SPOILERS: Black Widow’s Director and Star Explain the Post-Credits Scene

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Superherohype.com 10 July, 2021 - 06:34pm 20 views

Who plays taskmaster in Black Widow?

Olga Kurylenko, who previously appeared in the James Bond film Quantum of Solace and the Tom Cruise actioner Oblivion, plays Taskmaster in the film. EW.comTaskmaster explained: How Black Widow retconned character's origin | EW.com

What movie does Black Widow come after?

She did! Black Widow takes place before the events of Endgame—to be specific, it takes place between Captain America: Civil War and Avengers: Infinity War. To be even more specific, it takes place in 2016, 25 years after the 1991 opening scene. Slate MagazineBlack Widow movie, explained: When it takes place, the post-credits scene, more (spoilers).

Is there post credits in Black Widow?

“Black Widow” takes place between the events of “Captain America: Civil War” and “Avengers: Infinity War,” but the film's post-credits scene brings us back to present day with a heart-wrenching visit to Natasha Romanoff's grave. Los Angeles Times'Black Widow' end credits scene explained: Yelena will return

Who is the bad guy in black widow?

Every good Marvel superhero needs a supervillain, so as Black Widow stepped up for her solo movie debut, it's only natural that she got a signature bad guy to go along with her. In Black Widow, that's Taskmaster, the mysterious killer with the ability to learn any fighting technique simply by watching it. PolygonWho is the Taskmaster in Black Widow?

Black Widow's Violet McGraw Reads Texts From Mom

J-14 Magazine 11 July, 2021 - 01:16am

Marvel's 'Black Widow' Movie Is One Last F*ck You to Natasha Romanoff

The Daily Beast 11 July, 2021 - 01:16am

This post contains spoilers for Black Widow.

For the casual viewer, Black Widow will likely prove all kinds of confusing. But it’s hard to blame anyone who’s confused as to why Marvel is just now releasing its first standalone film dedicated to Natasha Romanoff. After all, she is technically dead.

Black Widow, which joined Phase Four of Marvel’s sprawling cinematic universe Friday, takes place after the events of Captain America: Civil War and Avengers: Infinity War. (The former debuted in 2016; the latter, in 2018.) Natasha died in 2019’s Endgame after sacrificing her life to secure the Soul Stone, which the Avengers needed to defeat Thanos.

Now—meaning, in this new film, which is in the past—we find Black Widow on the run from authorities after helping Captain America free Bucky Barnes. She returns to her safe house in Budapest after receiving a mysterious package from her “sister,” Yelena (Florence Pugh), who grew up by her side in Ohio under the care of Russian operatives. Alexei (David Harbour) and Melina (Rachel Weisz) used their fake family as a cover while they worked to steal a chemical that somehow separates people from their free will. (Yeah, I don’t know about that, either.)

After a sisterly reunion-fistfight, Natasha and Yelena set out to kill the creator and ruler of the Red Room and the Widows, Dreykov (Ray Winstone)—who has abducted countless young girls across the world to do his bidding.

Marvel released 20 films before they finally debuted their first about a woman, Captain Marvel, in 2019. Throughout her career in the MCU, Natasha Romanoff has largely existed to support the story arcs of men around her, whether by helping Captain America confront his past or lending Bruce Banner a shoulder to cry on through his Hulky identity crisis. Now, after 13 years of clamoring from fans and critics, she finally has her own film—after she’s already dead in the main continuity. (In fairness, the original plan was to release Black Widow last spring—but even barring the COVID disruption, the film had always been planned to debut after Endgame.)

This would all be less frustrating if Black Widow itself weren’t so phoned in, but even a stellar performance from Florence Pugh can’t save this empty plot vehicle masquerading as a quippy espionage thriller.

Black Widow might have largely stepped away from the Avengers world to send off our favorite red-headed assassin, but even so, it’s impossible to forget that this entry, like all the others, is just one piece of a larger puzzle. Every mention of Clint Barton—and there are a few—is a reminder that the character’s TV series, Hawkeye, is coming soon on Disney+. Julia Louis-Dreyfus’ appearance in the post-credits scene as Contessa Valentina Allegra de Fontaine tethers the film to The Falcon and the Winter Soldier, where she also appears. Hell, the entire film only makes sense if you remember what happened in two others that came out three years ago.

Whatever problems Black Widow has, however, the performances are almost uniformly spectacular. Scarlett Johansson and Pugh’s chemistry crackles in every scene they share. Yelena goads her sister for being one of the Avengers but not “one of the big ones,” and loves to make fun of the hair-flipping fighting stances that have become the character’s signature. (“I mean, they’re great poses, but it does look like you think everyone’s looking at you all the time.”) David Harbour, meanwhile, was the perfect choice to play their “father,” Alexei—a Soviet supersoldier whose time in prison has left him a bit rusty.

When Black Widow moves like a spy thriller, it mostly strikes a satisfying blend of suspense and comedy, both exemplifying and satirizing the genre and its many gimmicks. (A crucial double-reveal toward the end was basically ripped from the Mission: Impossible playbook.) But the film also seems eager to highlight a deeper, darker motif about the subjugation of women, and these attempts are often more grating than illuminating.

This might be Natasha Romanoff’s movie, but Yelena’s feelings of betrayal and isolation provide the emotional scaffolding. Yelena was only 6 years old when her illusion of family fell apart; the three years she had spent with Natasha, Alexei, and Melina were the happiest in her life, she says at one point, but everyone around her was simply playing a part.

But Black Widow’s exploration of both Yelena and Natasha’s pain feels absurdly shallow given everything we know they’ve endured: They were abducted as children, brainwashed, forcibly sterilized, and trained to become child assassins. Yelena was also drugged.

As one might expect from a film about a network of indoctrinated killers, free will comes up often in Black Widow—and more often than not, one word is used to express that virtue. When Melina explains her role in Natasha and Yelena’s abuse, she says that as a Widow herself, “I was never given a choice.” During her confrontation with Dreykov, Natasha tells him, “You took my choices and tried to break me—but never again.” And when the sisters cure the Widows from their brainwashing and set them free, Natasha tells them, “You get to make your own choices now.”

Given that Black Widow begins with a three-minute montage featuring stock images of world leaders set to a slowed-down cover of “Smells Like Teen Spirit,” it would be foolish to expect much subtlety from its messaging. Still, somewhere around the line where someone uttered the words, “To him we are just things” to describe Dreykov, I found myself getting cranky.

Whether or not the Fury Road echo was intentional, it’s a reminder of just how long Black Widow took to arrive, and how absurd that reality is.

The late arrival could be forgiven if Black Widow actually elevated Black Widow’s story into something meaningful, but the film’s most direct reference to the trauma Natasha and Yelena endured arrives through the filter of Marvel banter. When the two bust Alexei out of prison to help them find and kill Dreykov, he scolds Yelena’s sour demeanor by asking, “Is it your time of the month?” Her response: “I don’t get my period, dipshit. I don’t have a uterus… That’s what happens when the Red Room gives you an involuntary hysterectomy. They kind of just go in, and they rip out all of your reproductive organs. They just get in there and they chop them all away, everything out, so you can’t have babies…”

Being that this is a Marvel movie and not a conference on reproductive freedom, it would be foolish to expect an in-depth discussion of the traumatic effects of forced sterilization. Still, the moment characterizes the broader issue with Black Widow, and perhaps Black Widow in general: The film invokes a gruesome abuse of civil liberties that affects real women around the world but avoids any emotional or intellectual engagement beyond that.

I probably wouldn’t be so picky about this if Marvel and its corporate overlord, Disney, hadn’t made this maneuver their bread and butter for so long. But somewhere between the “exclusively gay moment” in 2017’s Beauty and the Beast and the unearned “girl power” scene in Avengers: Endgame, my patience ran out.

My frustration with Black Widow probably has less to do with the film itself than with the larger machine that contains it—with the fact that every time two men kiss in a Star Wars film we somehow wind up talking about it like it’s groundbreaking, and with the fact that Black Widow started in this franchise with Jon Favreau drooling over her and still can’t make it through even her own standalone film without at least one ass shot. And the fact that even despite this, the film will likely receive widespread praise for its “self-aware” take on the character—as though awareness of a problem is the same as solving it.

Yelena’s non-stop teasing about Black Widow’s poses feels like an acknowledgement of how this character has been treated like a decorative object in the past—but the real punchline is the futility of delivering such a joke after Natasha is already dead. And for those who forgot, a gentle reminder: Endgame heavily implied that she did so because she’d decided that as a single woman with no children, she had less to live for than Clint Barton, who has a family.

Throughout this cluttered continuity, characters like Tony Stark and Steve Rogers and Thor—the “big ones”—all went on true hero’s journeys. Black Widow only ever got to cheer from the sidelines, her potential constantly teased but never really delivered. If the powers that be at Marvel want to talk about “choices,” they would do well to consider why that is. We’ve had enough self-aware jokes to last an immortal demigod’s lifetime. Let’s just try and make sure that next time someone launches a multi-billion dollar action franchise, at least one of the “big ones” is a woman.

Marvel's Avengers Red Room Takeover Returns (Mission Chain Tasks)

GameRant 11 July, 2021 - 01:16am

The Red Room takeover event originally ran a little over a month ago and offered players some very challenging solo missions to test their skills as they danced around the techno lava floors of the corrupted HARM Room challenges. It was a pretty popular event in Marvel's Avengers and its scaling difficulty options allowed players of any level to get some exciting experience and rewards out of the offerings.

The Red Room Takeover is now back for a limited time and players are able to enjoy the challenges once again through July 22. That means that heroes have almost two full weeks to power through the mission chains and earn the new nameplate reward for their hard work if they manage to defeat everything the room throws at them.

Complete 5 Red Room Event Assignments

Defeat 850 enemies of any kind

Knock 350 enemies into techno lava

Hit enemies with Signature or Power Attacks - 75

Defeat seven or more enemies in a single wave with Power or Signature attacks - 5

Complete waves of combat in any Red Room Challenge - 25

Defeat enemies with Heroic abilities of any kind - 25

Complete any Red Room Challenge without being hit by Red Lightning - 1

Complete Red Room Challenge IV - 2

Collect Memory Fragments in Red Room Challenge III - 35

Defeat Blitz Proto-Synthoids before they self detonate - 25

Defeat Repears of any kind with Ranged Attacks - 45

Quickly defeat Vaulted enemies - 25

Defeat enemies after using a jump pad but before touching the ground - 15

Defeat Prime Synthoids of any kind - 10

Defeat human enemies of any kind - 75

Defeat Exos of any kind - 10

Defeat waves of combat without being critically injured - 10

Defeat enemies using the Techno Lava - 20

Defeat flying enemies with melee attacks - 40

Complete Red Room Challenge II - 3

Defeat robotic Plague enemies of any kind - 30

Defeat human Cyro enemies of any kind - 10

Defeat Riobots of any kind - 15

That should be everything players need to jump into the limited time Red Room Takeover event and earn that new nameplate this week. While logged in, players may also want to complete this week's Priority Missions and Challenges, as well for some bonus XP. Be sure to check back frequently for more Marvel's Avengers news, guides, and updates in the near future.

Marvel's Avengers is out now for PC, PS4, PS5, Stadia, Xbox One, and Xbox Series X.

Marvel’s Avengers Player Syncs Lights For Extra Red Room Immersion

Screen Rant 10 July, 2021 - 06:03pm

Marvel's Avengers features a number of skins for each of its playable heroes, but at launch none of these costumes reflected the characters' appearances in the Marvel Cinematic Universe. This frequently-requested feature was not properly introduced until May 2021, when an MCU Black Widow skin was officially revealed after a leak. The sleek stealth suit, the very first live-action cosmetic to be officially revealed, was inspired by the hero's appearance in 2020's Avengers: Endgame. However, many members of the game's fanbase rejected the skin because Black Widow's in-game hairstyle was not changed to reflect the one worn by Scarlett Johansson in the film. This first MCU costume, released to coincide with an in-game Red Room Takeover event based on the character's origins, has since been followed by similar Avengers: Endgame cosmetics for Hawkeye, Hulk, Iron Man and Captain America. More recently, Black Widow became the first Marvel's Avengers character to receive a second MCU-inspired cosmetic, as Crystal Dynamics released a Black Widow outfit for her new movie on July 8 to coincide with the return of the Red Room Takeover event.

Marvel's Avengers fan and Reddit user mark_as_red recently released some flashy footage of the game's Red Room Takeover event. Using a Hue Sync Box, mark_as_red was able to sync two large light bars to their television's lighting. This means that playing in the Red Room paints the entire area in a deep red light, while Black Widow's electric weaponry causes sharp flashes of blue light to occasionally pierce through the red haze. By donning the new white suit, inspired by the newly-released Black Widow film, mark_as_red is able to create a truly cinematic experience.

Despite ongoing criticism of the game, Crystal Dynamics has committed to supporting Marvel's Avengers for the foreseeable future. An ongoing content roadmap gives players an idea of what they can expect for the future, with both small additions and large expansions coming within the next few months. A recent roadmap update reveals a new raid and hero combination change which may interest those that have previously shunned the superhero experience. This new supervillain raid will let players face off against the power-copying Super-Adaptoid, while the hero combination change will allow players to team up using any combination of the game's eight available Avengers.

Marvel's Avengers can be a faithful and engaging superhero experience, but the title is bogged down by technical issues and microtransactions. Fortunately, players such as mark_as_red are able to make the most of Crystal Dynamics' title, finding excitement and beauty in the game's combat and content. By playing in a literal Red Room, mark_as_red has created a fitting tribute to Black Widow and her new live-action film adventure.

Source: mark_as_red/Reddit 

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