#ike perlmutter

[kingnd]

Watched the Sir Superhero Inhuman video on Patreon & boy was that 10 minutes of dunking on Ike Perlmutter entirely deserved as well as the constructive criticism on the whole 5 year Inhuman Push on making them Temu-X-men.

Like they really did take a unique cast of character with there own distinct themes & stories & try to have them replace the X-men who are arguably the 2nd biggest cash cow for Marvel behind Spider-man, & do it in a completely stupid & infuriating manner that got the Inhumans banned for 7 years.

Not that the push didn't have merits for good story telling, People having their lives irreversibly changed on a planet scale while a once isolated civilization is now out in public is tantalizingly story but none of it mattered because some fucking idiot (Ike) was petty towards the other group similar to them.

Let's just be happy the new Cosmic shit is bringing the group back to do stuff with them again since Space was more Inhumans playground anyway.

[agentoffangirling]

Kevin Feige is so fucking immature imo, like wdym you're not letting AoS be canon just bc you had a feud with Ike Perlmutter

[lexxicona]

Finally someone who doesn’t say “they were Bella’s because woke” but instead offers legit criticism

[magnificent-nerd]

Disney Lays Off Ike Perlmutter, Chairman of Marvel Entertainment

The move, part of a cost-cutting campaign, followed Mr. Perlmutter’s unsuccessful effort to shake up Disney’s board.

Disney Lays Off Ike Perlmutter, Chairman of Marvel Entertainment The move, part of a cost-cutting campaign, followed Mr. Perlmutter’s unsuccessful effort to shake up Disney’s board.

Well, well, well!

This is very interesting indeed!

As pleasing as this is, I'm sure many of us would've preferred to see this despicable man go many years ago, before he had a chance to donate so much money to Donald Trump, before he had a chance to block any Marvel movies that were more diverse than yet another white male lead, and just generally having such an odious man at the top of Marvel (x).

Yet, it's good to finally see him go.

Good riddance.

[bigtonguebiollante]

Goodbye you Trump-loving ketchup packet

[giveamadeuschohisownmovie]

Ike Perlmutter finally got fired.

[racefortheironthrone]

Ike Perlmutter has been kicked out of Marvel Entertainment. Do you think this will mean anything?

For a couple reasons, it's a bit hard to say how impactful this will be. The first reason is that this most recent move is really part of a longer term corporate power struggle that has seen Ike Perlmutter losing power and influence at Marvel for some time:

Perlmutter and Kevin Feige do not like each other and back in 2015, Feige got Disney to back hm over Perlmutter, ousting Perlmutter from his position at Marvel Studios. However, Perlmutter continued to be the CEO of Marvel Entertainment - which meant that he continued to be in charge of Marvel Comics, Marvel's TV division, Marvel's animation division, Marvel's licensing/merchandising, etc.

Then in 2019, Feige struck again with a restructing that saw all of the TV, animation, and "print editorial" divisions of Marvel Entertainment moved under Marvel Studios, cutting Perlmutter's portfolio down to the Comics, licensing, and merchandising. At the same time, Feige was named Chief Creative Officer of Marvel Entertainment, Marvel TV, Marvel Animation, and President of Marvel Studios

Now in 2023, Perlmutter got fired straight-up after trying to make a power play for the Marvel Board that Disney CEO Bob Iger viewed as a threat to himself. The remaining divisions of Marvel Entertainment were re-organized into other Disney divisions.

To the extent that I see an impact, it comes under the somewhat nebulous area of how this might change things at Marvel Comics: on the one hand, it's pretty well known that Perlmutter has very conservative politics, and as this applies to Marvel, tends to be very dismissive of creative products that star women or black people, so there's a possibility that Perlmutter's ouster will mean more freedom at Marvel Comics to have better representation.

On the other hand, I'm not quite sure how involved Perlmutter was on the creative side at Marvel Comics. When it comes to the question of which characters to give more prominence or whether a new or existing character can be depicted as LBGT+ or whether a given storyline can have particular political themes, I don't really have a good understanding of which level those are made at. Obviously, it goes higher than Marvel editorial, but who among the C-suite are involved: the publisher John Nee? the editor-in-chief CB Cebulski? the chief-creative-officer Kevin Feige? the executive vice president and creative director Joe Quesada (up unti 2022)? How many Disney corporate proper people are in the room, and at what level?

Bur for the sake of this post, the big question is whether Marvel Entertainment CEO Ike Perlmutter is there in the room, making or influencing these decisions? I'm not sure, because it does seem that the 2019 move by Feige was intended to specificaly cut out Perlmutter from this side of the business, so it would be odd if he was still involved. If that is the case, then it's possible that Marvel Comics of tomorrow won't be any different from what we've seen the last four years. If Perlmutter has maintained involvement with these decisions, we might see a liberalization.

[superectojazzmage]

It’s really interesting how the context of the real world or larger franchise that a story is written in can make a huge difference in its quality and how it’s received, and depriving it of that context can utterly ruin it.

I say this in regards to X-Men with the whole Krakoa Age which is fantastic for the most part and probably the best X-Men has been in years, but which can ONLY exist and be good in the specific context in which it was created; as a return to form making the best out of decades on end of X-Men as a series getting horribly mistreated and subjected to near-endless terrible stories with only pockets of hope between long stretches of shit.

Jonathan Hickman’s refreshing of the X-Men is built entirely around taking all the absolute rancid garbage the Merry Mutants have suffered through since Decimation and making something out of it — the repeated mutant genocides, the mass slaughter of beloved characters, the pointless revivals of characters that should’ve stayed dead, the derailments of heroes into villains, the woobification of villains into heroes, the snarled and convoluted or abandoned plotlines, the incessant misery, the demonization of humans, the refusal to let the X-Men progress in their goals, the constant spamming of Sentinels, and above all else, the general victimization the comic suffered from people like Ike Perlmutter and Joe Quesada for daring to have its film rights owned by somebody else or wavering off the status quo respectively.

Hickman took all the terrible writing decisions and awful point-missing revamps and stagnant status quos and he fixed them by taking them all to their logical conclusion.

The constant deaths and resurrections was reworked into the mutants conquering death, leading to all the crap deaths being undone and stories examining the logic of a world where death is a revolving door and even the most major of X-Men have lost all fear of it because they just come back when killed brutally. The Sentinel spam was developed into a brilliant larger idea of robots and transhumanity being the “third side” of the mutant-human conflict, then deconstructed by showing how the robots only become antagonistic because of how humans and mutants both mistreat them. The genocides are taken to their logical endpoint; the constantly-victimized and demoralized mutants are manipulated by amoral, power-hungry mutants who exploit the hate crimes and evil humans to get control over their people, luring them into embracing mutant-supremacist viewpoints, turning against humanity, and joining the creepy, radicalizing cult island where the manipulators are on top of course — all mutants equal, but some more equal then others. This, in turn, is used to make the derailments work, as the divide between mutant hero and mutant villain starts to break down, and the X-Men find themselves increasingly divided between those who reject this awful new path and those who embrace it out of despair and anger, creating the horrifying image of once loving and noble heroes like Cyclops or Storm happily standing next to mass murderers like Apocalypse and spouting the same anti-human bile that Magneto used to. Meanwhile, the demonization of humans is reversed and explored, with humans being manipulated with bigotry by amoral, power-hungry members of their own kind in the same way, led to believe that mutants are evil and seek the destruction or subjugation of “baselines” (and some are and do), which is what stirs the pot of tensions and drives humans into creating robots and cyborgs to defend themselves, which backfires and creates the three way man-mutant-machine conflict.

None of this could have worked prior to the rock bottom low point the X-Men were in when Hickman came in. If any prior X-Men writer in any prior time period had tried this, it would’ve been probably the worst X-Men story ever, something completely out of nowhere. But in this specific context of responding to and making the best out of years of mismanagement and bad writing, it ends up being one of the greatest X-Men stories ever instead.

It’s utterly fascinating.