark-tech.

Peter spends much of the film grappling with the idea that the world expects him to somehow replace Tony. But Tony never wanted him to be the new Iron Man; he chose Spider-Man because he believed in Peter. Only when Peter realises this and begins to believe in himself is he ready to emerge from his mentor’s shadow and take on the great responsibility that comes with being an Avenger.

The artwork of manga master Naoki Urasawa is now on display in London, marking his first exhibition in the United Kingdom. Liz Jordan and Paul Dunne were sent to attend a special preview on behalf of Orbital, where they were treated to a special live-drawing / musical performance by the artist himself!

Japan House London presents “This is MANGA- the Art of URASAWA NAOKI”, a retrospective of Urasawa’s career from his debut in 1983 to present. It features more than 400 original drawings and storyboards, as well as selected stories from his major works, including ‘YAWARA!’, ‘MONSTER’, ‘20th Century Boys’, ‘MASTER KEATON, ‘PLUTO’, ‘BILLY BAT’, and ‘MUJIRUSHI’.

What strikes you the most when you enter the gallery space is the sheer size of some of the pieces. The exhibition immerses visitors with enormous life-sized depictions of Urasawa’s characters and wall-length panels which invite attendees to pose as though part of the artwork. At the other end of the physical scale, intimate hand-drawn thumbnails and storyboards offer a rare glimpse into the artist’s process.

At the center of the exhibit is a tunnel of drawings highlighting the many distinctive faces of Urasawa’s characters. Colour pieces are interspersed with black and white artwork, and pages from early works like ‘Yawara!’ (as yet uncollected in the UK) displayed alongside the more recent ‘Mujirushi’ show a clear progression of style, tastes and interests. And it was a special thrill for us to see original pages from our personal favourites, ‘Monster’, ‘Pluto’ and ’20th Century Boys’.

The character designs and large-size reproductions of pages from classics such as ‘Monster’ both delight and chill with the atmosphere they generate. And, if you look closely enough, a simple walk-through of the space and displays becomes a treasure hunt as you learn that Urasawa has created several brand-new sketches just for this exhibition. These have been drawn directly onto the walls and pillars of the gallery itself, meaning this could be your only chance to see them!

To encourage visitors to return and experience the work in the weekly serial style of Japanese manga, four changing displays of consecutive stories from ‘Yawara!’ will be presented over the duration of the exhibition, one every two weeks.

If you’ve booked for the live-draw and musical performances, you’re in for a unique experience! We won’t give too much away as it’s best to be surprised in the moment, but you’ll definitely get a sense of the things that are close to Urasawa’s heart and his development as an artist.

Based on the Eisner Award-winning comic book series by My Chemical Romance frontman Gerard Way and Eisner-winning artist Gabriel Bá, The Umbrella Academy revolves around a dysfunctional superhero family who part ways after a tragedy, only to be reunited after the death of their father. With the apocalypse looming, will this group of emotionally stunted, super-powered siblings be able to work together long enough to save the world?

Born under bizarre circumstances and possessing extraordinary abilities, seven children were adopted and groomed to become crime-fighters by billionaire industrialist Sir Reginald Hargreaves – in the vein of the X-Men, or the Doom Patrol. The family is composed of golden boy Luthor (Number 1), ornery loner Diego (Number 2), mind-manipulating Allison (Number 3), medium Klaus (Number 4), time-jumping Number Five, tentacle-sprouting Ben (Number 6) and the isolated Vanya (Number 7). Their upbringing was assisted by their father’s confidante Pogo, a gentle fatherly figure who happens to be an intellectually advanced chimpanzee and Grace, a caregiving robot built by Hargreaves in the mould of a chipper 1950s housewife.

Hargreaves, a man with no paternal instinct whatsoever, believed that by limiting leisure time (“You know that fun and games are restricted to Saturdays between noon and half-past noon!”) and implementing a punishing training regime, he was preparing his brood to one day save the world. If that meant occasionally locking a child in a room full of corpses, then so be it. Predictably, their transitions into adulthood do not go smoothly.

Luther, who strived to be the perfect son, is left reeling when he discovers that he’d been sidelined as team leader without ever being told. Diego, meanwhile, was brought up to believe that he’d never measure up to Luther. Anger and jealousy compel him to close himself off from the rest of the family, and prevent him from forming healthy relationships in the outside world.

Allison becomes a famous movie star with a husband and child—an apparent success. But, like many adults who were raised by abusive parents, she perpetuates the cycle of abuse.  Her attempts to build her own family are blighted by lies and manipulation, in a pattern of learned behaviour; her marriage is headed for divorce.

Klaus suppresses terrible memories (the aforementioned roomful of corpses) by numbing himself with alcohol and drugs. Number Five becomes a detached, ruthless killer. Ben dies. Vanya, who appeared to have no powers and was treated like a spare part all her life, becomes a brewing storm of self-loathing, neuroses and rage. Their wounds have never had a chance to heal and when they meet again at their father’s funeral, their relationships are as combustible as ever.

Thankfully the familial angst is balanced out with a hearty dose of zany, superhero fun. A playful soundtrack, stylish cinematography and an inherent sense of humor keep things on even and entertaining keel. Music often juxtaposes action with tone (a brutal fight-to-the-death scene set to Lesley Gore’s ‘Sunshine, Lollipops and Rainbows’ comes to mind) and while the punch-ups may be fewer and further between than on other superhero shows, they’re always a thrill to watch.. It seems fitting that a story created by a famous musician would enhance itself so often through song, including a few tracks performed by Gerard Way himself.

Undoubtedly, some of the more madcap aspects of the comics wouldn’t translate well to screen (such as the battle with the Eiffel tower) but the show is at its best when it leans into quirkier elements. From the dance sequence in episode one, to the riveting ice cream truck / time-freeze scene and even Klaus’ trip to the afterlife, show runner Stephen Blackman makes bold choices that almost always pay off.

One such call is to break away from the source material when necessary. Given that there isn’t a huge amount of source material to begin with – just two volumes, with a third on the way – this really feels like the right way to go. A number of characters are created for the show, while others are fleshed out or given an entire makeover.

This first becomes evident when Number Five’s time-hopping abilities leads to his pursuit by a pair of temporal assassins called Hazel and Cha-Cha. In the comics, these characters are never seen without their signature bubblegum-colored mascot-heads and are characterized strictly as sadistic, sugar-loving maniacs. The duo we meet in the show retain some of those qualities (Cha-Cha still loves killing people, Hazel still loves donuts) but are given clashing ideals and attitudes toward their job, which leads to some of the show’s strongest moments.

Another welcome change is the inclusion of Ben, whose death precipitated the breakup of The Umbrella Academy as a team. Unbeknownst to most of his siblings, he’s spent his afterlife shadowing Klaus.  It’s an effective way to illustrate Klaus’ power, and Klaus is such a drug-addled disaster that it seems plausible that his dead brother’s spirit would attempt to babysit him. This particular character development is truly a pleasure to watch.

Some embellishments work better than others, especially where romantic sub-plots are concerned. The May-December romance between Hazel and donut shop owner Agnes is surprisingly sweet; however, the invention of Detective Patch as Diego’s former flame feels a bit tacked on and unnecessary. In this instance, it might have been better to stick to the source and develop Diego’s close bond with Vanya.

In an age where superhero shows have broken through into the mainstream and become the norm, The Umbrella Academy sets itself apart by allowing family dynamics to take center stage rather than special abilities.  Like any good adaptation, it retains the spirit of the original while taking necessary risks for the benefit of the show’s experience.  Moreover, it does exactly what any adaptation of The Umbrella Academy should do and deconstructs the genre, to the tune of a jaunty pop song.

Look, up in the… sea! It’s a fish! It’s a man! It’s Aquaman! Faster than a speeding humpback, more powerful than a tsunami, able to leap whole submarines in a single bound, the guy who talks to fish is here to save the DCEU!

No doubt it is a strange world we live in when the film that makes or breaks DC Comics’ cinematic franchise is Aquaman.  But, after a string of financially and critically disappointing films (with the exception of Wonder Woman) the future of the DCEU has been looking a little, er, fishy. Since last year’s Justice League flopped harder than a landed you-know-what, a whole lot has been riding on the success of Aquaman to turn the tide for the troubled franchise.

Happily, much like leading man Jason Momoa, Aquaman is enormously likable. Director James Wan has taken great strides toward erasing the bad (and oddly metallic) taste of the grimdark Snyderverse from our collective consciousness, simply by intuiting that superhero films are supposed to be fun. With a lighthearted tone and a healthy dose of self-aware silliness, the result is an action-packed underwater spectacle that fully embraces its comic-book origins.

Speaking of origins, the rundown on Arthur’s parentage in the opening moments is one of the highlights of the film. Atlantean Queen Atlanna washes up on the New England coast to be rescued by humble lighthouse-keeper Tom Curry. Their romance is one of the most genuinely sweet elements of the film. But as fate would have it, Atlanna had been running away from a forced marriage and, after Arthur is born, realizes the only way to protect her family is to return to Atlantis.

Raised on land by his father, Arthur comes into his powers at a young age and is mentored by Atlantean advisor Vulko in the ways of his people. He embraces his dual heritage but still has no interest in claiming his birthright as King of the Seven Seas. As a member of the Justice League (it’s mentioned, just barely), he is willing to fight for both the Atlanteans and the human worlds he belongs to.

The Arthur we met back in Justice League was a swaggering rock-star, knocking heads and slugging back whiskey (before throwing the half-empty bottle into the ocean; No wonder his eco-warrior brother thinks he’s bit of a dick). But for all of his plentiful tattoos and even more plentiful muscles, we find out that Arthur is actually an affable, easy-going guy who likes drinking beers with the locals and enjoys regular visits with his loveable Dad.

Enter Mera. The rebellious Atlantean princess is on a mission to convince Arthur to overthrow his half-brother King Orm, who is plotting to wage war against the surface world.  Arthur is reluctant at first, but soon realizes he has little choice but to face his destiny and unite the seven Kingdoms of the sea.

A quest ensues, which sets Arthur and Mera on a globetrotting hunt for a powerful trident which can only be wielded by the true King of Atlantis. There’s a lot of setup and world-building integrated into this leg of story, but a fast-moving plot that flits through half a dozen dazzling locations keeps it from feeling bogged down by exposition. The resulting journey is something akin to Sword in the Stone meets Indiana Jones, and sees them plane-jumping into the Sahara desert and jumping across rooftops in Sicily.

The developing bond and partnership between Arthur and Mera is truly wonderful to watch. Their friendship is based on mutual respect and trust as they fight shoulder to shoulder throughout the many action sequences. Mera is on equal footing with Arthur at every turn and comes out on top of virtually any other supposed ‘love interest’ in a modern superhero film. It would have been equally satisfying had they ended the film as friends and comrades rather than lovers.

Both of the villains well-drawn with relatable motives (Orm detests the surface world for their wanton destruction of natural resources, while Black Manta harbours a more personal vendetta against Aquaman). The fight sequences are high-energy and extremely well-choreographed, if perhaps overly recurrent. Two particular clashes (one a gladiatorial face-off, one full-on underwater Lord of the Rings-style battle with sea creatures) are absolutely spectacular. The top-notch visual effects and CGI create a breathtaking undersea Kingdom, which is both beautiful and frightening.

Despite being under a great deal of pressure to be more super than Superman, better than Batman and as wonderful as Wonder Woman, Aquaman manages to deliver. It’s a perfect blend of fantasy, action, and world-building. Most importantly, it offers characters worth caring about, ensuring that fans will look forward to spending more time in the undersea kingdom of Atlantis, with renewed interest in future installments of the DCEU.

Q: What do the directors of Avengers: Infinity War have in common with original Avengers villain Loki, God of Mischief (besides all the brotherly love)?

A: They’re big fat fibbers.

When the Russo brothers took the helm of what was then called Avengers: Infinity War Part I & II, the first thing they did was to change the titles in a small but significant way. By removing Part I from the title of the first film and completely renaming the second (an official title for Avengers 4 is still pending) they claimed that the films were no longer two parts of one story.

Now that we’ve seen Infinity War, we know that’s a big old lie. It is unquestionably the first of a two-part saga, and should be viewed as such. Otherwise, it may be the most depressing superhero film ever made.

The title change was a clever decision that subtly raised the already sky-high stakes. Viewers who went in expecting a self-contained film with a traditional happy ending had their expectations literally crumble to dust in front of them. In the boisterous, ram-packed press screening I attended, you could hear a pin drop when it happened. Jaws were on the floor:  Thanos wins.

Infinity War is unlike any other film in the franchise, or indeed any other film in history. It’s the culmination of ten years’ worth of deftly-plotted storytelling, spanning no fewer than eighteen films. It juggles a cast of at least twenty-five major characters, and a dozen to spare. But the focus is on über villain Thanos, finally fulfilling his promise as the biggest bad of all.

The Mad Titan first appeared in the end credits of 2012’s Avengers Assemble, and has remained a looming threat ever since. Now, we finally get to see him in action. He is a surprisingly complex villain, truly sinister in one moment and sorrowfully weary in the next. His goal is to rid the universe of half its population at random, redistributing the finite resources available on each planet in order to save those that remain.  He believes himself to be the hero of this story, and this film really is his story.

To accomplish his mission, Thanos seeks to wield the fantastically-powerful Infinity Stones. One gem (Space) is on the Asgardian spacecraft we saw at the end of Thor: Ragnarok, while another two (Time, Mind) are on Earth. One (Reality) resides in the Collector’s vault on Knowhere, one (Soul) is unaccounted for and the last (Power) is already in Thanos’ energy-harnessing gauntlet.

As the Avengers battle to prevent him from collecting all six stones, the sense of dread and tension is unrelenting. The opening scene, which takes place moments after the post-credits scene in Ragnarok, sets the overarching tone: dark, nerve-wracking and distressing. We’d been warned that there would be major character deaths, but seeing it happen is heartbreaking. From the outset, there is a genuine sense that no one is safe.

As for our heroes themselves, there’s a great deal to unpack. Let’s do a quick character roundup, to see where each of their stories begins…

Thor, Loki and the Hulk:

Thor’s storyline is both the strongest and the most upsetting: the scene in which Thanos and his Black Order wreak havoc on the Asgardian rescue ship is frankly horrific. Thanos is there to collect on an old debt from Loki in the form of the Tesseract, and neither Thor nor the Hulk are a match for the Mad Titan – with the Power Gem already firmly in his gauntlet. Loki gives up the Space Gem to save Thor’s life, while a chained-up Thor can do nothing but watch as his brother is killed.

A dying Heimdall uses the last of his strength to send Hulk hurtling toward Earth on the Bifrost. That’s where we meet…

Doctor Strange, Iron Man and Spider-Man:

In a scene strikingly similar to the opening pages of the comic The Infinity Gauntlet, Hulk crashes into Doctor Strange’s Sanctum Sanctorum, heralding that Thanos is coming. The Master of the Mystic Arts seeks out Tony Stark, who is readying himself to settle down for a peaceful family life with his fiancée, Pepper Potts. Before Strange and Stark can really settle into their arrogance competition, Thanos’ spaceship sets down on New York City. A passing Peter Parker jumps in to help and the three of them wind up aboard the Good Ship Thanos, hurtling off into space.

Bruce Banner, having recently learned that Stark and Steve Rogers are no longer on speaking terms, decides to call in the Captain in the hopes of finding…

The Vision and Scarlet Witch:

The living Artificial Intelligence and the reality-warping Wanda Maximoff, who have been nurturing a secret romance, have gone off-grid to figure things out. Their decision to finally make their relationship official is interrupted by the Black Order, who are after the Mind gem which is lodged in the Vision’s forehead. He and Wanda are nearly overwhelmed when an unexpected rescue teams shows up, in the form of…

Captain America, Black Widow and Falcon:

Cap’s arrival is enough to make the entire cinema burst into wild, fist-pumping applause.  He’s been operating outside the government’s authority with his Secret Avengers, Black Widow and Falcon. Steve Rogers hasn’t stopped fighting, but has absolutely stopped asking for permission. They rescue Wanda and the injured Vision, who is willing to lay down his life for the greater good. After discussing their options, they conjecture that Vision could possibly be parted from the Mind gem and saved with the right technology. This brings them to…

Black Panther, Shuri and Bucky:

The story pivots to the African nation of Wakanda, the most technologically advanced country on Earth. Shuri, younger sister of King T’Challa, is a scientific genius with the world’s most advanced tech at her fingertips. She is tasked with the Vision’s reprogramming, while Black Panther readies his army for the coming intergalactic war.  Steve’s old pal Bucky Barnes (former Russian puppet-assassin the Winter Soldier) has had his mind healed by Shuri and is ready to return to action. Meanwhile…

The Guardians of the Galaxy:

The Guardians are answering a distress signal when none other than Thor floats onto their windshield in space. After briefing him, Gamora explains the depths of Thanos’ madness and depravity from her firsthand experience as his adopted daughter. Thor predicts where Thanos will go next, sending most of the team to the Collecter’s vault on Knowhere while he, Rocket and Groot head to Nidavellir to forge a new unstoppable hammer.

All these character pairings work remarkably well: it’s downright astonishing that with so many players, each has their moment to shine. Much of this depends upon audiences’ built-in familiarity with the franchise and the characters. A casual viewer, even one who’s watched the occasional MCU film, will be hard-pressed to appreciate the artistry at play, while dedicated fans will feel the maximum payoff. Either way, this film is a masterclass in storytelling balance.

And balance is definitely one of the key themes of the film and, in a cosmic sense, it’s actually Thanos’ ultimate aim. A flashback shows him explaining his ethos to a young Gamora, while illustratively suspending an ornate double-sided dagger on his finger. Tilt it too far to either side and it falls; this is his take on the universe. Overpopulation alongside a lack of resources means the end of civilization.

The rule of balance certainly applies to character choices in the film. Viewers may be annoyed that Cap and Black Widow got short-shrift, or that Hawkeye didn’t even show. But, it’s a two-part story, don’t forget. The emphasis is on building up a long-teased villain and giving screen time to blossoming (Phase 2 & Phase 3) characters. By temporarily wiping them out of existence, the stage is set for the six original Avengers to assemble once more before going out with an almighty blast.

It’s only fitting that the grand finale be a swan-song to Avengers Assemble, the film that made it all possible. For the record, I don’t believe that Iron Man, Hulk, Black Widow, Thor, Hawkeye and Captain America are all going to die in Avengers 4. I do believe that at least one of them will, and it will be to tremendous fanfare.

Avengers: Infinity War is the story of a genocidal madman who truly believes he’s a savior, cementing his status as the Avengers’ most formidable foe. It’s the darkest, gutsiest Marvel Cinematic Universe entry to date, shattering hearts as well as expectations. While the film you wanted is yet to come, the film that you needed is here.

Dulled by the drudgery of our world, two of our finest agents, Liz Jordan & Adam Sherif, headed out in search of better lives on Utopia. They were given new names, new jobs and the hopes of a new future. Was it just as they’d dreamed, or was it all just electric sheep?

So, full disclosure: neither of us had ever been to Secret Cinema before. What exactly is Secret Cinema, you ask? Well, we’re not really supposed to tell you, it’s a secret. But okay.

Imagine stepping inside the world of your favorite film, not as a spectator but as an active participant. Before your visit, you’re assigned a character and given an objective that will shape the path of your experience over the course of the night. The more proactive you are, the more rewarding your experience will be. Secret Cinema is not for wallflowers. 

Part of how it works, and why it works, is in the secrecy that surrounds it. The event’s location is only revealed after you have purchased your ticket (you’re told ahead of time that the venue will be in Zone 1 & 2, and near a major tube station) and no phones are allowed inside. Once you get over the fact you won’t be able to take an endless supply of selfies in front of the incredible sets they’ve constructed, you’ll be glad. For once, you’re completely disconnected from the outside (and online) world, and the experience is far better for it. And with a heightened in-world police presence, you won’t feel like flaunting the rules…

Being a newbie is fun but also a little bit scary; it’s like going to Rocky Horror live for the first time knowing you’re going to be dragged onstage and possibly humiliated. Fortunately, the reality of this experience was pure exhilaration and zero embarrassment, at least in our cases.

Our primary advice for newcomers is wholeheartedly to get into character. This means: look the part, act the part, live the part from the moment you walk through the door. Your assigned profile will tell you everything you need to know. So respectively, Liz became an entertainer/performer named Rosalie Weizak, while Adam became Utopian Ambassador Stefan Crawley. Dressed to the nines in full costume, and armed with props (and you would be *highly* advised to equip yourself as suggested), we entered the dystopian future of Blade Runner.

We won’t delve too much into the story Secret Cinema’s created to support a production of Ridley Scott’s 1982 science fiction masterpiece, but they’ve complemented it carefully and cleverly. With over seventy actors involved, it’s an immense show with both new and recognisable characters. Much like a Punchdrunkproduction or a live-action role-playing game, you’re part of the show with an individualised narrative path ahead of you.

One thing to stress is that Secret Cinema is very much a tiered experience, as indicated in the three different price points offered in their ticketing. As press, we certainly had the best of the best – and some of it we’ve only realised in retrospect: certain scenes we were drawn into, interactions we were confronted with, and possibly even the overall complexity of our individual stories. That said, a proactive attitude as far as participating and immersing yourself in the world will absolutely maximise your experience.

One key difference, of course, between Secret Cinema and other comparable immersive experiences is that at some point you do sit down to watch a film. What could be slightly deflating after wandering around the amazing scenery of downtown LA, Secret Cinema manages to turn massively to its advantage. The actors you’ve encountered as key characters through the evening don’t suddenly vanish. Instead, making use of some innovative in-world staging, they continue to be a real presence, re-shaping your viewing experience. If you’ve seen Blade Runner before as we both had many times between us, this totally renews it.

Now that we know how to do Secret Cinema, we would certainly make a return visit to Utopia. You can book your journey here.

Based on the number of customers we have on a weekly basis asking us, “Where’s the best place to start with [insert character here]?” – we’ve started a series of reading lists, recommending the best of what’s currently in print, and in chronological order. Spider-Man is one of the most iconic comic book heroes of all time, and Stan Lee’s best-loved creation. Peter Parker first appeared in Amazing Fantasy #15 back in 1962 and was given an ongoing series just a year later. That’s going waaaay back, so this list will concentrate on the modern era of Spidey comics, with more to be added both further back and further ahead. Going back to the turn of the century, here are some of the wall-crawler’s best contemporary tales, in reading order! This is Spider-Man Part 3:

SPIDER-MAN VOL. 1: BIG TIME (COMPLETE COLLECTION)
Dan Slott (w), Various (a)

Peter Parker has finally hit the big-time when he lands his dream job as a lead scientist in the research division of the world’s leading company in creating advanced technology, Horizon Labs. Not only do his paycheques contain a whole lot of zeroes, he’s also in a prime position to put his resources toward becoming a better Spider-Man! Peter’s team is led by rock star scientist Max Modell, and comprised of six other whiz kid colleagues: Grady, Bella, Sajani, Uatu, and Tiberius (plus one other member who works under conditions of complete anonymity).
His personal life is looking up too; he’s got a steady girlfriend, a spot on the Avengers team and even a solid friendship with his ex, Mary Jane. What could go wrong?

Well, everything… obviously!

When the world’s most dangerous metal is stolen from Horizon Labs by a deadly new Hobgoblin, Peter enlists the help of the best thief in the business to steal it back… Felicia Hardy, the Black Cat! But will they both be out of luck when they find out the Hobgoblin is working for the Kingpin of crime?
As if that isn’t enough, an upgraded version of the Spider-Slayer arrives on the scene to exact revenge on J. Jonah Jameson. His Spider-Slayer army is out for Jameson blood and they don’t care whom they have to harm to get it.

And of course there’s still enemy number one: Doctor Otto Octavius, AKA Doctor Octopus. No matter what catastrophe is taking place in the forefront, there’s always Otto scheming in the wings. The Slott run is Otto’s story nearly as much as it is Peter’s; what Brian Michael Bendis did for Norman Osborn throughout his Avengers run (the best use of the character in modern times) is what Slott does for Doc Ock, on an even grander scale.

Also in Volume One: Peter loses one of his most important senses, Flash Thompson is given a high-risk mission that will test the limits of his self-control and Spidey joins the Future Foundation! This volume also contains the stunning issue #655, one of the trippiest, most devastating translations of guilt and grief ever to grace the pages of a superhero book.

BIG TIME (COMPLETE COLLECTION – VOL. 2)

Dan Slott (w), Various (a)

Inspired by the outbreak of bedbugs making headlines as they plagued major cities around the world, Spider Island is a little stroke of genius that came off the back of a traumatic event. For the uninitiated, bedbugs are near-indestructible bloodsucking insects that set up camp in peoples’ homes (usually around their beds) and feast on them in their sleep. They are pretty much the worst and, unless you happen to work for a pest-control agency, come with no redeeming features.

Slott found a silver lining when he dreamt up a scenario in which the Jackal engineers these pests so that every insect-bite transferred Spider-Powers into those they sank their teeth into, and nearly every person on the island of Manhattan becomes infected!
People all over New York are developing Spider powers, including some of those closest to Peter. But when everyone starts to mutate, Spidey must find out who is behind the epidemic before it spreads beyond Spider-Island.

Also in Volume 2: Shang-chi teaches Peter Kung-Fu! Madame Web brings foreboding news! The Avengers, the X-men and Reed Richards lend a hand!

Plus, comedy gold occurs when some very familiar characters develop Spider-Powers.

BIG TIME (COMPLETE COLLECTION – VOL. 3)

Dan Slott (w), Various (a)

This volume kicks off with a two-part crossover with Mark Waid’s Daredevil series, in which the Black Cat is framed and Spidey and Daredevil must join forces to clear her name. It’s one of those rare stories that gets right to the core of all three characters and uses those dynamics to their full effect. Talk about a bad luck trifecta! These issues feature gorgeous art by Emma Rios and Kano respectively and stands out as a little gem among recent crossover stories.

Following this is another short but strong two-parter “Shrodinger’s Catastrophe”. When Peter’s co-worker Grady creates a time-warping doorway that allows the user to step one day into the future, Peter steps in and finds the city destroyed, because Spider-man was unable to stop the destruction. With Grady’s help he must try to recreate Spider-man’s movements from the day before to save the day and avoid certain death.
The main story arc in this volume is ‘Ends of the Earth’, which takes Peter out of his comfort zone by pitting him against a global threat. Peter is very much a hometown hero. He says it best when he admits to Silver Sable, “I’m not used to this ‘end of the world’ stuff. Gimme a me a bank robbery or one of my regular bad guys.”

Now Peter is public enemy number one, with the entire world hunting him down– literally.

Also in Volume 3: a Daredevil crossover. Surprising absolutely no one, Peter Parker kicks off this story is having some trouble with his lady friends, and everything that he experiences through the rest of the story has that piece of the infamous Parker Luck right at its center. It’s focused on that aspect of his character, and the idea that even when he uses Spider-Man as an escape from his problems, he never really wins. His entire arc in the story is built around that idea, executing that arc in one of the most entertaining ways possible.

THE SUPERIOR SPIDER-MAN VOL. 1-6

Dan Slott (w), Various (a)

When an old foe takes control of Peter Parker’s body, there is no telling what he might do. He could carry on with his villainous ways, or run away without ever looking back. Instead he takes the opportunity to become a hero and carry on the legacy of Spider-Man— except he is plans do it better than Peter Parker ever did. Far more effective at cleaning the streets than that moralistic, namby-pamby Parker ever was, he will be the Superior Spider-Man!

Fans were indignant but point-for-point, Dan Slott addressed all misgivings with intelligence, empathy and a large dose of humour. Fans were won over when they realised what Superior was really about. This story delves into ideas of heroism, villainy and the area in between in ways that bear relevance not only to superhero comics but to situations we in real life. Through our misguided, morally dubious hero we experience equal measures of good and bad, love and tragedy, treachery and redemption.

For thirty-one issues this series continually surprised and delighted as Slott explored each new facet of the idea. The Superior Spider-Man remains my favourite Spider-Man story in recent memory, and one of the funniest, most thought-provoking sagas in the character’s history.

AMAZING SPIDER-MAN VOL. 1: THE PARKER LUCK
Dan Slott (w), Humberto Ramos (a)
Marvel Comics

After a long absence, Peter Parker returns, but things aren’t back to normal for our favourite wall-crawler yet! His friendships have been tested, his love life dissolved and he has a newfound responsibility in managing his own Parker Industries! There’s a new spider-themed lady in town who could make his job easier or a whole lot worse, and it looks as though Peter’s bad luck isn’t running out yet!

After a four-year absence, the Thor franchise is back! It’s brighter, bolder and more brazen than ever, packed with more epic family drama than you can shake a hammer at.

No longer an earthbound affair, Ragnarok is a full-on cosmic adventure. It’s primarily a comedic film about sense of duty, friendship, and – armed with the stellar duo of Thor and Loki, brotherly love. A kickass new companion in Valkyrie joins the fray alongside the hilarious secret weapon, Hulk. Rounding out proceedings is a villain who just oozes charisma and menace.

However, in order to talk about Ragnarok, you first have to ask: How did we get here?

The 2011 Thor film is a fish-out-of-water story designed to introduce audiences to the fairly high-concept world of Norse Gods in space. Its standout moments set up the dueling dynamic between a brash young Thor and his backstabbing brother, Loki. As the God of Mischief, Loki has a tendency to steal every scene he appears in. After his turn as the primary foe in 2012’s Avengers Assemble he is still widely regarded as the MCU’s best-loved villain.

Thor’s other greatest accomplishment is the Thunder God’s transformation from arrogant prince to wiser, more considerate (but still hot-tempered) protector of earth.

Its sequel Thor: The Dark World left a lot of loose threads dangling for Ragnarok. Thor relinquished his claim to the throne in order to remain on earth with his scientist girlfriend, Jane Foster. His devious sorcerer brother is presumed dead, at least until we find out that he’s shape-shifted into the All-Father’s form and is currently sitting on the throne of Asgard. Which begs the question: Where the Hel is Odin?

Also shrouded in mystery until now was the fate of Bruce Banner, AKA Hulk. Last seen near the end of Avengers: Age of Ultron, Banner became so horrified by the Hulk’s destructive actions that he abandoned his teammates and flew off into the unknown.

Age of Ultron was the last time either the Hulk or the Thunder God featured prominently, unless you count Thor’s appearance in one of the post-credits scenes at the end of Doctor Strange. Neither played a role in Captain America: Civil War, so the subsequent splintering of the Avengers doesn’t factor into their interactions. The groundwork set up by all of these films is what sets the stage for Ragnarok.

And Ragnarok itself is simply pure joy from start to finish. It’s incredibly funny, sometimes to the point of absurdity (and I mean that as a compliment). At its heart is a story about family that transcends the silliness and stirs all the right emotions.

Ragnarok, from Norse mythology, means the Twilight (or Doom) of the Gods. In a nutshell, it means the end of all things, specifically for Asgard. In Norse legend, Ragnarok is brought about (surprise, surpise) by Loki.

The movie rolls out of the gates with a very different approach. From the opening scene in which Thor monologues a voice-over, you are in both an MCU film and a Taiki Waititi film. A recipe which turns out to be (ahem) lightning in a bottle.

The film possesses not only a different tone, but also a different cast. Jane Foster and her earthly chums Darcy and Doctor Eric Selvig are notably absent (Thor claims it was a ‘mutual dumping’). Also nowhere to be seen is the Lady Sif. Thor’s loyal companions, the Warriors Three do make a brief but memorable appearance. In turn, new supporting characters are brought in, like Skurge the Executioner and the hilarious Korg (played by Waititi himself). A meatier role is at last bestowed upon Heimdall, who gets to do more than stand at the doorway to the Bifrost this time around. Indeed, Asgard itself is a different place. When Thor returns after a two-year absence, he discover that things are not at as he left them.

Loki has been ruling in Odin’s stead with shortsighted proficiency. He’d been having so much fun on the throne that he’s forgotten to pay attention to the rest of the Nine Realms. Without really meaning to, he paves the way for Hela, the Goddess of Death, to return from exile (therefore fulfilling the prophecy that he would ultimately be responsible for Ragnarok).

The Thor films are all about family ties, so it should come as no surprise when Hela is revealed to be Thor and Loki’s sister. She is the eldest sibling, and the most powerful. When she returns from banishment to take over Asgard, she easily vanquishes her brothers and destroys Thor’s hammer (RIP, Mjolnir).

The clash between brothers and sister results in Thor and Loki being spat out of the Bifrost onto another planet. A scavenger, who happens to be the last surviving member of a forgotten sisterhood of female Asgardian warriors called the Valkyries, captures Thor. She has a chip on her shoulder and her only motivation is to drink and be left alone.

Thor is brought before the louche Grandmaster, enslaved and forced to become a gladiator. This is where he encounters the Hulk, whose story is almost straight from the Planet Hulk comics. During that run, the Hulk was stranded on the planet Sakaar and became its most powerful gladiator. As for poor Bruce Banner, he’s stuck in the metaphorical / psychological backseat, with Hulk refusing to give up the wheel.

Eventually, Thor manages to coax Banner out of the Hulk. They form a little team to escape Sakaar, amusingly dubbed ‘the Revengers’. Comprised of the motley crew of Thor, Loki, Valkyrie and the Hulk, the Revengers join forces to go up against Hela and her undead army.

Throughout it’s two-hour and ten-minute running time, the film just zips along, eliciting laughter and providing wonderful character moments at every turn. It’s perhaps the most feel-good superhero film out there, but that doesn’t shy away from a few darker moments. Many of the jokes and the moments of character growth are reliant on familiarity with the previous films, so I wouldn’t necessarily recommend this film to a newbie.

My recommendation is to watch all of these films, even if it’s solely for the purpose of getting maximum enjoyment out of Thor: Ragnarok. I guarantee that the journey is worth it / worthy!

A modern hero blockbuster with a Brat Pack blueprint, Spider-Man: Homecoming scales back the bombast to tell a humbler story that’s as much about the hardships of high school as the perils of being a wall-crawler. Whether fifteen year old Peter Parker can summon the courage to ask his crush to the dance feels as important as seeing him take down the bad guys, with a sense that the stakes are just as high. Since the original Guardians of the Galaxy film, which set itself apart for being cosmic and madcap, no superhero outing has felt as fresh – this time because of how grounded it is. With Homecoming, the Marvel Cinematic Universe continues to change the game and push things forward, this time by taking a careful step back.

The film picks up shortly after the events of Peter’s MCU debut in Captain America: Civil War (we get an amusing look at his perspective of the Berlin battle via his own shaky iPhone recordings). Peter is riding high off the thrill of having taken part in a superhero throw-down and wants nothing more than to be back in the thick of it. His mentor Tony Stark has other ideas though, and delegates his right hand man Happy Hogan to act as Peter’s contact/long-distance babysitter.

Dumped unceremoniously back in Queens (albeit with a fancy new suit), Peter is mostly left to his own devices on the crime-fighting front. But being a “friendly neighbourhood” Spider-Man, chasing bike thieves and spending fidgety hours on rooftops, has lost some of its lustre after going toe-to-toe with Captain America. Having been given a taste of his destiny when Iron Man knocked on his door, Peter is now so eager for his life to “start” that he begins to take for granted what’s going on around him.

For all of his talents, Peter is still a slightly nerdy kid with less-than-thrilling obligations like homework and algebra tests to contend with. Before the school bell rings and he can change into his Spider-Man suit, he spends most of his day fending off mean jocks, pining over senior dream girl Liz and geeking out over Lego Star Wars with his best friend Ned. He struggles to hide his secret identity from his Aunt May and his friends, with varying degrees of success.

None of the other MCU heroes have had secret identities to protect so this actually feels like new ground, and Peter’s growing pains make it an especially poignant challenge. The last thing he wants to do is stress out Aunt May and make her life as a single parent more difficult. When bullies tease him, you feel him fight the urge to shoot a web in their face. When Liz gushes about how cool Spider-Man is, you see the anguish on his face to stay silent.

What makes Spider-Man such an enduring and lovable character is that he’s such an underdog. He can save the day on the superhero stage, but he bumbles his way through social situations and everyday interactions with girls, tripped up by his famous bad luck. A stand-in for the perennially misunderstood, Peter is secretly way cooler than those around him realise; it’s a fantasy that most of us can relate to.

Tom Holland is utterly endearing and sweet in the role of Peter. At the age of twenty-one, he possesses the boyishness to convince as a teenager in a way that his predecessors Tobey Maguire and Andrew Garfield never quite managed. A theatre actor and dancer (he starred in the London production of Billy Elliot) Holland delivers the stunts and physical comedy with a fluidity that showcases his training. Fast on his feet and overflowing with enthusiasm, his Peter epitomises the uncomplicated joy of being a kid with superpowers.

His inexperience is reflected in the film’s choice of villain as well; for those wondering why there aren’t any Osborns in sight, the fact is that Peter simply isn’t ready for a Green Goblin or a Doc Ock at this stage. While not as notorious as those aforementioned foes, Michael Keaton’s Vulture stands out as a compelling antagonist, particularly as he and Peter share more in common than either of them realizes.

Where Civil War shined a light on the inadvertent destruction caused by superheroes, Homecoming follows the same thread with the Vulture’s grudge against Tony Stark, delving into the long-term repercussions of Avengers battles on the economy.

Adrian Toomes (aka Vulture) is a blue-collar contractor whose salvaging company cleans up in the aftermath of superhero brawls – that is, until they’re ousted by Tony Stark’s own cleanup crew.

Embittered toward a system that favours the élite at the expense of the working class, Toomes and his gang swipe the alien tech they’ve collected and use it to form a black market weapons-dealing operation. A family man whose main concern is putting food on the table, Toomes isn’t looking to take over the world; he’s claiming what he feels he’s entitled to in the face of social inequality. His dealing is small-scale (his gang sells to street criminals from the back of a van) but Toomes is no Robin Hood; he’s cynical to the point of callousness and ruthless enough to cut down anyone who stands in his way. He even creates his own flying battle suit with Chitauri technology, for the purposes of terrifying and assailing his enemies.

Toomes is as much of an underdog as Peter, but where Spider-Man sees injustice and stands against it, Vulture manipulates to his own advantage. With the odds stacked against him, he bypasses what he deems corrupt and becomes corrupted in the process. Both have issues with Tony Stark; in Toomes’ case it’s a seething resentment and in Peter’s it’s a longing for approval.

Vulture isn’t the only bad guy comics readers will be familiar with; a veritable who’s-who of Spidey rogues are also in attendance (this falls into the ‘winks and nods’ category rather than the ‘overstuffed with villains’ category). The savvy Marvel fan will also be on a first name basis with most of Peter’s school friends. The film is peppered throughout with clever little details (a glimpse of the Daily Bugle here, the passing mention of a certain character’s nephew there) that are there for those quick enough to catch them, as well as some hilarious cameos from established MCU characters. Let’s just say that, despite having the most screen-time, Iron Man isn’t the Avenger to get the biggest laughs in this film.

Somewhere along the line, we are given a little lecture about patience (those without it may very well miss this part) that works on a number of levels. Peter is an extremely smart kid but he still screws up all the time, unintentionally putting lives in danger nearly as often as he saves them. His lack of experience in life as well as in superheroics is his greatest obstacle, which is something he can only overcome by going through the motions. Homecoming is about discovering that the small moments can be just as important as the big ones, and that doing what good you can in your own friendly neighbourhood can be just as heroic as saving the world.