How Marvel’s Thunderbolts is a MCU borrowing for depression

This article contains Spoilers For “Marvel’s Thunderbolts.”

It is not customary for Marvel Cinematic University to have a mysterious subject. “Captain America: The Winter Soldier” (2014) is a spying with superheroes. “Ant-Man” (2015) is a theft film with superheroes. “Spider-Man: Homecoming” (2017) is a secondary movie with … well, you will get the idea. However, it is one thing to play with a aesthetic of a specific type, and completely another truly About something.

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From his first scene, director Jake’s “Marvel’s Thunderbolts*” shows that he intends to present it in that last category. “Thunderbolts*” is amazingly the emotional bowel punch All the time, although she has enough fashion characters to ensure that she is included in this type of superhero, she captures the viewer with heavy topics. The film is certainly predictable moments, such as the “development” of lightning with lightning. Olga Kurylenko’s Taskmaster dies early in the movie. However, his observations on the most shared side in American policy are more severe than anything Captain America: a new brave and safe world “brave new world” It should be presented, and for its competing friendships, some of the most intimate moments produced by MCU. However, the comprehensive topic of the film is much more complicated than any: mental health.

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Yes, “Thunderbolts*” is everything about mental health in general, which makes a strong symbolic story of depression in particular. In the first scene, Ylena “Black” belova (Florence PGH) performs a high -risk mission at the CIA while her novel tries to express mental health problems that leave her with a feeling of emptiness. The film continues to make this the main theme of the multi -major characters as well. This includes the strong opponent of the movie, The Void, which is the physical appearance of Robert “Bob” Reynolds (Louis Polman) deep lifelong.

All members of The Thunderbolts have their problems, but the true stroke of the film is Bob – also known as the name Marvel’s Sentry, the villain “Thunderbolts*” Who meets the eye. The film slowly reveals this mysterious survivor of SENTRY project experiences of severe mental health problems, which stems at least from a terrible and offensive childhood and amplifies it by drug use. This left him haunted strongly in internal darkness called “the void”-which is black in the form of a bob that shows depression.

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When Bob is exposed to Sentry and earns the great powers that shattered the game, the void is also stronger. Before his appearance, it feels its presence when Ylena, John Walker (Wyatt Russell) and Valentina algra de Fontaine (Jolly Louis Drifus) see their worst memories after physical contact with Bob. It has been shown that this is a major component of the depression that depression is operating: it turns people into black -dimensional spots, which leaves them trapped in a maze of their worst memories while insisting that they have no meaning.

It is appropriate, the peak of the movie is symbolic to recover. Due to the lack of a way to defeat the void physically, Ylena and others deliberately plan in the field of its dark effect and move on their way through the darkest memories. After joining and reaching the worst Bob memory – the laboratory, where the physical embodiment of the emptiness has become – Bob helps defeat his inner darkness with positive reassurance. Not every day you see MCU as it saves a large group of hugs today, but after the movie spent a lot of time to explore the devastating behavior that his mental health has taken, it is an incredibly suitable option.

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A discount like a vacuum allows the film to explore the psyche of his characters in a largely unprecedented way in this supercar. With a mixture of vacuum visions and dialogue in the real world, we learn that Walker, a great, self -described husband and a hidden father, is a ball of shame and regret that he barely grabbed after his wife left him in the wake of the fall of his leader America on “The Falcon and Winter Goldier”. Later, Val’s vision shows that her father is being shot by a threat who accuses Abi Fall of being a believer himself and declaring that he will take care of Val. This is a long way towards explaining how Val has become a ruthless arrogant character-and it is low that this life event is its worst memory.

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Ylena’s story gets the largest miles of vacuum memory traps. Two different views in training the terrible black widow she suffered in the red room when she was just a child explaining her feeling of emptiness and overwhelming feeling that she did more evil than she could compensate for it. This, by the way, is something she shares with her sister, she left Natasha (Scarlett Johansson), who indicated a sense of being “red on the professor’s book.”

Even characters that do not contain void memories meet some attention to various mental health issues. For example, Red Guardian (David Harbour) may be a comic relief figure, but he has severe self-esteem problems, in reality, a heart late from the heart reveals that his Slovis self-isolation was at least partly because he did not think Yelena needed him.

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To be fair, not “Thunderbolts*” is the only time that MCU has indicated such deep matters. It is difficult for Boki Barnes (Sebastian Stan) last, as a super -brained soldier is sufficiently firm at this stage that he does not receive a lot of attention in this movie. However, “Thunderbolts*” is keen to refer to its painful history and show that on the same page as the rest of the characters, to the extent that he is one of the members of the most enthusiastic team in the climatic group that allows Bob to realize that he is no longer alone and pays the void. Boki knows what it is. Likewise, the past (Hannah John-Kamen) and the feeling of isolation that comes with its power group were the main points in “Ant-Man and the Wasp”, so they were discussed here for a short period only … but the film devotes several moments for its slow hard bonding with the rest of the team after years of unity.

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“Thunderbolts*” is not the last MCU movie that devotes itself to a specific concept. With its own nature, “Black Panther: Wakanda Forever” revolves around moving forward after a destroyed loss. “Guardians on Galaxy Vol. 3” carries a message about how sympathy and kindness (or lack of) affects people. However, none of the films focus on the same laser focus on a specific symbolism of “Thunderbolts*”-to the extent that when Thunderbolts finally learns to manage their various problems through their presence for each other, the movie is the movie Immediately They are promoted to *Avengers.