Since the release of Avengers: Endgame, the Marvel Cinematic Universe (MCU) has endeavoured to broaden its scope through the introduction of new characters and narratives. Nevertheless, this phase of productions generally exhibits a deficiency in innovation and depth and is susceptible to modifications or cancellations contingent on box office or streaming performance, resulting in inconsistencies. Captain America: Brave New World (hereinafter referred to as Captain America 4) exemplifies this issue. The emergence of Disney+ has exerted a multifaceted influence on the MCU, expanding the narrative landscape while diminishing the films’ intrinsic appeal. There is a perception that Disney foresaw the potential box office underperformance of Captain America 4; however, terminating the project would likely lead to even greater fragmentation, necessitating its continued release. It appears that Disney+ has evolved into a double-edged sword for the MCU.

Disney+ introduces narrative flexibility within the Marvel Cinematic Universe (MCU); however, it concurrently influences the perceived value of theatrical viewing. For instance, Sam Wilson’s ascension to the role of Captain America is thoroughly elucidated in the series The Falcon and the Winter Soldier, rendering the character’s background in Captain America 4 somewhat redundant and cumbersome. Viewers who have not previously engaged with the series may find themselves perplexed regarding Sam’s role and his self-doubt, which could detrimentally affect the narrative coherence of the film. Furthermore, the series model employed by Disney+ has significantly altered audience viewing habits, with numerous viewers expressing a preference to defer their viewing to a later date on the platform, rather than attending the cinema. This shift is particularly disadvantageous for transitional films such as Captain America 4, as its narrative lacks sufficient appeal and innovation to incite viewers’ enthusiasm for theatrical attendance.

The Embarrassment of Transitional Films: Multi-Line Narrative, Lack of Focus

Captain America 4 is regarded as a pivotal instalment in the Marvel Cinematic Universe’s Phase Five, primarily aimed at establishing the foundations for the reconfiguration of the Avengers, the introduction of new characters, and shifts within the global political landscape. Nevertheless, this transitional aspect results in a narrative that appears disjointed and lacks a central focus. The film conceppresents elements such as Adamantium and Red Hulk; however, the context and application of these elements are perceived as rigid and illogical, failing to integrate seamlessly into the storyline. Furthermore, Red Hulk is portrayed more as a villain “subdued” by Disney, wherein Captain America does not achieve victory over Red Hulk through physical confrontation, but rather tames him through dialogue rather than force.

Red Hulk, serving as the antagonist in the film, was initially positioned to heighten tension and conflict within the narrative; however, his introduction appears abrupt and lacking in depth. The film fails to comprehensively explore the character’s potential, with his motives and background insufficiently detailed, rendering him more as a mechanism to facilitate the climax instead of an integral element to propel the storyline. It is particularly regrettable that Red Hulk’s character development underscores Disney’s conservative approach to villain portrayal. The president, who undergoes transformation due to emotional dysregulation, could have emerged as a more contentious and nuanced figure, yet the film depicts him as a patriotic “good guy” willing to engage in dealings with the devil Samuel Sterns in the interest of national welfare. His punitive consequence is solely his transformation into Red Hulk and subsequent imprisonment, which appears excessive mild and devoid of the requisite complexity.

Should the president embody the role of a malevolent villain, engaging in transactions with the devil to maintain power, perceiving himself as the pinnacle of superiority, or evading legal repercussions, or even exhibiting totalitarian traits akin to Hitler by unilaterally determining the fates of other nations and ethnicities, it could enhance the tension and persuasion associated with his character. Nevertheless, Disney’s family-friendly approach restricts this potential, rendering Red Hulk’s portrayal excessively optimistic and devoid of a sinister dimension. Ultimately, the narrative concludes with the sentiment, “Dad didn’t do well, but everything Dad did was for his daughter,” culminating in his eventual forgiveness.

The comparison between Captain America 4 and the works within the DC Universe reveals the limitations of Disney in the portrayal of villainous characters. In Christopher Nolan’s The Dark Knight, the characterisations of the Joker and Harvey Dent exhibit profound darkness and complexity, rendering their actions both convincing and impactful. Conversely, the motivations and behaviours of Red Hulk are reduced to health issues and paternal affection, resulting in a portrayal that appears superficial and lacking in depth.

Fortunately, Red Hulk is portrayed by Harrison Ford, whose depiction of the president in the film is exemplary. Whether in dialogue exchanges or moments of managing emotional outbursts, he showcases a profound foundation in acting, making it challenging to envision any other Hollywood actor who could fulfil this role with such precision. Undoubtedly, numerous actors possess exceptional acting abilities; however, few are inclined to engage in superhero commercial films like Harrison Ford and integrate so seamlessly.

Imbalance of Political Metaphors and National Power Struggles

Captain America 4 endeavours to incorporate metaphors pertaining to real-world politics through the characterisation of Red Hulk and the broader global political context, including allusions to the Trump administration. This venture may introduce novel concepts into the Marvel Cinematic Universe; however, the extent to which it will resonate with audiences familiar with extraordinary action sequences remains uncertain. Furthermore, the treatment of this political metaphor appears overly cautious, merely acknowledging it without delving into further analysis or critique. Is Disney also apprehensive about potential backlash from Trump?

The subtitle “Brave New World” should have suggested a broader theme, potentially encompassing the transformations in the global political landscape or the redefinition of superhero roles. However, the film’s narrative appears largely disconnected from this subtitle, resembling more a label imposed to captivate audiences.

Conversely, the competition among nations for resources and the resultant political power struggles constitute some of the few intellectually stimulating elements of the film. Notably, the scene in which the Japanese president responds with “No” to the American president underscores the intricate relationships between nations amidst the evolving global power dynamics. This political metaphor may introduce novel concepts into the Marvel Cinematic Universe (MCU); however, it remains uncertain whether it will resonate with audiences who are accustomed to extraordinary action sequences unknown.

Will the Future Direction of the MCU Overturn the Past? Or the Infinite Possibilities of the Multiverse?

Although “ Captain America 4 “ primarily centres on conflicts occurring on Earth, it also makes vague references to the Celestials and Eternals, suggesting that the Marvel Cinematic Universe (MCU) may evolve to encompass cosmic-level conflicts in the future. It appears that Disney may have overestimated its audience, presuming that all viewers would engage with every series and film. This assumption transforms what were originally intended as promising foreshadowings- a prelude to captivating cosmic-level conflicts- into obstacles for viewers who have not engaged with these narratives, resulting in an appearance of haste. The sudden introduction of certain characters and plot elements may appear inexplicable to viewers who have not experienced related films, such as “ Eternals, “ thereby complicating their comprehension of these characters’ backgrounds and significance. Furthermore, it is rumored that “ Eternals “ possesses a highly literary quality and may not receive a sequel, leading to the anticipation that a significant amount of information in subsequent series will continue to be conveyed orally, thereby hampering audience resonance.

The announcement regarding Robert Downey Jr.’s return to the Marvel Cinematic Universe (MCU) has been officially confirmed, accompanied by the convening of a press conference. However, this development does not merely involve the resurrection of the late Tony Stark. A more plausible trajectory is to incorporate variants of Iron Man from alternate universes, facilitated by the concept of the multiverse. Concurrently, an even more thrilling prospect is surfacing: the advent of Doctor Doom.

In the context of the multiverse, there are infinite possibilities for Doctor Doom’s appearance. One fascinating speculation is that the character of Samuel Sterns in Captain America 4 showed a brilliant mind, knowing how to confuse people with language and black technology, and knowing how to modify genes to create Red Hulk. Perhaps, he will somehow obtain Iron Man’s genes, thereby possessing a similar appearance and extraordinary technological intelligence, eventually transforming into the ambivalent Doctor Doom.

Regardless of how the MCU ultimately chooses to handle the character of Iron Man and the way Doctor Doom appears, it will have a profound impact on the future direction of the entire universe. Whether to restart existing storylines or continue existing plots and innovate on this basis will be an important decision facing the MCU.

Another challenge confronting the Marvel Cinematic Universe (MCU) is artificial intelligence (AI). Previously, audiences exhibited a willingness to invest financially in cinema visits for an optimal viewing experience, anticipating advanced audio-visual entertainment. However, in the present context, the effects of the films appear to be of mediocre quality; in this era of AI, such effects seem considerably inexpensive.

In the present day, artificial intelligence technology has been widely integrated into mobile applications, enabling the generation of remarkable images at any given moment. Conversely, the visual effects in ” Captain America 4 ” appear to reflect a constrained budget attributed to the film’s transitional positioning, resulting in a less polished presentation. The previously anticipated duel scene set against a background of cherry blossoms fails to depict the expected intricacy of cherry blossoms falling, as it juxtaposes the combat between Red Hulk and Captain America. In comparison to the vivid AI-generated visuals produced through precise prompts, the overall viewing experience is evidently lacking, which is undoubtedly disappointing.

Captain America: Brave New World, as a transitional work within the Marvel Cinematic Universe’s Phase Five, fails to adequately advance plot development or facilitate character growth. The film’s setting and execution appear rigid and devoid of depth, underscoring the narrative challenges faced by the MCU. Concurrently, the emergence of Disney+ has expanded the narrative scope while diminishing the appeal of the films themselves. If the MCU aims to sustain its global influence, it must seek a balance in forthcoming projects, eliminate the awkward positioning of transitional films, and offer audiences more innovative and substantive narratives. Furthermore, Disney may need to reevaluate its family-friendly positioning. The company should consider liberating itself from the constraints of family-friendliness, granting creators increased autonomy, and keeping pace with the rapid advancements in technology, so that the characters and stories within the MCU become more compelling and dynamic.

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