«X-Men '97» - Series Review by Kinoafisha
Blast from the past: Radioactive people return.
Even if you didn't grow up in the mid-90s, the opening credits of the old-new Marvel animated series, "X-Men '97," will likely seem familiar. It's a continuation of the same show that, thanks to its nasal monotonous dubbing — another sign of the times — has entered meme history as "Radioactive People." Postmodern nostalgia play is generally the main reason why the new "X-Men" have become the subject of increased interest. The mutant universe, after decades of wandering, has finally returned to the studio that spawned it, Marvel, whose projects nowadays are often smirked at. So the deployment of new superheroes is probably the last chance for Kevin Feige to decisively update the cinematic universe.
Like a time machine, sending viewers on a sentimental journey through childhood memories, "X-Men '97" works pretty well. Much in the series directly repeats or indirectly references the original animated series. Starting from the almost untouched opening credits and ending with the voice actors, most of whom have returned to their roles. By tradition, the first two episodes are full of Easter eggs. The number in the title indicates the continuity of the two shows — in '97, the sixth season of the "old" animated series could have been released.
The action of the first episode takes place a year after the murder of Professor Charles Xavier, killed by Henry Gyrich. This concludes the original series (note that in it, the professor actually survived but left Earth, keeping it a secret from the world). Xavier's death contributed to achieving peace between mutants and humans, and the proponents of the war between species — Magneto and Dr. Bolivar Trask — were defeated. However, the latter managed to escape and even restore some of the Sentinels — giant robots hunting mutants. His capture is the focus of the entire first episode, mostly reminding the viewer of the state of affairs.
But the plot of the second episode looks much more promising (caution, spoilers). Firstly, Magneto, by the last will of Professor Xavier, outlined in his will, becomes the sole heir to all his property, including, of course, the school, and becomes the new leader of the "X-Men," which predictably raises suspicion from Cyclops, who had become accustomed to the role of acting director. Secondly, Jean Grey is deeply pregnant and urges Summers (Cyclops's real name) to leave the school.
The latter storyline promises to be the main one throughout the season and anticipates the appearance of Mister Sinister as the main antagonist. In the comics, he conducted experiments on mutants and concluded that a super-mutant (whatever that means) would be born from the union of Summers and Jean Grey. By the way, you are already familiar with him if you watched "Deadpool 2." Cable, played by Josh Brolin, is a greatly altered version of Nathan Summers, the product of Cyclops and Jean's love.
It seems that for the success of "X-Men '97," it is necessary not only to cater to the old audience — which, judging by the first two episodes of the animated series, it does quite well — but also to attract a new generation of viewers, which is not so easy to do. The image of superheroes has undergone active revision in the last five to six years. The most intriguing stories are those like "Deadpool" or "The Boys," stripping away the glossy veneer from bronzed characters. They are followed by brutally ironic multiverse series. Such as "Harley Quinn" and "Invincible."
Against their backdrop, "X-Men" looks pale. The inviting parallel between mutants and any oppressed groups in our world — common to the entire comic book — unfortunately, has not lost relevance but is unlikely to find a new sound in the animated series. Watching the movements in the old love triangle of "Wolverine - Jean Grey - Cyclops," Sinister's machinations, Magneto's transformation, evil clones of heroes (we are waiting for the appearance of Madelyne Pryor), and mutants playing basketball may be fascinating, but the wonderful era of innocence has long passed, along with the charm of old silly animation that adorned our childhood memories.
