‘Thunderbolts*’—A Spark of Hope in Dark Times
After years of mediocrity, Thunderbolts* is the welcome change MCU fans were waiting for.

A mysterious power failure in a small mountain town coincides with the disappearance of one of its most eccentric young residents. Mystery piles upon mystery as his family and friends search for him, fail, and ultimately try to forget about him, an undertaking that results in many unexpected, and in some cases bizarre, effects on the town's already peculiar community.
After years of mediocrity, Thunderbolts* is the welcome change MCU fans were waiting for.
Remakes. Reboots. Reinventions. Redundancy. It's the common practice in Hollywood of late, sometimes offering us victorious reimagining of what can be considered cinematic classics while also, more often, falling flat on their UN-imaginative faces in utter defeat and lackluster results. Admittedly, with this in mind, I went into the newest incarnation of "The War of the Roses" with typical trepidation and cautious optimism.
Jordan Peele's turn to horror with "Get Out" isn't as unexpected as it may seem. He primed his fans for a disturbing and nuanced exploration of racism with his work on "Keanu" and "Key & Peele."
The Force Awakens is A New Hope 2.0, in essence. The story structure is virtually unchanged, marking a safe opening to the new trilogy.
America is the crux of the storyline: she is the only person in existence with the power to jump between universes. As central as America is to the Multiverse of Madness story, she somehow didn’t get that much to do.
Though often underwhelming as a whole, Nevertheless is worth the watch because of the relationship between Sol and Jiwan. It is a stunning, refreshing take on the friends to lovers trope that LGBTQ media has been missing.