Solche Panel's tauchen immer häufiger auf und irgendwie ist es schon ziemlich eindeutig zu erkennen, das Carol wider Teil der Mutanten wird.
Kopiere die Skriptzeilen, gehe dann zu http://colab.research.google.com, , erstelle ein neues Notebook und klicke auf Play.
Fertig.
`import requests
def get_appearance_count(category_title): url = "https://marvel.fandom.com/api.php" params = { "action": "query", "format": "json", "titles": category_title, "prop": "categoryinfo", } headers = {"User-Agent": "AppearanceUpdateTracker/1.0"} response = requests.get(url, params=params, headers=headers) data = response.json() pages = data.get("query", {}).get("pages", {}) for page_id, page_info in pages.items(): if "categoryinfo" in page_info: return page_info["categoryinfo"].get("pages", 0) return None
base_data = { "Ororo Munroe (Storm)": 1958, "Susan Storm (Invisible Woman)": 1807, "Carol Danvers (Captain Marvel)": 1563, "Wanda Maximoff (Scarlet Witch)": 1354, "Jean Grey": 1332, }
categories = { "Ororo Munroe (Storm)": "Category:Ororo_Munroe_(Earth-616)/Appearances", "Susan Storm (Invisible Woman)": "Category:Susan_Storm_(Earth-616)/Appearances", "Carol Danvers (Captain Marvel)": "Category:Carol_Danvers_(Earth-616)/Appearances", "Wanda Maximoff (Scarlet Witch)": ( "Category:Wanda_Maximoff_(Earth-616)/Appearances" ), "Jean Grey": "Category:Jean_Grey_(Earth-616)/Appearances", }
print("=== MARVEL APPEARANCES UPDATE ===") for char, cat in categories.items(): current = get_appearance_count(cat) base = base_data[char] if current is not None: diff = current - base sign = "+" if diff >= 0 else "" print(f"{char}:") print(f" - Bild-Stand: {base}") print(f" - Aktuell: {current}") print(f" - Differenz: {sign}{diff}\n") else: print(f"{char}: Abruf fehlgeschlagen.\n")`
Comicbookmovie warns that this could be a fake, though it might also be the original plot. They don't know for sure.
If that’s true, it explains Carol’s absence in Doomsday.
👉 The final battle: As previously reported, Doom emerges victorious after establishing Battleworld, with most of Earth's Mightiest Heroes either serving the villain after having their memories wiped, displaced in other timelines, or dead.
Carol's memories have already been erased once. The question that arises here is, from a story perspective, it would make absolutely no sense for her memories to be erased again. If that’s true, then it’s a perfectly legitimate explanation for why Carol doesn’t appear in the movie. Marvel doesn’t want to wipe her memories again.
If one views the matter from a purely character-centric perspective, this line of reasoning makes perfect sense.
The themes of memory control, artificially implanted identities, and liberation from mental manipulation (particularly at the hands of the Kree) formed the foundation of Carol’s entire origin story. Erasing her memories yet again to turn her into a mindless vassal in Doom’s Battleworld would be a lazy retread from a dramatic standpoint. It would devalue the emotional and thematic journey she has undertaken to reclaim her autonomy and identity.
There is also a structural issue with such major events. When a God-Emperor Doom rewrites reality and bends the survivors to his will, writers dealing with characters possessing such extreme profiles of power and willpower—like Carol Danvers—must always find a reason why they are either completely sidelined or why the brainwashing would have to work differently on them than on ordinary mortals.
Marvel would be shooting themselves in the foot if they erased Carol's memories again; her entire character development would have been completely pointless. That’s why it makes perfect sense not to have that happen in the film at all. If this leak actually turns out to be true, then it offers a perfectly legitimate explanation for why Carol doesn't appear in the movie. Marvel would completely ruin the character if they did the same thing to her all over again. It would just be an endless loop.
Her absence from *Doomsday* would be confirmed by this rumor. She is missing from *Doomsday* because they do not want to wipe her memories again. And she plays a crucial role in *Secret Wars* precisely because she still retains her memories—unlike everyone else.
From this perspective, a perceived "absence" during *Doomsday* transforms into a clever build-up of suspense: one of the cosmos's most powerful figures is sidelined precisely so that they can return in *Secret Wars* as an uncontrollable variable and the key to the destruction of Battleworld. The Doomsday leak comes from the same leaker who says that Carol plays a central role in Secret Wars. This means that these are not isolated, independent speculations, but rather a coherent narrative from the same source.
When looking at how fake leaks are typically structured, they usually stand out for a specific reason: they go overboard with fan service, spotlight certain characters, and try too hard to shoehorn every fan favorite into the scene—all just to elicit a reaction. That is not the case with this leak from "MyTimeToShineHello," however; the fact that the inhabitants of Battleworld are being stripped of their memories is mentioned only in passing. 🤔🤔🤔
Yet, when Carol’s history with the Kree is taken into account, it reads like an authentic script or plot leak. And that is precisely why it is hard to ignore. 🤔🤔🤔🤔🤔
Looking at the developments since Phase 3, Carol is by no means in the worst position compared to numerous other heroes. Contrary to the claim that Carol has been sidelined, a look at her appearances shows that Marvel has consistently integrated her into the larger universe.
Comparing Carol to other fan favorites from the more recent phases makes it clear how fortunate the Carol Corps actually is. Wanda, one of the most popular characters in the entire franchise, was dramatically removed from the story. We never heard from Moon Knight again, nor from Werewolf by Night. The Blade movie was repeatedly canceled, and yesterday Variety reported that the second season of Wonder Man was canceled.
Carol is likely to accomplish some of the greatest feats in the entire MCU, and she's also gained a family in "The Marvels." What people are completely ignoring is that the MCU is currently reorganizing to improve quality and ensure greater consistency. Just because Carol isn't in Spider-Man: Brand New Day and Doomsday doesn't mean she's mistreated. There are characters who are truly down on their luck, but Carol isn't one of them.
I want She-Ra, please Amazon, give us She-Ra! I've already watched Masters of the Universe four times since yesterday, it's my number one movie, give us She-Ra! I love that movie so much.
I think the most difficult thing about Belle is the color of her dress. Yellow is a really tricky color, but Emma Watson looks absolutely stunning in it. Honestly, who can really pull off yellow? Emma Watson looks breathtaking in that dress.
Emma Watson not only lent her voice to the character, but she also embodied her with great intelligence and independence. The iconic yellow dress, which I find fantastic, is a true masterpiece of the costume department. I read in an interview that she herself was involved in the design of the dress and insisted on not wearing a restrictive corset because she wanted Belle to be an active, modern heroine who could move freely. And the result was a breathtaking dress made of several layers of satin organza, embellished with over 2,000 crystals.
If you look at what Kelly Sue DeConnick had in mind back then and compare that to the toxic defensive and offensive mode that some fans display today, the contrast could hardly be greater.
The text defines the Carol Corps as a "gender-inclusive refuge from misogyny." It was intended to be a positive safe space for collectively celebrating and supporting female characters and creators. However, the accounts that now attack every little thing online have essentially turned this safe space into a weapon of attack. DeConnick envisioned a community entirely free of barriers: "If you say you’re Carol Corps, then you’re Carol Corps"—regardless of whether you attend conventions, are active on social media, cosplay, or simply sit at home doing needlepoint. Today, within extreme online bubbles, the exact opposite happens: there is a relentless policing of who holds the "right" opinion and who expresses sufficient outrage at perceived adversaries.
The article describes how DeConnick used the community from the very beginning to "promote the work of other women." It was about mutual support and enthusiasm for the medium. When self-proclaimed fans today trash harmless marketing remarks made by colleagues like RDJ—or criticize story choices in other comics—out of sheer spite, it no longer has anything to do with that original, positive spirit of building something up.
What began as an enthusiastic, open grassroots movement for greater visibility has, for some players, become a bitter, perpetually defending fortress due to the constant social media culture war. Kelly Sue DeConnick wanted the Carol Corps to be a place that uplifts women and creatives. Some accounts do the exact opposite: they act like a jealous online militia.
Every piece of news, every poster, and every project that doesn’t place Carol Danvers absolutely front and center is immediately interpreted as a hostile act, as "oppression," or as a malicious agenda. It must be incredibly exhausting to consume pop culture with such extreme tunnel vision.
- https://bookandfilmglobe.com/comics/the-carol-corps/
👉 P.S. English is not my native language, and I used Google Translate; however, I enabled the Gemini option because I wanted my text to be well-phrased.
I suspect that Marvel will release two solo films between Doomsday and Secret Wars, namely Captain Marvel 3 and Doctor Strange 3, because The Marvels and Doctor Strange 2 both led up to Doomsday. Their post-credits scene set things up, and since neither Carol nor Strange will appear in Doomsday, I suspect there will be two solo films in between. However, it's just a guess without any proof that I have.
It's quite suspicious that both of them have a post-credits scene and then don't appear in the main film. Very suspicious.
So, not a single film with a female lead has ever flopped as hard as the ones with male leads—if that’s what those dubious charts are trying to suggest. Not everything that glitters is gold there, either. Do they seriously think there aren't any flops featuring male heroes? Well, they are sorely mistaken.
When young girls see her on screen, they don't see a retouched, glossy model, but someone who could have the same radiance they themselves might have after sports or on a windy day. And that's why James Gunn chose her. It's not about looking perfect; it's about every girl sitting in the cinema being able to think, "She looks like a real person, and she's flying through the ceiling saving the universe. So I can do that too." And that message is priceless.
I simply love it when a woman wears her hair short. It radiates so much strength and self-confidence.
Florence Pugh, Zendaya, Milly Alcock, Brie Larson, Emilia Clarke, Daisy Ridley
I think she did a really great job and is a truly strong role model for young girls and women. If you look at her appearances during the press tour and her photoshoots, she absolutely mastered it. She radiates so much natural self-confidence and style, and despite entering a huge franchise under enormous pressure, she gave the character Kara so much real soul. She made her seem like a real person vulnerable yet strong.
I think she did a really great job and is a truly strong role model for young girls and women. If you look at her appearances during the press tour and her photoshoots, she absolutely mastered it. She radiates so much natural self-confidence and style, and despite entering a huge franchise under enormous pressure, she gave the character Kara so much real soul. She made her seem like a real person vulnerable yet strong.
I've been reading the reviews on this subreddit for the past few days, and frankly, it's just exhausting. Not because people don't like the film—everyone has their own taste, after all—but because of the way it's being criticized.
We've completely distorted film criticism: from an appreciation of art to a mechanical used-car inspection.
People are treating this film like an Excel spreadsheet:
- "Villain Krem didn't have enough screen time" -> Minus point.
- "The pacing felt like a condensed 10-episode series" -> Minus point.
- "The CGI was just so-so" -> Minus point.
Result: "Meh, total crap."
This pseudo-intellectual, checklist-based approach completely misses the point of the film. When you see Kara screaming, isolated, and struggling with her deep-seated trauma, some of you are only thinking about whether the second act's structure follows a typical Hollywood formula. That's emotionally insensitive.
Look at how a true artist like Hideo Kojima analyzed the film. He didn't hand out arbitrary stars or percentages. He set aside all the technical bells and whistles and looked at the structural DNA: It's not a generic superhero movie about saving the world through justice; it's a dark, character-driven coming-of-age space western. It owes more to "The Good, the Bad and the Ugly" and the uncompromising, raw atmosphere of "True Grit" than to the MCU formula.
These days, it seems a film can't even get a solid 7/10. If it doesn't win 50 Oscars or make film history, the internet will immediately declare it "the biggest flop in the universe." This toxic overreaction robs you of the joy of going to the movies.
"Supergirl" has weaknesses, that's clear. But it has courage, it has an emotional core, and it has a distinctive artistic vision. Perhaps it's time to put down the clipboard, stop acting like the ultimate cinematic elite, and let yourself be touched by emotions at the cinema again. The sun will rise tomorrow anyway, even if a film is only beautiful and imperfectly human.
In the pop culture community, there's an unwritten rule: if Kojima posts a poster on X or Instagram with the dry sentence "I saw [film]", the movie was usually a bitter disappointment, which he keeps quiet about.
That's precisely why Kojima's assessment is so valuable. He doesn't look at Metacritic scores, misguided fan expectations, or the current internet backlash. He evaluates the narrative substance. When a narrative visionary like him praises the emotional depth of Kara's journey, it shows that the film possesses qualities that are simply being completely lost in the Reddit noise.
Simply being able to take a siesta freely in space strikes me as the perfect place for peace, harmony, and tranquility. Carol is such a thoughtful person that she often retreats to the moon to reflect on her problems.
In the Marvel Universe, this symbolism is remarkably often taken quite literally—as various chronicles impressively demonstrate, and as heroes like Moon Knight officially bear this burden. It represents the pinnacle of heroism; when the beasts awaken, these modern knights must throw everything they have into the fray—from high-tech weaponry and magic to raw, unbridled force. These characters fulfill the very role once held by Saint George or the knights of Arthurian legend. The dragon may change its form—appearing at times as an alien threat and at others as a relic of ancient magic—but the knight’s task remains unchanged across the centuries: to serve as a shield and sword for all those who would otherwise perish in the flames.
Merchandising sales play a crucial role, especially for DC and Marvel—or rather, Disney and Warner Bros.—because they generate revenue over a significantly longer period. MGM has already employed this strategy for its new series, "Masters of the Universe"—an approach that was always part of the animated series of the '80s and '90s, where the shows essentially served as advertising campaigns for the toys. When you see on BoxOfficeMojo that a Disney or Warner Bros. film with a $200 million budget only grossed $250 million worldwide, it's considered a colossal flop by film standards.
Considering the licensing fees of the following decades, attractions in theme parks, T-shirts, action figures, and video games, this supposed "flop" could prove to be a veritable goldmine for the corporation over the next 20 years (just think of films like Pixar's "Cars," which was only moderately successful at the box office but generated billions in toy sales). While Box Office Mojo and The Numbers reliably measure moviegoers' attendance figures, they haven't captured the overall economic success of a brand for a long time.
For Warner Bros. and Disney in particular, merchandising sales are significantly more profitable than ticket sales. The films merely serve as an advertising platform. Just think of anime like Pokémon or the vast product range in a Disney Store.
👉 Disney has perfected this model over the years, as the film forms the linchpin of a huge ecosystem.
– Point 1: The film. It creates an emotional connection between the audience and the brand. Once this emotional connection is established, T-shirts, backpacks, bedding, and toys are purchased for years to come. These products often generate significantly higher profit margins than movie tickets, and a film is the reason a family books a €5,000 vacation to Disney World. The €15 for a movie ticket is negligible in comparison.
👉 The Japanese industry—especially the anime sector—frequently operates according to the so-called "production committee" model. In this model, direct profit maximization through the anime itself is often not the primary focus. Instead, the anime serves as an elaborate marketing campaign for the underlying source material—be it a manga, a light novel, or a video game series. Pokémon is the best example of this: The series and the films exist primarily to introduce new generations of "pocket monsters" to the world. The goal is to encourage children to buy the associated games, collect the cards, and acquire the plush toys. The revenue from the sale of physical products—such as merchandise and games—far exceeds the film's box office receipts.
These days, cinemas are often just a calling card for a business model that extends to department stores or streaming platforms. The fact that a film is shown in a cinema creates an emotional connection to comics, T-shirts, and rare collectible figures—all of which have a significantly higher value; moreover, the film keeps the character present in pop culture. What the media reports about the film as a "flop" is irrelevant—just ignore it. Actual cinema revenue represents only a fraction of total cinema revenue.