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The main characters wish to avoid fighting, and Mar-Vell's depiction as a hero is challenged as he becomes infirm. It draws a contrast between a heroic death in battle and a quiet death by illness, and the final sequence restores Mar-Vell as a superhero to fight Thanos in a dream sequence, giving him a final battle to die heroically.
The "Avengers assemble" scene, also known as the portals scene, is the sequence leading to the climactic Battle of Earth in the superhero film Avengers: Endgame (2019), which sees the Avengers and their allies arrive on the battlefield through sling ring portals in preparation for a battle against the film's antagonist Thanos.
Lady Death then caresses Thanos' cheek, kisses him, then disappears into the now empty void of space while leaving Thanos awe-struck. Thanos speculates that the whole scenario was created by a higher power to fix the universal flaw. Thanos then restores the universe but wipes himself from existence, a sacrifice that is remembered only by Warlock.
NPR and Booklist also praised the book, [2] with NPR citing it as "a lovely and unsettling book". [3] Entertainment Weekly gave The Dead Fathers Club a B rating, calling the book "clever" while stating that "the pastiche falls apart toward the end, when our once-likable hero gets mired in the nitty-gritty of revenge."
An Avengers: Endgame deleted scene could prove that a popular theory about the villain Thanos (Josh Brolin) has been true all along.. The clip, which you can watch on streaming service Disney+, is ...
Exploring more of Thanos' backstory via flashbacks was considered at one point, but only concept art was created and no scenes were filmed involving a younger Thanos; one such scene had Thanos explaining his extremistic plans to his people as a younger man, but Markus and McFeely felt the scene reminded "a little too Jor-El on Krypton making ...
It might not be the last we've seen of the villain
Jones' investigation was first published as "The Œdipus-complex as an Explanation of Hamlet's Mystery: A Study in Motive" (in The American Journal of Psychology, January 1910); it was later expanded in a 1923 publication; [4] before finally appearing as a book-length study (Hamlet and Oedipus) in 1949. [5]