In the season finale of She-Hulk: Lawyer She-Hulk, from Disney+, Jennifer Walters finally knows the identity of the creator of all her dilemmas. To the surprise of the audience, she was not the founder of Intelligence, the pernicious web that ruined her life, but KEVIN. He is not Feige (although the reference is obvious), but Knowledge Enhanced Visual Interconnectivity Nexus, an artificial intelligence robot. A mechanism capable of translating algorithms and, therefore, responsible for errors, repetitive plots and predictable endings in the great superhero saga.
In a blow of effect, She-Hulk: Lawyer She-Hulk managed to tie the plot lines of its narrative together and pay homage to the celebrated John Byrne comics. At least, it was his intention and the originality of his approach took the production down new paths. By completely breaking the fourth wall, digging deeper into the more specific elements of the franchise, and displaying unprecedented ease, Marvel changed.
On the other hand, it also opened several scenarios for future stories and, almost by accident, established the relationship between She-Hulk and Daredevil. But is all this metalanguage effort enough? Did Marvel’s great mockery of his own structure manage to give Jennifer Walters’ story a personality? The dilemma about the irrelevance of She Hulk: Lawyer She Hulk in the great arguments of the Casa de las Ideas he once again poses a dilemma. Has Marvel reached a difficult point in its production in terms of quality and quantity of content?
When expectation exceeds fiction
The answer to both questions are complex. Especially because as a capsule narrative of a larger universe, She Hulk: Lawyer She HulkIt doesn’t really impact the Marvel Cinematic Universe. Once again, the studio plays with the idea of anticipation, of the promise of what will happen in the future. Along the way, he forgets the integrity of several of his licenses and, also, replay your favorite strategy. That of creating a higher expectation through a product of questionable quality.
A way of moving future narrative pieces that, before, he used through his post-credit scenes and that he now achieves with She Hulk: Lawyer She Hulk. The last chapter of the series – disjointed, meaningless, full of contradictions, apparently intentional – was nothing more than a great joke. An inside joke intended for both fans of Marvel’s red bone and those of the character in the comics.
She-Hulk: Lawyer She-Hulka missed opportunity
With a chaotic need to underline his goal, the script for the season finale made it clear that the production was nothing more than a showcase vehicle for his character. Does your story matter? Apparently not so much as dazzling viewers with the idea that Marvel is capable of mocking his mistakes and moving on..
Jennifer Walters is a piece that can be moved from one place to another to have the meaning that the need of the studio imposes. As part of Marvel and the superhero saga, the character is not that relevant. Her story is not to be told, but to be the necessary comic relief before the closure of a specific phase.
But is such a narrative experiment successful? The question that arises is to what extent the production was only a vehicle for something else. As usual in Marvel, She-Hulk: Lawyer She-Hulk It was an announcement for great things. Along the way, it left behind its personality, substance, and even its quality as a tribute to one of the publisher’s most beloved IPs.
From what was to what is Jennifer Walters
submit to Daredevilto establish that there will be a new movie of Hulkthe participation of the duo Abomination and Wong in future content. She-Hulk: Lawyer She-Hulk it was a careful anticipation mechanism for Marvel fans.
It’s enough? For seven chapters, the story of Jennifer Walters went from one side to another, without direction. And much less a clear sense. But, for Marvel, that didn’t seem to matter at all. What was really relevant was the ability of the series to rewrite its narrative and serve as an example of how far the superheroic cinematographic universe can go.
So for its season finale, the John Byrne homage is a perfect excuse to forget about the rest of the narrative problems. It seems to be, in any case. Who can criticize the flaws in the script, narration, structure and plot consistency of She-Hulk: Lawyer She-Hulk if he breaks the fourth wall? Why ask for anything more from a production destined to be just a big joke? Has anyone ever taken Jennifer Walters seriously?
The last question is especially complicated. The character is one of Marvel’s most iconic, light-hearted and leading the way in new narrative ways. Like dead pool, has the ability to create a space of its own. But, also, both one and the other have distinguished themselves, on paper, for having brilliant stories with sublime plots.
In fact, John Byrne endowed Jennifer Walters with the potential ability to be an emblem of irreverence, to unite scenarios between laughter and sarcasm. But do it through neat, bright and fun stories. Did the same thing happen with She-Hulk: Lawyer She-Hulk?
She-Hulk: Lawyer She-Hulksomething more than a comic series?
It could happen. The production had all the elements to build the condition of an elaborate product and, at the same time, mocking. From a brilliant actress like Tatiana Maslany, to a charming cast of luxury supporting cast, capable of sustaining the comedy that Marvel needed.
Even the participation of Mark Ruffalo, Tim Roth and Benedict Wong announced an ingenious mechanism of brilliant double talk. But the production preferred to explore its scenarios as a link to larger situations for the future. Everything, within the framework of creating content that could be bold or that, at least, would allow the studio to show its less epic and severe side.
But for that he had to do without the quality of the series as a whole? Episodes seven and eight showed what Jennifer Walters had to offer, her mischievous take on the world of superheroes. The way the structure could be broken, to be a light joke, but, at the same time, with all the elements of a good script.
A half-open door to uncertain scenarios
With its season finale episode, She-Hulk: Lawyer She-Hulk demonstrated its quality of secondary product, without importance. A prank to make it clear that Marvel knows what he is doing and that, this time, he just wanted to make fun of his formula. At the cost of taking the argument to go point by point the worst problems of an increasingly large, expensive and demanding franchise. KEVIN, the risky cameo that somehow shows that Feige knows the problems the series is going through, wasn’t as teasing as it should have been.
Nor Jennifer Walters, who, with the Byrne flag in her hands, wanted to show that the studio can laugh when it wants. That, at the expense of their characters, plots, productions. “Transform, you are very expensive”, says KEVIN in one of the final sequences. “We are already working on another project,” he adds. Then the chords of Black Panther.
An apparently ingenious irony, but one that makes it clear that, for Marvel, even joking is a matter of being just a vehicle for promising futures. With Jennifer Walters sitting at the foot of the screen telling her story, the big question is unavoidable. Did Marvel make fun of herself or did she make it clear that there is a limit to her creativity? The answer, with the chapter’s messy and bland ending, seems obvious.