Not that you need to know this inane piece of comic book trivia, but the “616” of Marvel 616 is a reference to our current reality. In the vast comic book multiverse, where all of your favourite characters have been re-drawn and re-imagined across an infinite number of worlds and parallel universes, the one, true, original Marvel universe is found in the reality that they have designated 616.
This obscure title, which is never explained, goes some way to answering the question of just who this series is for.
As a casual viewer, you will no doubt glean some enjoyment from watching an episode or two, and you might even learn something interesting, but the truth of the matter is that this really isn’t for you.
Make no mistake, Marvel 616 is very much one for the fans. These eight episodes, which tell a wide range of stories, across every aspect of everything that Marvel does, from comics, to TV shows, to toys, to theatre, is laser targeted toward the comic book geek.
And it really is a real grab bag of topics. From the bizarreness of Japanese Spider-Man and Brute Force (they’re a rogue group of animal cyborgs who are mercenaries and eco-terrorists) to a weirdly self-deprecating look at The Marvel Method, to an episode in which we spend time with creators from all around the world, there is no real format to Marvel 616.
Each episode is so different in its style and execution that binge watching it may give you whiplash. While it’s nice that each director was given the freedom to tell their story however they saw fit, whether by way of bog-standard talking heads, or in a mockumentary style, this lack of structure does hurt the series as a whole.
There were three standouts in this series. David Gelb’s deep dive into the history of Japanese Spider-Man, Paul Scheer’s meta-documentary about wanting to cash in on Marvel’s popularity, and the delightfully endearing look at how Marvel puts a comic book together. These three episodes stood out because they stood apart. They belong in a series that is more self-aware, and just a tad smarter.
I’m not saying that the other five episodes were bad. Not by any measure. They too were informative, and beautifully shot, and well produced. They just ended up feeling a lot more skippable when viewed side-by-side with those.
If there is one recurring theme that runs through this series, it is that Marvel, and everything it does, means a hell of a lot, to a lot of folk, from all around the world. And what Marvel 616 does incredibly well is to capture that feeling.
By putting the focus on people, on the artists and the writers, on the fans and the cosplayers, it shifts the narrative away from the greatness of Marvel to the greatness of the people in and around Marvel. It’s a clever approach, and one that adds emotion and sentiment to an otherwise corporate endeavour.
Listen, you already know what this is. Over the years, the House of Mouse have perfected the art of mythologizing themselves. It is why we’ve grown up thinking that Walt Disney was a revolutionary. It is why we associate their theme parks with happiness and joy.
Disney have long realised that telling the story behind their stories was a key element in creating loyalty to both their brand and their product. “Yes, we know you love Frozen 2, but this six episode documentary series that’s about all the wonderful people who made the move is going to make you love it even more.”
Which brings me to the purpose of this series. And that is to reinforce the notion that Marvel is a place of boundless creativity, imagination, and inspiration. It is the kind of thing that should be tedious and terrible. Only it isn’t. And it is a huge credit to the people who have been tasked with putting out this propaganda that it is still engaging, and inventive, and fun.
It’s still propaganda though.
Marvel 616
Disney+, Season 1, 8 episodes
Showrunner: David Gelb
Directors: Gillian Jacobs, Alison Brie, Paul Scheer, Sarah Ramos, Brian Oakes, Andrew Ross, Clay Jeter, and David Gelb
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