Chris Evans, Jeremy Renner sorry for Black Widow ‘slut’ joke: ‘Avengers: Age of Offended’ now showing

Jeremy Renner Chris Evans“Avengers: Age of Ultron” won’t be in American theaters until May 1, 2015, but “Avengers: Age of the Offended” can be found any time of the day on Tumblr and Twitter. Aliens and robots may not be able to defeat Hawkeye and Captain America, but professional whiners have shown that they can make Jeremy Renner and Chris Evans apologize for going off script.

Messrs. Evans and Renner made the mistake April 22 of believing that only rational adults would hear their interview with Digital Spy. Prickly men and women who go through life looking for things to “trigger” them made the actors pay for it immediately.

Digital Spy: I know a lot of fans were actually pretty invested in the idea of Natasha with actually either or both of you guys, and now obviously she’s with Bruce. What do you guys make of that?

Renner: She’s a slut.

Chris Evans: **laughing hysterically** I was going to say something along that line. She’s a complete whore.

Renner: What a trick, man!

The jokes show an odd lapse in judgment considering the millions of children who will watch the interview on YouTube. It would make sense for the actors to apologize to parents who weren’t expecting to get slut-bombed while watching promotional interviews with their kids. However, saying sorry to single women for calling a fictional Russian spy a “slut” is just another sad capitulation to online censorship cops.

Jeanne Jeremy Renner Chris EvansNote to the Jeannes of the world: They didn’t call a “woman” a slut — they called a fictional woman a slut. Regardless, Chris Evans and Jeremy Renner both promptly issued a blanket apology:

Chris Evans: Yesterday we were asked about the rumors that Black Widow wanted to be in a relationship with both Hawkeye and Captain America. We answered in a very juvenile and offensive way that rightfully angered some fans. I regret it and sincerely apologize.

Jeremy Renner: I am sorry that this tasteless joke about a fictional character offended anyone. It was not meant to be serious in any way. Just poking fun during an exhausting and tedious press tour.

The strange thing about the whole “slut” controversy is that it occurred at the very same moment Scarlett Johansson was telling a women’s magazine about the time Black Widow said she was “whoever you want me to be.”

Mrs. Johansson told Cosmopolitan on April 22:

I think my favorite thing about playing her is the character is you know very kind of slippery — she’s a slippery fish by trade — but in fact she’s very, she’s really honest. I mean she’s, it’s kind of an interesting dichotomy because you have this character who you would expect to be sort of —she says in Cap 2 ‘I’m whoever you want me to be,’ but in truth, when you’re talking to Natasha you’re really getting Natasha. She’s very straightforward and I like that part of her. […] She’s kind of a chameleon but then she’s very much like herself.

Black Widow is a “chameleon” who can be “whoever you want” her to be — unless it’s a “slut.” That is sexist. She must only be a supersmartindependentrolemodel (one word) — even though she’s a Russian spy who probably slept with men while undercover (or was that under covers?).

Scarlett Johansson Mark RuffaloThe one good thing about the apology offered by Messrs. Evans and Renner is that it refers to their comments as “juvenile and offensive.” At no point do the men give credence to accusations that their jokes (about a fictional character) were sexist. The full-time complainers were able to extract an apology from the actors, but it was one that was carefully worded to only apply to those with a legitimate gripe. Marvel Studios’ Hawkeye and Captain America were forced to join common sense in tactical retreat, but war was not totally lost. They’ll live to fight another day when “Avengers: Infinity Offended.”

Exit question: Is there any time that it is permissible for a man to jokingly call a woman (or fictional character) a slut in 2015, or is the word completely off limits to the perpetually-offended crowd?

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‘Avengers: Age of Ultron’ trailer begs the question: How can Joss Whedon not direct ‘Avengers 3’?

Ultron no strings on meBy now the entire world has seen the teaser trailer for Marvel’s Avengers: Age of Ultron. There really is only one word to describe it: awesome. The first movie made over $1.5 billion worldwide. It seems fair to say that $2 billion this time around is a distinct possibility. However, if director Joss Whedon delivers the goods — and all signs point to ‘yes’ — then it begs the question: How can he walk away from a climatic Avengers 3?

Over the past few weeks it’s been rumored that Marvel wants Joe and Anthony Russo to sign on for the 3rd and 4th Avengers movies, but it feels as though everything is building to Avengers 3. Only Marvel knows if that is the case, but I can’t help but feel as though walking away before completing an Avengers trilogy would be a bizarre move on Mr. Whedon’s part.

Directing a movie on as big of a scale as The Avengers must be physically and mentally exhausting. The time away from family and the pressure it puts on the director must be unbearable. However, if Mr. Whedon has set the stage for the superhero movie of all superhero movies to be Avengers 3, then passing on the job would be like the quarterback who leads his team down the field at the end of the big game, only to walk off the field on the opponent’s 20-yard line.

Regardless, for those who were too dazzled by the visuals of the teaser trailer to pay attention to the narration, it appears as though Whedon is going Empire Strikes Back-dark with this installment.

Ultron: “I’m going to show you something beautiful — everyone … screaming for mercy. You want to protect the world, but you don’t want it to change. You’re all puppets tangled in strings. String. But now I’m free. There are no strings on me.”

Then there is this exchange between Tony Stark and Natasha Romanoff:

Tony Stark: “It’s the end. The end of the path I started us on.”

Natasha Romanoff: “Nothing last forever.”

Meanwhile, an eerie rendition of “I’ve Got No Strings” from Disney’s Pinocchio plays in the background. (The merger between Marvel and Disney continues to pay off in interesting ways.)

Avengers Age of Ultron teaserIt’s hard to see how Marvel can continue to keep this momentum going. The Black Widow is right: “Nothing lasts forever.” Eventually, Marvel will create a movie that implodes under its own weight. Eventually, all waves crash against the shore. Regardless, when that happens it will be hard not acknowledge that it was one wild ride.

Spider-Man: War Zone liability thinks small in big situations

A week ago I covered Spider-Man, and how liberal writers have turned him into a walking war zone liability. In a situation where 6 billion lives hung in the balance, the friendly neighborhood Spider-Man did the “neighborly” thing and thought to use precious seconds wondering whether a bunch of North Korean soldiers (those same guys overseeing the world’s most notorious gulags) were ushered to safety before explosives took out the weapons … they were guarding. He then saw fit to warn his soldierly teammates “no one dies,” precisely the kind of all-or-nothing delusional thinking that sets the stage for death to occur.

Issue #686 of Amazing Spider-Man takes place right after our heroes believe half the world has been destroyed. With carnage surrounding them, Black Widow tells Spider-Man they must leave immediately, as time is not on their side if they want to save the roughly 3 billion people remaining on earth. Spider-Man’s response? He’s not budging because he has people to save right there. Dan Slott’s Spider-Man is so myopic that he only sees the lives right there in front of him. He’s like a baby, tricked by peek-a-boo because his mind isn’t fully developed; if there are lives to be saved right in front of him, there’s a good chance he can be distracted. The Black Widow knows it and, sadly, his deadliest foes take advantage of it.

With 3 billion lives at stake and with every second counting, Dan Slott’s Spider-Man wanted to play search and rescue. It’s an honorable job, but the problem with that is this:  At that moment in time Spidey was the guy who was supposed to be saving the world — not Black Widow.
Even Spider-Man’s deadliest foes know that while his heart is pure, his mind is clouded with the quixotic belief that “no one dies” on his watch. Like a heroic Spider-Man-Pigeon, he’s easily distracted by lives in immediate danger, never acknowledging that by “saving” the few to his front, he may very well condemn 3 billion to his rear. A hero is still a hero, but some of them are meant for city streets, and some of them are meant to determine the fate of the world. Dan Slott’s Spider-Man may save the world, but an honest writer would have penned the more logical conclusion: utter defeat caused by unforced errors.

In the end, Dan Slott gives Spider-Man a reprieve, and the hero is given a chance to save the day by taking advantage of the vanity, greed and hubris of his enemies. The “end of the world” was an illusion meant to distract the heroes and buy time for the machinations of evil men to materialize. It would have worked, but the enemies who literally have the world in their hands want more, overreach and lose it all. Spider-Man takes advantage of his second chance, but it feels like a Deus ex Machina of sorts, freeing the character of the consequences of his short-sighted actions. In the real world we often don’t get second chances.

Even Black Widow can’t resist rubbing Peter Parker’s nose in the evidence of his ignorance — in his own book, no less:

Spider-Man’s complete lack of foresight nearly cost his team the chance to save the world. Black Widow makes sure to let him know it. Lectured by a supposedly-lesser hero in his own title. Sad.

At $4.00 a pop, The Amazing Spider-Man hurts the wallet over the course of a year. These days, it also hurts just to read the title, period. Here’s to hoping Peter learns something from the experience. If not, look for books featuring Black Widow. She deserves it.

The Avengers: Did Joss Whedon ‘Assemble’ liberal propaganda?

Avengers director Joss Whedon has shown his cards, and he’s holding at least one liberal joker (or was that a Loki?). Whedon essentially told the New York Times he has a scene that could serve as a commercial for the Democrat Party, but ditched it because it slowed down the movie. But that begs the question: What kind of claptrap made the final cut, Joss?

Remember when the director of Captain America went out of his way to say Cap wouldn’t be “a flag waver”? Remember when Marvel then changed the title in Russia to “The First Avenger” to make a few extra bucks? The movie succeeded, despite Marvel’s efforts to sabotage a good thing.

The Avengers opens in two weeks, and it looks like conservatives once again must be wary. Joss Whedon, who up until this point gave me nothing but confidence, has shown his cards—and there is at least one liberal joker in there (or should I say a Loki?). Hat tip to the fourcolormedia monitor:

New York Times: What would be an example of something you didn’t figure out until later in the process?

Joss Whedon: One of the best scenes that I wrote was the beautiful and poignant scene between Steve and Peggy [Carter] that takes place in the present. And I was the one who was like, Guys, we need to lose this. It was killing the rhythm of the thing. And we did have a lot of Cap, because he really was the in for me. I really do feel a sense of loss about what’s happening in our culture, loss of the idea of community, loss of health care and welfare and all sorts of things. I was spending a lot of time having him say it, and then I cut that (emphasis added).

Why? Why must every liberal writer feel the need to beat their audience over the head with statism? I wouldn’t mind as much, but Joss Whedon has everything historically ass-backwards. Captain America was frozen after World War II, before Medicaid and Medicare even existed. Social Security morphed into something entirely new and different than the “Social Security” that FDR signed into existence (i.e, much more expansive). Hundreds of billions have been sunk into individual entitlement programs since their inception and, in fact, the “loss of community” Whedon frets over is due in large part to many of the programs liberals shill for. When the federal government usurps the important roles local community leaders, family and faith-based organizations play in society the result is more poverty, out-of-wedlock birth rates and the destruction of the family unit.

What’s worse, Whedon didn’t cut the bit because he realized it would be a bone-headed move to insert blatant liberal claptrap into Cap’s mouth—he did it because it slowed down the rhythm of the movie. Who knows how many other leftist talking points made it into the film.

Let’s be honest: The idea that Captain America would be anything other than a conservative (if we’re going to play that game, Joss Whedon), is a joke. Let’s go down the list, shall we?

  • Captain America is a guy who literally wraps himself in the American flag. Leftist American professors would hold classes titled “The Jingoism of Captain America” each semester, they’d write a new chapter for the textbook each year, and then they’d make their kids buy the latest version for $50 a pop. Couple that with Cap’s blonde hair and blue eyes and college campus Progressives would have entire campaigns dedicated to demonizing him.
  • Steve Rogers is a big Boy Scout. He’s a straight arrow. I can’t imagine he would have been at Woodstock, if given the opportunity. He would have been a West Point guy (hence, Captain America), and West Point doesn’t churn out too many liberals.
  • Captain America is a super solider, and one who would undoubtedly live his life in accordance with The Seven Army Values: Loyalty, Duty, Respect, Selfless Service. Honor. Integrity. Personal Courage. Ask the guy who has collected unemployment checks for 99 straight weeks, Joss Whedon, what he thinks about each of those words. My suspicion is that the psychological profile that manifests itself would look nothing like Captain America’s.
  • Good soldiers don’t make excuses; they “adapt and overcome.” Do you want to know who does make excuses? Liberals. In fact, even speaking about “personal responsibility” is considered racist code language.
  • Ask yourself whether Captain America would have a worldview more like American Sniper Chris Kyle, or Sean Penn. That’s what I thought.

The list can go on and on. The fact is, Steve Rogers is Captain America, not Mr. America. He’s a military man. An infantryman. He stared down the Nazis, but yet liberal writers would have us believe he’d side with liberal moral relativists in the year 2012? Give me a break.

Regardless, I don’t even want to play this game, but liberals at Marvel keep making these things an issue. When I go to see The Avengers I don’t want to get a campaign commercial for Barack Obama or the Democrat Party. Stop. Please. You’re embarrassing yourself, and ensuring that guys like me don’t defend you when Democrats turn their social engineering on the comics industry due to studies on violence.

Dear Joss Whedon,

Watch Thomas Sowell for a bit. Learn something. You can thank me later.

Update: The results are in, and it looks like Whedon denied his urge to overtly politicize the film. There are very interesting ideas to explore in The Avengers, but Joss never goes out of his way to tell his viewers what to think. Smart move.

The Avengers: Earth’s Mightiest Americans

Pop Quiz: Name a movie with characters who could have only been created in America. Answer: The Avengers.

There’s a new Avengers trailer out, and as momentum builds towards its release it’s probably a good idea to discuss what makes this particular team of superheroes so fascinating to its fans. The director, Joss Whedon, has accurately identified and attempted to address one of the core creative challenges for the project: the team’s diversity.

Reporter: I imagine the other hard part about that is balancing a god and who can create lightning, and a guy with a bow and arrow, and giving them both the action that brings out the best in them.

Whedon: Yeah. Well, I feel like we pulled that off. At the end of the day, the guy with the bow and arrow is a lot easier to write gags for than the god. But we created a situation where everybody can be useful, and everybody can be in jeopardy, and they really can act as a team, even though — as we have known from the first issue of ‘The Avengers’ comic — there’s no reason for these people to be on the same team (emphasis added).

Just as the American Experiment wrestles over how to deal with its diversity (How the heck do all these different people with different heritages and temperaments come together into a cohesive force for good in the world?), The Avengers must do the same. Americans come together because the country is founded on an idea—that free men are granted inalienable rights by their Creator—and that governments, deriving their powers from the consent of the governed, have a duty to uphold those rights. The Avengers come together because there are some problems that require anyone with an ounce of honor to put aside their ego and do the right thing.

The Avengers are also great because they are very “American”:

  • Captain America: The ideal solider and a boy scout with the strength of 100 men (yet very much an individual)
  • Iron Man: Entrepreneurial, highly individualistic, successful and smart without ever apologizing for it
  • Hulk: A force whose only desire is to help and heal, but who nonetheless has awesome power to destroy when angered
  • Thor: A man (or should we say country?) with godlike power, who must have humility before realizing his true potential
  • Hawkeye: He’s brash and cocky, but he always hits his mark
  • Black Widow: The Russian spy who defects to America (i.e., the immigrant who leaves oppression for freedom)

Notice a trend? All very distinct personalities. All from very different backgrounds. All very individualistic. And yet, they come together for a common purpose. The Avengers is a comic book that could not have been created in Communist China, Islamic police states across the Middle East, or countries on cultural life support throughout most, if not all, of Europe.

So this summer, take joy in a creative endeavor with a cast of characters only America could have produced.