I guess I don't view "Superhero" as a genre as that's preventing me from getting burned out.
Agents of Shield started as a procedural and is now a weird hybrid action-adventure thing. Agent Carter felt like a detective show, one of those ones with a season-long arc. Damage Control, if it is what they pitch, will be a workplace comedy. Daredevil felt like a dark revenge drama, etc. Certainly these shows have superheroes in them, but as long as the tones remain different amongst the lot of them I think I'll be able to hold out. I'm more concerned with just not having the time to watch them than getting tired of them. Part of my problem with the movies right now is that they're all starting to feel a little samey, even down to the pithy dialogue, and that's where I run the risk of burnout, but hopefully Doctor Strange will manage to feel dark and foreboding and cosmically ominous, while Guardians 2 will get even more epic Space Opera-ish, and Civil War will feel more thoughtful.
The trick to not getting burned out is to not feel obligated to watch everything.
Like, seriously, this year we'll have gotten
8 Episodes of Agent Carter (Aprox 320 minutes)
12 Episodes of Agents of SHIELD, season 2 (Aprox 480 minutes)
13 Episodes of Daredevil (Aprox 585 minutes)
Age of Ultron & Ant-Man (273 minutes)
13 Episodes of Jessica Jones (Est. 585 minutes)
10 (?) Episodes of AoS Season 3 (Est. 400 minutes)
That's like 44 hours of MCU content, in this year alone!. In 2017 we'll start getting 3 movies a year instead of two, and we'll have god knows how many TV shows, with Most Wanted and Damage Control being talked about, plus whatever John Ridley is working on. And who knows how Jessica Jones, Luke Cage and Iron Fist will do; we might get Season 2's of those too.
Just watch what catches your eye. If one of the TV shows isn't doing it for you, feel free to not watch it, or to watch it when you're feel a bit less overwhelmed.
Its also obvious that not every part of the MCU is for everybody. The Daredevil show is definitely not for kids, while AoS is a family show by comparison.
The only parts of the MCU that I suspect is mandatory viewing are the movies and that's only because they are blockbuster tentpole pics.
Even so, you can spend an enjoyable time watching AoS and possibly Damage control about what happens in the background of superhero universe when the big capes are off screen.
Or Daredevil/Jessica Jones about street level superheroics where the world is not at stake but the stakes are high enough.
The sky was full of stars, every star an exploding ship. One of ours.
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Nova_CI have the needThe need for speedRegistered Userregular
The good thing about being fully on board with the MCU is I am no where close to burnout on Marvel titles. I'm not a comics person, but I was into Marvel comics briefly as a kid, so I'm aware enough to be able to know the significance of certain references, but not enough to be disappointed at any story arc choices.
I'm also not interested in the DC stuff. I gave Arrow a solid go and got really tired of how
everyone keeps coming back to life
and that made me not interested in the rest of the DC shows.
I'm also not interested in the DC stuff. I gave Arrow a solid go and got really tired of how
everyone keeps coming back to life
and that made me not interested in the rest of the DC shows.
RE: Your Spoiler. That really doesn't happen anymore. Although there are other reasons not to watch Arrow, but that one was thoroughly quashed by Season 3.
You should still watch The Flash. It is amazing.
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Nova_CI have the needThe need for speedRegistered Userregular
I'm also not interested in the DC stuff. I gave Arrow a solid go and got really tired of how
everyone keeps coming back to life
and that made me not interested in the rest of the DC shows.
RE: Your Spoiler. That really doesn't happen anymore. Although there are other reasons not to watch Arrow, but that one was thoroughly quashed by Season 3.
You should still watch The Flash. It is amazing.
The trailer for The Flash had, "But you'll die!", which is the most tired trope and I was immediately turned off.
I think there's confusion that "trope" somehow means "bad". Something being a trope or looking like a trope from a surface examination of the details doesn't make something bad.
I think the point sites like TV tropes bring up is how silly it is to judge a thing based on it's 'tropey-ness'. Everything is a trope.
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Nova_CI have the needThe need for speedRegistered Userregular
I don't mind tropes.
I mind every single poorly written show about a hero (super or otherwise) containing a scene in which someone hamfistedly tries to stop them from saving someone's life because the hero will be at risk.
That's why I called it a tired trope.
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JacobkoshGamble a stamp.I can show you how to be a real man!Moderatormod
The college bookstore I work at is coming under new management (Luckly I'm still keeping my job) and I got to chatting with some of the people they brought in for the transition.
Turns out, one of them was from Chapel Hill, NC, and went to high school with Clark Gregg. Said he was the class clown, able to get everyone, including the teachers laughing and get away with it. Him being in your class, apparently, was the best thing.
And then he was talking about how, years later, he was googling What Lies Beneath and saw Gregg in the credits as screenwriter, and how he went "Surely, there has to be more than one Clark Gregg in the US..." Then he saw him in one of the TV bits he did before landing Agent Coulson and went "Nope, that's him, that's the guy who could get the teachers laughing and the class in tears."
This story smells fishy to me!
Who Googles What Lies Beneath?
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Nova_CI have the needThe need for speedRegistered Userregular
Man, I like that movie.
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JacobkoshGamble a stamp.I can show you how to be a real man!Moderatormod
I guess I don't view "Superhero" as a genre as that's preventing me from getting burned out.
Agents of Shield started as a procedural and is now a weird hybrid action-adventure thing. Agent Carter felt like a detective show, one of those ones with a season-long arc. Damage Control, if it is what they pitch, will be a workplace comedy. Daredevil felt like a dark revenge drama, etc. Certainly these shows have superheroes in them, but as long as the tones remain different amongst the lot of them I think I'll be able to hold out. I'm more concerned with just not having the time to watch them than getting tired of them. Part of my problem with the movies right now is that they're all starting to feel a little samey, even down to the pithy dialogue, and that's where I run the risk of burnout, but hopefully Doctor Strange will manage to feel dark and foreboding and cosmically ominous, while Guardians 2 will get even more epic Space Opera-ish, and Civil War will feel more thoughtful.
This is hugely true and somethingthat bears repeating. The strength of the superhero genre is its mutability; it can be, and has been, liberally flavored with pulp adventure, crime, procedural mystery, martial arts, horror, Greek and Norse and Egyptian and Semitic myth, hermetic magic, space opera, war movies, cyberpunk, teen romance, 60s counterculture, Westerns, espionage thrillers, Pop Art, buddy-cop comedy, funny-animal cartoons, political thrillers...
And the comics don't just tell those stories but often adopt their styles and tones wholesale. There are comics from the 70s about Captain America dropping out of square society to discover the Real America on his motorcycle, illustrated with the trippy colors of a head shop poster. There are innumerable noir-flavored comics done up in stark black and white with Dutch angles and exaggerated, German Expressionist shadows.
When a company publishes three or four dozen titles a month, it's impossible to expect any one reader to buy everything. Cultivating a broad spectrum of tones and styles maximizes their reach. If you don't like Thor, well, maybe Dr, Strange is up your alley. Or the Micronauts.
Marvel and DC (especially DC) have kind of lost sight of this in the last decade; there's been this huge push toward zales-juicing crossovers, toward 40-part stories where you "need" every part, and it's hurt the breadth of available stories.
And I definitely worry that this might be an issue in the films. I think the pist-Avengers movies made interesting first steps toward finding their own unique voice - Cap 2's spy thriller vs Thor 2's fantasy vs GotG's space comedy - but it remains to be seen if they'll be able to continue expanding on those distinctions.
Part of what was really exciting about Daredevil was how it drastically ramped up the stylistic boldness and I really hope that continues with Jessica Jones and Carter s2.
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Nova_CI have the needThe need for speedRegistered Userregular
I guess I don't view "Superhero" as a genre as that's preventing me from getting burned out.
Agents of Shield started as a procedural and is now a weird hybrid action-adventure thing. Agent Carter felt like a detective show, one of those ones with a season-long arc. Damage Control, if it is what they pitch, will be a workplace comedy. Daredevil felt like a dark revenge drama, etc. Certainly these shows have superheroes in them, but as long as the tones remain different amongst the lot of them I think I'll be able to hold out. I'm more concerned with just not having the time to watch them than getting tired of them. Part of my problem with the movies right now is that they're all starting to feel a little samey, even down to the pithy dialogue, and that's where I run the risk of burnout, but hopefully Doctor Strange will manage to feel dark and foreboding and cosmically ominous, while Guardians 2 will get even more epic Space Opera-ish, and Civil War will feel more thoughtful.
This is hugely true and somethingthat bears repeating. The strength of the superhero genre is its mutability; it can be, and has been, liberally flavored with pulp adventure, crime, procedural mystery, martial arts, horror, Greek and Norse and Egyptian and Semitic myth, hermetic magic, space opera, war movies, cyberpunk, teen romance, 60s counterculture, Westerns, espionage thrillers, Pop Art, buddy-cop comedy, funny-animal cartoons, political thrillers...
And the comics don't just tell those stories but often adopt their styles and tones wholesale. There are comics from the 70s about Captain America dropping out of square society to discover the Real America on his motorcycle, illustrated with the trippy colors of a head shop poster. There are innumerable noir-flavored comics done up in stark black and white with Dutch angles and exaggerated, German Expressionist shadows.
When a company publishes three or four dozen titles a month, it's impossible to expect any one reader to buy everything. Cultivating a broad spectrum of tones and styles maximizes their reach. If you don't like Thor, well, maybe Dr, Strange is up your alley. Or the Micronauts.
Marvel and DC (especially DC) have kind of lost sight of this in the last decade; there's been this huge push toward zales-juicing crossovers, toward 40-part stories where you "need" every part, and it's hurt the breadth of available stories.
And I definitely worry that this might be an issue in the films. I think the pist-Avengers movies made interesting first steps toward finding their own unique voice - Cap 2's spy thriller vs Thor 2's fantasy vs GotG's space comedy - but it remains to be seen if they'll be able to continue expanding on those distinctions.
Part of what was really exciting about Daredevil was how it drastically ramped up the stylistic boldness and I really hope that continues with Jessica Jones and Carter s2.
The breadth of styles at play has been one of the more interesting parts of the MCU experiment. Like, this massive shared universe has never been done to this level in visual media, but Iron Man is way different kind of film from Guardians which is way different from Agents of SHIELD which is way different from Daredevil. Enjoying them all has been a huge bonus to catching all the ways they tie together (Even though Daredevil was only thinly tied to the rest of the existing MCU), I can see how someone who doesn't enjoy the bombastic nature of the big films would love Daredevil by itself and not really lose out by only watching Daredevil.
Of course, I say Daredevil because it's the biggest departure to date for genre and tone.
On the sameness of the movies, it doesn't bother me too much because I view them as basically an extended TV series. All told, you get about a short season's worth of movie content each year. Nobody complains that all the episodes of Agent Cater feel the same.
I submitted an entry to Lego Ideas, and if 10,000 people support me, it'll be turned into an actual Lego set!If you'd like to see and support my submission, follow this link.
I'm also not interested in the DC stuff. I gave Arrow a solid go and got really tired of how
everyone keeps coming back to life
and that made me not interested in the rest of the DC shows.
RE: Your Spoiler. That really doesn't happen anymore. Although there are other reasons not to watch Arrow, but that one was thoroughly quashed by Season 3.
You should still watch The Flash. It is amazing.
The trailer for The Flash had, "But you'll die!", which is the most tired trope and I was immediately turned off.
Though I might be taboo to bring this up in a Marvel thread, for your own good, I'm going to have to show the following as to why you need to be watching the Flash:
I'm also not interested in the DC stuff. I gave Arrow a solid go and got really tired of how
everyone keeps coming back to life
and that made me not interested in the rest of the DC shows.
RE: Your Spoiler. That really doesn't happen anymore. Although there are other reasons not to watch Arrow, but that one was thoroughly quashed by Season 3.
You should still watch The Flash. It is amazing.
The trailer for The Flash had, "But you'll die!", which is the most tired trope and I was immediately turned off.
Though I might be taboo to bring this up in a Marvel thread, for your own good, I'm going to have to show the following as to why you need to be watching the Flash:
Finally saw age of ultron. Not as good as the first avengers, but still a good super hero flick with enjoyable banter.
Glad they didn't kill Barton's secret family. Again.
Surprised they blew up the flying landmass, I was expecting it to stick around for the inhumans to take over.
The lips on Ultron were dumb and distracting every time he spoke.
Morkath on
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Dark Raven XLaugh hard, run fast,be kindRegistered Userregular
I liked his dumb lil' mouth flaps!
It's one of those extraneous details that sells the idea that he's not a normal machine mind. They're inefficient, he could probably save processing power by just having his usual gaping smiley face with no animation. But he's trying to be human.
Oh brilliant
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minor incidentexpert in a dying fieldnjRegistered Userregular
Man, that was a rock solid season premiere for AoS.
Ah, it stinks, it sucks, it's anthropologically unjust
+15
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Golden YakBurnished BovineThe sunny beaches of CanadaRegistered Userregular
It's one of those extraneous details that sells the idea that he's not a normal machine mind. They're inefficient, he could probably save processing power by just having his usual gaping smiley face with no animation. But he's trying to be human.
I like any elements that show an AI is not simply a cold emotionless entity with no personality. They're not beholden to perfect logic any more than a human would be.
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Brainiac 8Don't call me Shirley...Registered Userregular
When he says "for the love of god!" or something like that toward the end I still die laughing.
Ultron was fine, it's just that they didn't make him a very effective villain. He was never really threatening or intimidating. It never really felt like the Avengers were in any danger. Whereas with Winter Soldier, the first Avenger, or even Ant-Man, despite the fact that you knew that heroes weren't going to die, there was the sense that their lives were in danger and that the villains could have succeeded.
Back to the Damage Control thing, there are two points to consider how it would fit.
1. Comic Civil War spoilers
Not that anyone remembers this part of the x-over (cause it was frankly underwhelming), but Damage Control was behind Nitro blowing up Stamford and kicking off the whole mess.
2. Netflix Daredevil spoilers
Leland makes the point that whenever a super blows stuff up, their (their groups) profits jump. Basically handling Damage Control stuff already, just fleshing it out with this spin off.
Ultron was fine, it's just that they didn't make him a very effective villain. He was never really threatening or intimidating. It never really felt like the Avengers were in any danger. Whereas with Winter Soldier, the first Avenger, or even Ant-Man, despite the fact that you knew that heroes weren't going to die, there was the sense that their lives were in danger and that the villains could have succeeded.
That's not really the point of an Avengers movie though. The idea isn't that they are in danger as individuals, but that other people are being put in danger.
Ultron worked well in this case because where Loki spent all his time working on the individuals, Ultron largely ignored the Avengers. He didn't threaten them personally, but then he was never intended to. His real menacing quality was that he was everywhere, and that with so many bodies doing so many different things at the same time the Avengers were largely impotent to stop him.
Besides, the subtext of the entire plot was that Tony Stark was the real villain the whole time. And he walks away.
Ultron was fine, it's just that they didn't make him a very effective villain. He was never really threatening or intimidating. It never really felt like the Avengers were in any danger. Whereas with Winter Soldier, the first Avenger, or even Ant-Man, despite the fact that you knew that heroes weren't going to die, there was the sense that their lives were in danger and that the villains could have succeeded.
That's not really the point of an Avengers movie though. The idea isn't that they are in danger as individuals, but that other people are being put in danger.
Ultron worked well in this case because where Loki spent all his time working on the individuals, Ultron largely ignored the Avengers. He didn't threaten them personally, but then he was never intended to. His real menacing quality was that he was everywhere, and that with so many bodies doing so many different things at the same time the Avengers were largely impotent to stop him.
Besides, the subtext of the entire plot was that Tony Stark was the real villain the whole time. And he walks away.
I agree on your points except;
It was a badly put together subtext then, because Tony didn't really do anything wrong. He was working on an AI program with, in the mcu, the other smartest person in the world. They had taken safety precautions, they even had another AI acting as a guard. His reasoning is sound, they need to work on ways to keep Earth safe, they can't just punch everything to win and they can't be everywhere. They can barely even take down the Hulk without causing massive collateral damage.
They constantly write Steve as what basically amounts to being a technophobe. He always fights against any kind of technological solution to a problem that isn't shut it down or blow it up, with some story about how back in WW2 they didn't need more than fighting spirit and good friendship. Then expects everyone to fall in line because he can punch harder than they can.
I mean the scene on the farm when he and Tony are splitting wood, he literally rips a log in half with his hands to try to intimidate Stark during the conversation. He has become the bully that used to pick on him, before he got his powers. He has become the jock picking on the nerd and there is a reason he can't lift Mjolnir even though he thinks he is the moral center for the team.
Morkath on
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Just_Bri_ThanksSeething with ragefrom a handbasket.Registered User, ClubPAregular
I think you misunderstand what it is that mjolnir looks for in a person.
...and when you are done with that; take a folding
chair to Creation and then suplex the Void.
I think Steve is a bully and not as good of a person as he thinks he is. The hammer knows it. It looks for honorable people willing to fight to protect the weak. To be a leader.
Thor got the hammer when he transitioned from fighting for the fun of it, to fighting to protect those who couldn't protect themselves. When he started acting in a way that could be attributed to a leader of people. Someone willing to make sacrifices for the greater good.
Ultron was fine, it's just that they didn't make him a very effective villain. He was never really threatening or intimidating. It never really felt like the Avengers were in any danger. Whereas with Winter Soldier, the first Avenger, or even Ant-Man, despite the fact that you knew that heroes weren't going to die, there was the sense that their lives were in danger and that the villains could have succeeded.
That's not really the point of an Avengers movie though. The idea isn't that they are in danger as individuals, but that other people are being put in danger.
Ultron worked well in this case because where Loki spent all his time working on the individuals, Ultron largely ignored the Avengers. He didn't threaten them personally, but then he was never intended to. His real menacing quality was that he was everywhere, and that with so many bodies doing so many different things at the same time the Avengers were largely impotent to stop him.
Besides, the subtext of the entire plot was that Tony Stark was the real villain the whole time. And he walks away.
Except there was never the sense that Ultron really threatened that many people. Sure, they talked about how
Ultron could wreck havoc around the world but nothing came of that since JARVIS stopped Ultron from doing anything beyond accessing Hydra's stuff.
The Avengers were there to confront Ultron whenever he made a move. When he stole the Vibranium from Klaue, the Avengers were there. When he made Vision, the Avengers were there. When he lifted up Sokovia, the Avengers were there. There was never the sense that Ultron was starting so many fires that the Avengers couldn't handle them all. He was always concentrated in one location where the Avengers could fight him.
It didn't seem like Ultron made much of an impact on the world at all except for Sokovia being lifted into the sky.
Posts
Agents of Shield started as a procedural and is now a weird hybrid action-adventure thing. Agent Carter felt like a detective show, one of those ones with a season-long arc. Damage Control, if it is what they pitch, will be a workplace comedy. Daredevil felt like a dark revenge drama, etc. Certainly these shows have superheroes in them, but as long as the tones remain different amongst the lot of them I think I'll be able to hold out. I'm more concerned with just not having the time to watch them than getting tired of them. Part of my problem with the movies right now is that they're all starting to feel a little samey, even down to the pithy dialogue, and that's where I run the risk of burnout, but hopefully Doctor Strange will manage to feel dark and foreboding and cosmically ominous, while Guardians 2 will get even more epic Space Opera-ish, and Civil War will feel more thoughtful.
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Like, seriously, this year we'll have gotten
8 Episodes of Agent Carter (Aprox 320 minutes)
12 Episodes of Agents of SHIELD, season 2 (Aprox 480 minutes)
13 Episodes of Daredevil (Aprox 585 minutes)
Age of Ultron & Ant-Man (273 minutes)
13 Episodes of Jessica Jones (Est. 585 minutes)
10 (?) Episodes of AoS Season 3 (Est. 400 minutes)
That's like 44 hours of MCU content, in this year alone!. In 2017 we'll start getting 3 movies a year instead of two, and we'll have god knows how many TV shows, with Most Wanted and Damage Control being talked about, plus whatever John Ridley is working on. And who knows how Jessica Jones, Luke Cage and Iron Fist will do; we might get Season 2's of those too.
Just watch what catches your eye. If one of the TV shows isn't doing it for you, feel free to not watch it, or to watch it when you're feel a bit less overwhelmed.
The only parts of the MCU that I suspect is mandatory viewing are the movies and that's only because they are blockbuster tentpole pics.
Even so, you can spend an enjoyable time watching AoS and possibly Damage control about what happens in the background of superhero universe when the big capes are off screen.
Or Daredevil/Jessica Jones about street level superheroics where the world is not at stake but the stakes are high enough.
I'm also not interested in the DC stuff. I gave Arrow a solid go and got really tired of how
You should still watch The Flash. It is amazing.
The trailer for The Flash had, "But you'll die!", which is the most tired trope and I was immediately turned off.
I think the point sites like TV tropes bring up is how silly it is to judge a thing based on it's 'tropey-ness'. Everything is a trope.
I mind every single poorly written show about a hero (super or otherwise) containing a scene in which someone hamfistedly tries to stop them from saving someone's life because the hero will be at risk.
That's why I called it a tired trope.
This story smells fishy to me!
This is hugely true and somethingthat bears repeating. The strength of the superhero genre is its mutability; it can be, and has been, liberally flavored with pulp adventure, crime, procedural mystery, martial arts, horror, Greek and Norse and Egyptian and Semitic myth, hermetic magic, space opera, war movies, cyberpunk, teen romance, 60s counterculture, Westerns, espionage thrillers, Pop Art, buddy-cop comedy, funny-animal cartoons, political thrillers...
And the comics don't just tell those stories but often adopt their styles and tones wholesale. There are comics from the 70s about Captain America dropping out of square society to discover the Real America on his motorcycle, illustrated with the trippy colors of a head shop poster. There are innumerable noir-flavored comics done up in stark black and white with Dutch angles and exaggerated, German Expressionist shadows.
When a company publishes three or four dozen titles a month, it's impossible to expect any one reader to buy everything. Cultivating a broad spectrum of tones and styles maximizes their reach. If you don't like Thor, well, maybe Dr, Strange is up your alley. Or the Micronauts.
Marvel and DC (especially DC) have kind of lost sight of this in the last decade; there's been this huge push toward zales-juicing crossovers, toward 40-part stories where you "need" every part, and it's hurt the breadth of available stories.
And I definitely worry that this might be an issue in the films. I think the pist-Avengers movies made interesting first steps toward finding their own unique voice - Cap 2's spy thriller vs Thor 2's fantasy vs GotG's space comedy - but it remains to be seen if they'll be able to continue expanding on those distinctions.
Part of what was really exciting about Daredevil was how it drastically ramped up the stylistic boldness and I really hope that continues with Jessica Jones and Carter s2.
The breadth of styles at play has been one of the more interesting parts of the MCU experiment. Like, this massive shared universe has never been done to this level in visual media, but Iron Man is way different kind of film from Guardians which is way different from Agents of SHIELD which is way different from Daredevil. Enjoying them all has been a huge bonus to catching all the ways they tie together (Even though Daredevil was only thinly tied to the rest of the existing MCU), I can see how someone who doesn't enjoy the bombastic nature of the big films would love Daredevil by itself and not really lose out by only watching Daredevil.
Of course, I say Daredevil because it's the biggest departure to date for genre and tone.
Though I might be taboo to bring this up in a Marvel thread, for your own good, I'm going to have to show the following as to why you need to be watching the Flash:
This is:
You can destroy the Flash. I have foreseen this. It is your destiny. Join me, and together we can prank the world as father and son.
Yeah OK, that'll get me to watch.
its Mark Hamill playing the Trickster, who he played in the 90s Flash tv show, prior to his turn as the Joker in BTAS and JL.
EDIT: really should have refreshed the thread earlier. beat'd by a whole minute.
And they used images from that, which was great!
More specifically, it was his work as the Trickster that led to him getting the Joker part.
The harder the rain, honey, the sweeter the sun.
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The original Trickster role provided all of the blackmail material Warner Brothers ever needed.
Incidentally, not the first time he reprised the role:
But there's time still.
i suppose it was the first time Flash had caught, so not really any call for it.... maybe next time though. maybe next time.
Surprised they blew up the flying landmass, I was expecting it to stick around for the inhumans to take over.
The lips on Ultron were dumb and distracting every time he spoke.
I like any elements that show an AI is not simply a cold emotionless entity with no personality. They're not beholden to perfect logic any more than a human would be.
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1. Comic Civil War spoilers
That's not really the point of an Avengers movie though. The idea isn't that they are in danger as individuals, but that other people are being put in danger.
Besides, the subtext of the entire plot was that Tony Stark was the real villain the whole time. And he walks away.
I agree on your points except;
They constantly write Steve as what basically amounts to being a technophobe. He always fights against any kind of technological solution to a problem that isn't shut it down or blow it up, with some story about how back in WW2 they didn't need more than fighting spirit and good friendship. Then expects everyone to fall in line because he can punch harder than they can.
I mean the scene on the farm when he and Tony are splitting wood, he literally rips a log in half with his hands to try to intimidate Stark during the conversation. He has become the bully that used to pick on him, before he got his powers. He has become the jock picking on the nerd and there is a reason he can't lift Mjolnir even though he thinks he is the moral center for the team.
chair to Creation and then suplex the Void.
Thor got the hammer when he transitioned from fighting for the fun of it, to fighting to protect those who couldn't protect themselves. When he started acting in a way that could be attributed to a leader of people. Someone willing to make sacrifices for the greater good.
Except there was never the sense that Ultron really threatened that many people. Sure, they talked about how
The Avengers were there to confront Ultron whenever he made a move. When he stole the Vibranium from Klaue, the Avengers were there. When he made Vision, the Avengers were there. When he lifted up Sokovia, the Avengers were there. There was never the sense that Ultron was starting so many fires that the Avengers couldn't handle them all. He was always concentrated in one location where the Avengers could fight him.
It didn't seem like Ultron made much of an impact on the world at all except for Sokovia being lifted into the sky.