What follows are 5 mini-reviews on what to look forward to.

Flock of Dudes

Dir. Bob Castrone

Writ. Bob Castrone, Brian Levin & Jason Zumwalt

Disclaimer: the screening I went to unfortunately had technical difficulties, and reportedly had anywhere between one scene or upwards to 20 (!) minutes missing from the final cut. So any thoughts or review is impossible. But I have to say something.

You’ve seen Flock of Dudes before: a bro-y comedy ensemble featuring a group of 30-something’s that refuse to grow up.

In many ways, after Bridesmaids and Broad City, Flock of Dudes feels dated, a dying breed, or a relic of a different time, to the point where I wondered if perhaps we might be finally seeing the last of man-child comedy. Ha! In reality, I’m likely still battling Hangover fatigue and the unfortunate monstrosity that was Anchorman 2, and we’re just suffering (enjoying?) through a lean period.

Flock of Dudes, thankfully, is fresher than both of those films, and is genuinely funny, with a great cast that will delight comedy nerds. Chris D’Elia (Undateable) is Adam, the man-boy who finally grows tired of his and his friend’s hard partying friends, and instigates a break up with his pals played by Bryan Greenberg (How to Make it in America), Brett Gelman (Married, Drunk History) and Eric Andre (The Eric Andre Show). He’s forced to move in with his newly engaged younger brother David (Pitch Perfect’s Skylar Austin) and fiancé (HILARY DUFF ladies and gentlemen) in order to join adult society. Along the way, he falls for Hannah Simone (New Girl and Miss India America) because that’s what people tend to do.

Unfortunately, I never bought Adam and Beth’s (Simone’s character) romance, which is a problem given that it becomes the central focus of the film. Despite a talented cast around them, Kumail Nanjiani (Silicon Valley) and Hannibal Buress (Broad City) were so good that I just wanted more of them, at the expense of the rest of the cartoonish ensemble.

(Weirdly, this movie felt oddly biographical: I became fed up with my hard-partying lifestyle before moving to Los Angeles; there’s a character named Barrett, who until recently had been my roommate for 5 of the past 7 years; there’s even a dig at Burbank, my adopted home.)

It’s impossible to say what the movie would be in its intended form, but it certainly felt like we were witnessing a rough draft. Many of the scenes we did see felt like the wrong ones, or glimpses of the less funny B-roll. The whole thing felt rushed and off, and that’s certainly attributable to the malfunctions, but nothing will make the truly bizarre and nonsensical Ray Liotta cameo any less painful.

Caught

Dir. Maggie Kiley

Writ. Marcy Holland

It’s hard to dream up a more fun actress than Anna Camp (Pitch Perfect, True Blood), and for two-thirds of the film, Caught seems to exist merely as a sandbox for the viciously hilarious and villainous Camp to go as bonkers as she wants. And, for the most part, Anna Camp Crazy Hour is a lot of freaking fun.

Camp plays Sabrina, a picture-perfect (and insane) housewife, who kidnaps Allie (Insidious: Chapter 3’s Stefanie Scott) for sleeping with her husband Justin (Mad Men’s Sam Page). She does it all under the auspices of a prank, with the wavering help from her coy, shy younger sister Paige (Amelia Rose Blaire around to stage a mini-True Blood reunion). Predictably, the kidnapping prank goes awry. This is hardly surprising given that Sabrina confesses, “I’m making this up as I go,” a line that reflects the gleefully frenetic pace of Caught. In many ways, it feels like the filmmakers don’t know where they’re going either, and that’s what makes Caught so unpredictable amidst its predictable premise.

Caught is at its best at its most insane, such as when the spurned Sabrina openly asks, “Do you think you can washboard someone in a Jacuzzi?” while making a blood-red strawberry margarita. It’s impossible to dislike Anna Camp’s characters, no matter what they do. She’s a master manipulator of everyone else on screen and the audience. She just looks like she’s won the lottery and getting filmed being bitchy, sassy and wacky is her reward.

Unfortunately, plot gets in the way of Caught, and drags down Acts 2 and 3 at moments. The film gets worse the more it tries to explain, or expand, or justify Sabrina’s actions; we don’t need to know why. We see all we need to see in Anna Camp’s performance, and by trying to legitimize itself, Caught merely serves to explicate its flaws in logic.

Maggie Kiley and company enviably try to make us care about Allie (she’s a track star! She has bad grades! She’s poor! She has a single Mom!) and it kind of works, leading us to a weirdly effective happy ending.

It’s Already Tomorrow in Hong Kong

Dir. Emily Ting

Writ. Emily Ting

I’m a sucker for talky romances, and Emily Ting’s beautifully shot It’s Already Tomorrow in Hong Kong fits nearly perfectly within my erogenous zones as a viewer, a worthy successor to Richard Linklater’s Before series.

Ruby (Once Upon a Time’s Jamie Chung, who also stars in Flock of Dudes) is in Hong Kong on business. Josh (Greenberg, similarly pulling double duty at LAFF this year) is an ex-pat, having lived in Hong Kong for ten years, toiling in finance. This is a clever twist on audience’s expectations: Chung plays a Chinese woman whose family is from Hong Kong…yet she’s the tourist, and the New York native Josh is the Chinese speaking local.

The two meet outside a bar, and almost immediately, Josh walks her across the city to Ruby’s friends, Ruby lost in the resplendent metropolitan. It’s not ruining anything to say that they never get to Ruby’s friends at the next bar. The two strangers don’t stop walking-and-talking, flirting and getting to know each other over the course of the film, as we get to wallow in Greenberg and Chung’s chemistry through a myriad of lustrous long takes through Hong Kong’s nightlife. But, like in life, their “fateful” romance isn’t easy, or assured. A twist comes early, and profoundly changes the proceedings. Like the Before trilogy, Ting plays with time, and we’re gifted nearly two movies in one, and one of my favorite endings in a movie this year.

Beyond just a captivating romance, It’s Already Tomorrow doubles as a postcard of Hong Kong, to the point where the city’s tourism department should give Ting a stipend. Somehow, Chung is just as luminous as the backdrop; this is the best I’ve seen her, and what hopefully serves as a breakout role.

Be Here Now: The Andy Whitfield Story

Dir. Lilibet Foster

Even those who aren’t Spartacus fans know the tragic tale of star Andy Whitfield and his ultimately life-ending battle with cancer.

After years of struggling to find work as an actor, Whitfield had found his calling as the hero of the arena and leader of the slave rebellion against their Roman captors: he was and IS Spartacus. But after a beloved first season, non-Hodgkin lymphoma was found in his body. After a successful round of chemo, he was on the verge of returning to the series for season 2, when it was discovered that the lymphoma had returned. This time, he wouldn’t be so lucky.

Be Here Now is a documentary (funded by Kickstarter), shot over 18 months, chronicling Andy Whitfield’s battle with cancer, doubling as a love story between Andy and his wife Vashti, as they maneuver cancer and parenting, with their two young kids. Whitfield is a hero, and a man who fought his disease in such a dignified, honorable and beautiful way. It’s clear none of it would’ve been possible without Vashti, his more fiery other half. It’s emotional just thinking about it, and this film provides perspective on life, rendering any problems you may have as silly.

Whitfield wanted to be filmed, in hopes that his story would bring awareness to the illness and inspire, to help the world in any way, and Be Here Now certainly has. What I was unaware of until this film, was that “Be Here Now,” the Whitfield family motto, words that imbued added importance to the present, because of how fleeting it is, has been adopted the world over by the Be Here Now-ers, a group bonded by creed and matching tattoos. In a vacuum, “Be Here Now” sounds cliché or corny, but when Vashti implored the audience to “go for it, change the world” after the screening, I almost found myself in a tattoo parlor getting the words inscribed on my arm. I still may. The movie’s message is that powerful.

Be Here Now has secured distribution, and is coming this Fall. Don’t shy away from the heavy subject matter: it’s not to be missed.

Infinitely Polar Bear

Dir. Maya Forbes

Writ. Maya Forbes

I love this movie. With a too-quirky title and a too-indie vibe, many might be hesitant to give Infinitely Polar Bear a chance. But Maya Forbes’ (The Larry Sanders Show, The Rocker) personal film set in 1970s Boston is wonderful, thanks to the singular wonders of Mark Ruffalo, Zoe Saldana and immensely talented child actors Imogene Wolodarsky and Ashley Aufderheide.

Ruffalo plays Cameron, a loopy, well-meaning manic-depressive father who suffers a mental breakdown in front of his wife Maggie (Saldana) and kids Amelia (Wolodarsky) and Faith (Aufderheide) to open the film. The immediate scenes that follow are the only ones that don’t truly work; the tone and mood feel fractured from the rest of the film, but perhaps that’s because of the cloud of drugs and uncertainty surrounding Cam, diagnosed with a condition during a time when doctors didn’t know what to do with it. The movie itself doesn’t seem to know what to do with him either until Maggie goes to New York for her MBA in order to get a job and provide for her family, forced to trust Cam to take care of their children while she’s away.

You’d be forgiven for rolling your eyes at the elevator pitch premise of man-can’t-take-care-of-himself-but-must-take-care-of-his-kids, and the film is certainly heavy-handed, but it doesn’t matter, because this is when the movie soars. It’s impossible not to be charmed by the relationship and family that forms when Cam has to come to grips with being a parent while unable to come to grips with his wavering sanity.

Blessedly, Infinitely Polar Bear is funny. It never loses its edge; we’re always wondering when Cam’s crazy is going to come out (it’s easy to make the parallel to Ruffalo’s Hulk) and how bad it’s going to get, but Forbes mostly tackles the gender, racial and classist politics of 1970s Boston with graceful aplomb, wit, insight and irresistible charm. It somehow also finds the time to tackle mental illness, parenting and separation and growing up to boot.

It’s just so endearing to see this family figure things out (or not). I could watch Ruffalo try to take care of these two hilariously sassy kids forever (like a peculiar sitcom), and that’s thanks to how funny and sharp Amelia and Faith are together and with Cam and Maggie. While the movie works because of her absence, Saldana’s similarly terrific as a mother struggling to break into the male-dominated world of business while sorely missing her children, never quite sure if she’s doing the right thing.

As a prospective viewer, the right thing is clear: see this movie.

You’ll come to that same conclusion often at the Los Angeles Film Festival.

After three years and four movies, Avengers: Age of Ultron has arrived. I’ll admit, going in, I was nervous for the film, forever worried that Marvel Studios’ bubble might pop. It certainly stretches the seams here, but rest assured, Marvel’s insane streak continues, thanks in large part to Joss Whedon.

Avengers 2 isn’t as good as Captain America: The Winter Soldier or Guardians of the Galaxy, and probably not the first Avengers, but I don’t know if that was possible, given the nearly impossible juggling act that Joss Whedon has to perform here. He has to tease Civil War, Black Panther (Andy Serkis’ brief turn as Ulysses Klaw has me so stoked), Thor 3 and Guardians of the Galaxy 2, while introducing four hugely important new characters (Scarlet Witch, Quicksilver, Ultron and Vision), and maintaining the MacGuffin-laced narrative string of Thanos and Infinity Gems. Plus, you know, he has to segue into the next two Avengers movies. It’s exhausting just thinking about, but for a moment, let’s focus on the present, a rarity when it comes to the MCU, which is always about what’s next.

Age of Ultron thrusts us into the action immediately, because Whedon, Feige and company can’t afford to waste any time, and besides, we know these guys now. Thanks to a jumbled concoction of Loki’s scepter, Hydra intelligence and Tony Stark’s personal computer system Jarvis (Paul Bettany), Stark creates Ultron (James Spader), envisioned as an AI based world-peacekeeping computer, one that could function as an armor over the whole planet, an initiative that would render the Avengers moot. Of course, Stark (Robert Downey Jr.) envisioned a rosy retirement sipping Mai Tai’s in Tahiti (okay, maybe not Tahiti) with Pepper Potts: his creation sees the Avengers…and humanity, as obstacles preventing peace and progress.

From there, a lot of shit explodes in a dizzying action ensemble with a scale of astronomical proportions. The film is bloated, and likely at least slightly confusing to someone who doesn’t follow Marvel tidbits like James Woods and candy. But somehow, someway, it works. In fact, it more than works: Avengers is Summer Movie Action Tentpole on Steroids, yet thanks in large part to Joss Whedon’s heart and wit, the over-stuffed sequel retains intelligence and blessed self-awareness, while remaining a helluva lot of fun.

For an innumerable number of reasons, Joss Whedon was always perfect for the Avengers: there’s not a director more capable with ensembles, thanks to his experience with Firefly, Buffy and Angel. And again, somehow Avengers 2 gives every member of the team and its ballooning supporting cast a chance to shine. The first Avengers was Iron Man’s movie: the emotional through-line traveled through the conflicted and difficult billionaire playboy philanthropist. But the Hulk was the scene stealer, the crowd favorite. In Avengers 2, I suspect, both honors come from an unlikely hero: Jeremy Renner’s Hawkeye, the oft-forgotten archer and every-man member of the team, the powerless one who probably gets picked last at Avengers dodgeball games. When you think about Whedon’s work, the focus makes perfect sense. In many ways, this is the colossal scale version of Buffy‘s “The Zeppo,” with Hawkeye playing the part of Xander, a normal family man who’s so clearly the glue that holds this team together, a thankless (and dangerous) role. Hawkeye’s journey and transition in this film mirrors that of Joss Whedon’s; he surely identifies with the un-invincible, un-enhanced man in a sea of power. Why Avengers 2 works so well is because it still feels like Whedon is a kid in his bedroom playing with his favorite toys.

Perhaps because of that, there’s a lot of fan-service in this film, much of it glorious (you can almost convince me that the Hulk and Iron Man fight was important to the narrative).

But what of the new arrivals? James Spader’s Ultron is wonderful, a sarcastic and devastatingly cruel robot, easily the third best villain in the MCU after Loki and Kingpin. Aaron Taylor-Johnson’s Quicksilver and Elizabeth Olsen’s Scarlet Witch will likely prove more divisive. It’s impossible not to compare Quicksilver’s, with Evan Peters’ Pietro surprisingly stealing the show in X-Men: Days of Future Past, and for the most part, this Quicksilver unfairly unable to match his scene-stealing exploits. I think Bryan Singer’s choice certainly blunted his impact here, which is a shame, and shaped Marvel’s treatment of the character. In the comics, Pietro and Wanda Maximoff’s identity and character, are inextricably linked with their villinous father Magneto. Stripping that away robs the character’s of some depth, and their new origins feel band-aided on. Plus, it took awhile for me to get used to their put-upon Eastern European accents. It makes sense, especially with where they come from in Age of Ultron, but it’s certainly not how I imagine them sounding in my head when I read the comics, which of course, is an impossible standard to set. That said, Elizabeth Olsen in particular show exceptional promise and has me excited for what’s to come.

Then there’s Paul Bettany’s Vision, and without ruining anything, I will just say this: he’s perfect. He’s beautifully rendered, like some holy blend of CGI and practical effects from the future that comes to make everybody else look bad. In effect, that’s also what he does in Avengers, and it’s wonderful.

So are many things in this film: the various methods of teamwork in action sequences that are just clever and unabashedly cool. The relationship between Natasha Romanoff (Scarlett Johansson) and Bruce Banner (Mark Ruffalo). Everything Thor (Chris Hemsworth) says. The gentle ribbing of Captain America (Chris Evans). The hilarious and so so necessary downtime that Whedon interweaves among all the wackadoodle fighting. In fact, the best parts of these movies will always be when we see these larger than life heroes as just normal people, a lesson WB and DC could learn from. The stakes are serious but the whole movie doesn’t have to be. As long as Marvel retains the heart and wit that Joss Whedon has caked inside Iron Man’s armor, Bruce Banner’s purple shorts and Thor’s flowing cloak, these movies will continue to work, even if it sometimes feels like an exhausting, never-ending trek to nowhere, an infinite Easter Egg hunt across the increasingly populated cosmos. Well, okay, that does sound sorta awesome.

But it’s fair to be worried about the future.

Despite creating a Big Bad that kills thousands of people, Tony Stark never truly gets the comeuppance he deserves for creating Ultron in this movie, and that’s a fault of the proceedings, even if we’re saving it for Civil War (talk about a movie I’m nervous for).

If Avengers: Age of Ultron is busy, how in the hell will Avengers: Infinity War Part 1 & 2 not be a disastrous clusterfuck? The Russo Brothers are the best replacement Feige could possibly find for Whedon, thanks to their exceptional work on Captain America: The Winter Soldier and their ensemble work with Arrested Development and Community (though this is a whole new ballgame). But one gets the sense that Whedon was the only one with the power, chutzpah, support and creative Vision to counterbalance Kevin Feige, who deserves enormous credit for what he’s done in creating this interconnected universe, but like Ultron himself, still seems hell-bent on world domination with what feels like a Reaganomics-like approach.

But for once when it comes to Marvel movies, let’s not focus on that next piece of candy (which is the seemingly out-of-place and pointless Ant-Man), but revel in the present. Avengers: Age of Ultron is a movie that shouldn’t work, and one that comic fans never would’ve thought possible, but thanks to an unparalleled cast and creative team (seriously, just bathe in those ending credits; they’ll never be this good again), it makes us all feel like kids playing with their favorite toys.

Dibs on Vision!

Well, this is why we’re here. This is why I have permanent back damage and could sleep until next year’s Comic-Con at this point.

What do we have in store for us? RDJ intro’d the panel two years ago. Hiddleston did last year. Is James Spader going to bring on some Ultron? Are we going to see the Vision? Are we going to see the complete Phase 3 cast (Inhumans, Black Panther, IM 4, Hulk, Thor 3, Cap 3?)? Is Benedict Cumberbatch or Joaquin Phoenix Dr. Strange or is it a mystery third person (I can grow that beard, bitches)? Josh Brolin is here. Do we get a taste of Thanos?! Can I possibly adore Elizabeth Olsen any more than I already do? Will a woman or a black character get their own movie? Will Bradley Cooper show up in a garish raccoon costume? Will we somehow fit the entire Guardians of the Galaxy movie into the time slot? Will I ejaculate all over my neighbors? Stay tuned.

We’re on. Oh wait, we’re not. The audience is chanting, clapping in unison, we’re one minute away from the fucking wave.

For the record, the wave started exactly a minute later. The only time I’ve ever predicted something right this week.

Maybe the hour and a half gap before the WB TV panel will be filled merely by this panel starting so late. Which is disappointing, since I need a nap pre-Gotham.

Is a live blog truly live without me time stamping every comment? (Answer: No; but do you need to know I wrote this at 5:42:18 PM?).

Um, since when did Andy Serkis have an undisclosed role in Avengers: Age of Ultron? He’s apparently helping to mo-cap Hulk.

Eddie Ibrahim is up again.

We get an awesome recap of the entire Marvel Universe, capped with some great footage of Guardians of the Galaxy, which is going to be the best movie Marvel has made, btw (the 10th Marvel movies). Then we see Thanos in his space chair, threatening mankind. Awesome.

Kevin Feige is here, and so is Chris Hardwick of course.

Hardwick: has made a visually stunning film that’s hilarious. Big ups to James Gunn.

ANT-MAN time. Peyton Reed, the director. Paul Rudd and Michael Douglas are here (and Douglas is looking rough/awesome). Corey Stoll is here, the villain in the film: YELLOWJACKET. Playing the daughter of Hank Pym is EVANGELINE LILY as Hope Van Dyne. An interesting name choice.

This is the 20th anniversary of Peyton Reed’s first Comic-Con. Paul Rudd is popping his Comic-Con cherry, and clearly slightly overwhelmed.

Rudd is excited by challenge, thrilled to be working with such great people.

Michael Douglas admits to “popping up enough cherries.” Chris Hardwick wants to talk about that for the next hour, and so do I. Douglas has looked at Marvel from afar and has never really made a movie with the kind of technological tools this will have. Has clearly done his research: name-drops the year of Ant-Man’s creation, his creator, Stan Lee. Talks about his powers. This is the story of a heist, because his partner, Corey/Yellowjacket. Most of the budget will be removing Paul Rudd’s massive muscles.

Evangeline Lily on Hope Van Dyne: Very glad to announce it, and finally done evading press. Doesn’t have a script yet. But she is Hank Pym’s daughter, a crazy different detail from the source material. Professes love for us, been beloved in Hall H since Lost in 2005.

Corey Stoll on Yellowjacket: Was Hank Pym’s mentee, genius scientist as well. Have taken over the company, in what “judgmental people think is in an evil direction.” Attains some Pym particles (gross), and puts on a Yellowjacket suit.

Ant-Man starts filming in two weeks in Atlanta. Filmed something for us….we don’t see Paul or Michael, but we hear them, bickering about the nature of being a hero, and how Rudd isn’t a superhero, which is exactly why he’s perfect (and not a moron, like Douglas posits heroes are). We see the suit, we see ants, we see him flying on them, and get a brief glimpse at the visual flair in this movie. It’s fun.

Downey comes in a striking suit to Michael Jackson’s Don’t Stop Till You Get Enough. He throws roses from a briefcase into the crowd. Renner dances awkwardly. Mark Ruffalo comes in a little bit more unassuming. Chris Hemsworth. Cobie Smulders arrives, accepting a white rose from Downey. Samuel L. Jackson comes on, like he would. Chris Evans is buff as shit. Downey’s announcing them as they come in. Aaron Taylor-Johnson as Quicksilver. Paul Bettany as Vision. James Spader as Ultron. Elizabeth Olsen as Scarlet Witch. This is insane.

Hardwick: “This is good. This is good. This is supposed to happen. Welcome, Avengers.”

Downey: Keeps getting better, and the bench gets larger.

Renner admits to wearing pants, unfortunately. “Always thrilling, man….glad to be here. Very honored.” Never envisioned this, but is blessed.

Ruffalo is fairly flabbergasted by the love. Hulk gets the first chant. Hardwick warns the crowd not to get him excited…

Hemsworth loves being part of this madness. What has he not been able to do yet? “Turn him into a woman. Great idea. I don’t want to speak too early and jinx it, but it could be my Oscar.” Incredible.

Smulders didn’t expect this to keep going on, but hoped that. Joss brought her into the world, and “so grateful.”

Evans and Hemsworth apparently compare muscle, and Hemsworth wins (“it’s not a costume, he is Thor”). Steve is up to speed, but still looking for a place to belong. Searching for home.

Taylor-Johnson intimidated to join the group, but happy Joss wanted him in. Loves the banter, enjoys Marvel movies, and excited for a part in this one.

Bettany know has to work for his money. He used to go to a dark room for 45 minutes and walk out with a bag of cash. “The most exciting thing that has ever happened to my kids.” “They had no interest in what I did until this month.”

James Spader always thought the world could never be crazy or weirder than he thought. Until SDCC. “This place might be the weirdest, craziest place I’ve ever been.” Thanks us. “I play an 8 foot robot in this movie…and I’d always played humans up to now.” As startling and exciting as coming to Comic-Con for the first time. Everything was “so entirely new”: the process, the people, the world he was entering.

Olsen: Fun to bring magic into the world…”mutated people,” which elicits ooohs. Adds a new dynamic, not just “awesome punching.” Apparently she stares at pencils for hours trying to make it move.

Then the world explodes when Scarlett introduces the video for Avengers: Age of Ultron. Um, SPOILERS follow. A delightful party scene with the team (that also includes Maria Hill and Rhodey): everyone takes turns trying to grab Thor’s hammer, a la the sword in the stone. Tony and Rhodey try together, with their armor, to no avail. Bruce Banner tries and fakes getting excited/angry, and it’s not funny (and so funny). Steve Rogers actually makes it move, slightly, a moment that gives me a partial chub. Thor announces that none of them are worthy…and that’s when Ultron makes his appearance, agreeing, saying their existence is all that can save the world. Then he sends other Iron Man armor toward the team. Then shit goes DOWN. It looks like the apocalypse has happened. Iron Man breaks out the hulkbuster armor, and it looks INSANE. Hulk also touches hands with Black Widow. We see our first full glimpse of Ultron on his throne…and it’s exactly what you want him to look like. Ultron is going to destroy our boys. Spader’s voice is a masterstroke. We see a glimpse of Andy Serkis with a beard. He’s not just helping with mo-cap. He has a role; let the rampant speculation begin. The clip ends on the craziest note ever: Iron Man looking at the carnage around him, all of his comrades in arms, collapsed or worse, Cap’s shield BROKEN IN HALF. Boom.

Then…Josh Brolin marches into the room wearing the Infinity Gauntlet. He demands a rose from Downey, who relents, and Thanos/Brolin EATS it. The excitement is almost suffocating in this room.

The panel appears to be over, but there’s one more clip to run: Chris Pratt and James Gunn joking around in London, wondering how they’d follow an Avengers panel. They jokingly talk about telling us about Guardians of the Galaxy 2 without Kevin Feige’s say so. It’s clearly staged, but Gunn and Pratt are so lovable it works anyways. And besides, GUARDIANS is getting a sequel before it even comes out: July 28th, 2017. Fuck yes.

What’s awesome about all this, is how into it the Avengers cast is. Robert especially loves his role as ring leader and host. Everyone’s psyched to be here. We might be looking at this moment as Marvel Studios’ pinnacle…or perhaps we’re just getting started, as Elizabeth Olsen intimated, now that they’re adding magic and mutated people.

Thank you Marvel for putting on a show, and good night everybody. Gotham, The Walking Dead Escape and sweet, sweet slumber awaits.