After a decade of the Marvel Cinematic Universe (MCU) with its inextricable, overlapping plotlines and multiverse, Sony Pictures’ newest cinematic foray into Marvel, Madame Web, might come as a surprise. Directed by S.J. Clarkson and starring Dakota Johnson as the titular character, Madame Web ditches convoluted continuities and starts fresh by exploring the origin of one of Marvel’s lesser-known and more mysterious characters. In the comics, Madame Web is a wise old woman who’s paralyzed and blind. However, she has near-omnipotent psychic and clairvoyant abilities. She’s also a matriarchal figure to the Spider-Women. But in Madame Web, young Cassandra Web is an ordinary paramedic working in New York City. When she’s not on the job, she struggles with her unhappy past as an abandoned baby in foster care.When an accident grants her the ability to see visions of future disasters that are all but doomed to come true, Cassandra seems resigned to fate. But when a vision leads to her protecting three very different teenage girls from a dangerous threat, Cassandra finds herself taking on great responsibility, and accepting great power as a result. A return to form for the superhero genre, Madame Web’s brand-new-yet-retro approach to cinema and its creative take on Spider-Man’s mythos make it a much-needed hard reset for the Marvel cinematic experience, while blazing new trails of its own.On the downside, this independent approach could be jarring to those who are accustomed to—or even disenchanted with— the mainline MCU’s connectivity. Many filmgoers spent the last ten or so years conditioned to look at Marvel films, characters and their continuities a certain way, expecting everything to be explained or interconnected. Madame Web does not offer such hand-holding. Without any continuity lifelines to throw, these particular filmgoers will have a sudden shock to the system when processing the standalone approach of Madame Web and its isolated storyline. On the other hand, those willing to suspend these instincts might find this new take on Marvel refreshing, and feel free to enjoy the solid storytelling for what it is: a story, not a chapter in a long, ongoing and interconnected series, at least in the foreseeable future. As it stands, both seasoned comic book fans and the uninitiated—with a love of comics and ample curiosity—could walk comfortably into the theater blind, and emerge satisfied.
After a decade of the Marvel Cinematic Universe (MCU) with its inextricable, overlapping plotlines and multiverse, Sony Pictures’ newest cinematic foray into Marvel, Madame Web, might come as a surprise. Directed by S.J. Clarkson and starring Dakota Johnson as the titular character, Madame Web ditches convoluted continuities and starts fresh by exploring the origin of one of Marvel’s lesser-known and more mysterious characters. In the comics, Madame Web is a wise old woman who’s paralyzed and blind. However, she has near-omnipotent psychic and clairvoyant abilities. She’s also a matriarchal figure to the Spider-Women. But in Madame Web, young Cassandra Web is an ordinary paramedic working in New York City. When she’s not on the job, she struggles with her unhappy past as an abandoned baby in foster care.
When an accident grants her the ability to see visions of future disasters that are all but doomed to come true, Cassandra seems resigned to fate. But when a vision leads to her protecting three very different teenage girls from a dangerous threat, Cassandra finds herself taking on great responsibility, and accepting great power as a result. A return to form for the superhero genre, Madame Web’s brand-new-yet-retro approach to cinema and its creative take on Spider-Man’s mythos make it a much-needed hard reset for the Marvel cinematic experience, while blazing new trails of its own.
On the downside, this independent approach could be jarring to those who are accustomed to—or even disenchanted with— the mainline MCU’s connectivity. Many filmgoers spent the last ten or so years conditioned to look at Marvel films, characters and their continuities a certain way, expecting everything to be explained or interconnected. Madame Web does not offer such hand-holding. Without any continuity lifelines to throw, these particular filmgoers will have a sudden shock to the system when processing the standalone approach of Madame Web and its isolated storyline. On the other hand, those willing to suspend these instincts might find this new take on Marvel refreshing, and feel free to enjoy the solid storytelling for what it is: a story, not a chapter in a long, ongoing and interconnected series, at least in the foreseeable future. As it stands, both seasoned comic book fans and the uninitiated—with a love of comics and ample curiosity—could walk comfortably into the theater blind, and emerge satisfied.
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