The Marvels is now running a $22 discount, bringing the movie's ticket price down to $2.38.

《驚奇隊長2》正在實行 22 美元的折扣，使電影票價降至 2.38 美元。

It's been clear for a while now that the once-great Marvel has been slowly crumbling along with Disney's other IPs.

很顯然，曾經偉大的漫威已經和迪士尼的其他 IP 一起慢慢垮掉了。

Disney has lost nearly $1 billion in films in 2023 alone.

迪士尼僅在 2023 年就在電影方面損失了近 10 億美元。

And while over that amount, if we take into consideration, the company's releases towards the end of 2022.

如果我們考慮到該公司在 2022 年底發布的產品，數量就超過了這個數字。

And Disney's dire streak has no end in sight with the Marvels, formerly Captain Marvel Two, said to be their next big release.

迪士尼的可怕勢頭在《驚奇隊長2》中還沒有結數，據說《驚奇隊長2》將是他們的下一個大片。

As of now, all signs are pointing to this movie being the next in a long line of massive flops.

從目前來看，所有跡象都表明，這部電影將是一系列大失敗中的下一部。

And it seems regardless of the unanimously poor reception to recent trailers, the film was doomed to fail from the start because this is a sequel to Captain Marvel, probably one of the most unpopular films amongst the MCU's core audience.

看來，不管最近的預告片反響如何，這部電影從一開始就註定要失敗，因為這是《驚奇隊長》的續集，而《驚奇隊長》可能是最不受漫威宇宙核心觀眾歡迎的電影之一。

I mean, the first Captain Marvel was an early example of Disney's now all too familiar low-effort storytelling in a woke package meant to shield it from the Jessa criticism.

我的意思是，第一部《驚奇隊長》是迪士尼現在非常熟悉的隨便講故事的早期例子，包裝在覺醒主義之下。

And since then, Disney has made this their ammo, despite its critical and commercial acclaim, the first film was extremely controversial amongst fans.

從那時起，迪士尼就將其作為自己的彈藥，儘管第一部電影在評論界和商業上都獲得了好評，但在粉絲中引起了極大的爭議。

With many of them criticizing the character's lack of depth and backstory compared to other heroes in the franchise.

他們中的許多人批評該角色與系列中的其他英雄相比缺乏深度和背景故事。

Carol Danvers, AKA Captain Marvel, is depicted not only as the strongest hero in the MCU, but completely infallible with no discernible physical personality weakness.

卡蘿·丹佛斯，又名驚奇隊長，不僅被描繪成漫威宇宙中最強大的英雄，而且完全正確，沒有明顯的身體性格弱點。

She defeats every enemy with ease and this tends to cause any true conflict to vanish when she's on screen.

她輕鬆地擊敗了每一個敵人，當她出現在銀幕上時，這往往會導致任何真正的衝突消失。

And now this isn't completely unheard of considering Superman's depictions for DC, wich also face similar criticism.

現在考慮到DC對超人的描述，這並非完全聞所未聞，DC也面臨類似的批評。

However, unlike Superman, Captain Marvel suffers from corny girlboss dialogue and abysmal character development that comes along when a woke initiative is put above good storytelling.

然而，與超人不同的是，《驚奇隊長》會遭遇陳腔濫調的女強人對話和糟糕的角色發展，當覺醒主義的主動性凌駕於良好的故事講述之上時，就會出現這種情況。

When writers are too afraid to make the characters vulnerable in any way in order to protect the demographic they represent, the story and the character inevitably suffer.

當編劇為了保護他們所代表的人群而不敢讓角色以任何方式變得脆弱時，故事和角色就不可避免地受到影響。

And although the first film performed well critically and commercially, it was released during a time where superhero film and particularly Marvel films could do no wrong.

儘管第一部電影在評論界和商業上都表現良好，但它是在超級英雄電影，特別是漫威電影不會出錯的時代上映的。

It was also released between the two most popular MCU films of all time and contains story elements that were integral to connecting that story.

它也在有史以來最受歡迎的兩部漫威電影之間發布，並包含連接該故事不可或缺的故事元素。

Fans despite making their opinions heard online were hardly gonna miss it.

儘管粉絲們在網路上表達了自己的意見，但他們幾乎不會錯過它。

So fast forward to now, Marvel fatigue is at an all-time high with Disney forcing out uninspired project after uninspired project.

快進到現在，漫威疲勞達到了歷史最高水平，迪士尼不斷推出一個又一個沒有創意的作品。

And finally, it seems that core Marvel fans are now actually starting to check out, staying home from theaters and canceling the Disney Plus subscriptions.

最後，漫威的核心粉絲現在似乎已經開始退出影院，留在家裡並取消迪士尼+訂閱。

Recent Marvel projects are struggling to reach a fraction of the heights they were reaching five years ago.

最近的漫威作品正在努力達到五年前所達到的高度的一小部分。

And the worst part is Disney seems content with losing business from core Marvel fans, doubling down on these woke flops that pan into non-existent subsections of fans who supposedly care more about being represented than being represented well in a solid story.

最糟糕的是，迪士尼似乎對失去漫威核心粉絲的業務感到滿意，在這些覺醒主義的失敗上加倍下注，這些失敗最終波及了不存在的粉絲群體，他們更關心的是被代表，而不是在一個紮實的故事中得到很好的代表。

Combine this fatigue with the MCU and a version to Captain Marvel as a character with the already countless production setbacks that the Marvels has experienced and we may see one of their biggest cinematic catastrophes yet.

將這種疲勞與漫威宇宙和驚奇隊長這個角色結合起來，加上漫威已經經歷了無數的製作挫折，我們可能會看到他們迄今為止最大的電影災難之一。

Disney knows this and it's clear that Disney is doing everything they can to polish the tur that the Marvels is destined to be.

迪士尼知道這一點，而且很明顯迪士尼正在盡一切努力來完善漫威注定要成為的樣子。

They've already changed the name of the movie and pushed back the release date to spend time and money on reshooting scenes and improving visual effects despite already sinking over $270 million into this movie.

儘管他們已經為這部電影投入了超過 2.7 億美元，但他們已經更改了電影名稱，並延後了上映日期，以花費時間和金錢重新拍攝場景和改進視覺效果。

Not to mention the exceptionally short run time, especially for a Marvel film and it seems they'll have their hands full.

更不用說影片時間特別短，尤其是對於一部漫威電影來說，看來他們會雜亂無章。

Even the film's director is distancing herself from the film before its release, claiming the movie was mostly out of her control and admitting to being confused just like the rest of us by the increasingly muddy, over saturated and seemingly aimless intersecting plot lines of the current MCU.

就連電影導演在上映前也與這部電影保持了距離，聲稱這部電影基本上超出了她的控制範圍，並承認她和我們其他人一樣，被當前日益混亂、過度飽和和看似漫無目的的相互交叉的情節線所困惑。

And even worse, Disney seems to be tone-deaf to the criticism of the cringe comedy scene in recent projects.

更糟糕的是，迪士尼似乎對最近作品中令人尷尬的喜劇場景的批評充耳不聞。

I'm talking about things like She-Hulk and Miss Marvel touting the Marvels as being more wacky and silly than other MCU movies.

我說的是《律師女浩克》和《驚奇少女》，他們被稱作比其他漫威電影更古怪、更愚蠢。

And we can see by recent trailers for the Marvels that fan criticism has indeed fallen on deaf ears and that Disney has contempt for its core fans and that anyone who seeks to criticize recent projects like She-Hulk and Miss Marvel are simply being misogynistic and politically incorrect.

從最近的《驚奇隊長2》預告片中我們可以看到，粉絲的批評確實被置若罔聞，迪士尼對其核心粉絲表示蔑視，任何試圖批評《律師女浩克》和《驚奇少女》等近期作品的人都只是厭惡女性和政治不正確。

And based on what we've seen, The Marvels is leaning into the cringe writing deathless characters and empty storytelling that fans have been rejecting for years.

根據我們所看到的情況，漫威正傾向於寫不死的角色和空洞的故事敘述，而這是粉絲們多年來一直拒絕的。

Not only that, Disney added lead roles for characters from wildly unsuccessful Marvel projects that nobody watched or cared about, presumably in an effort to diversify the cast.

不僅如此，迪士尼還為那些極其不成功的漫威項目中的角色增加了主角，但沒有人觀看或關心，大概是為了使演員陣容多樣化。

Now don't get me wrong here. Female-led and diverse films can be great for Hollywood.

別誤會我的意思。女性主導的多元化電影對好萊塢來說是件好事。

In an industry where the underrepresentation and misrepresentation of minority groups has always been a problem.

在這個行業中，少數群體的代表性不足和扭曲一直是一個問題。

More of these films needed and they even proven to have the capacity to be successful amongst white male audiences.

我們需要更多這樣的電影，它們甚至被證明有能力在白人男性觀眾中獲得成功。

Look no further than Barbie for a recent example of a female-led and directed film that successfully appealed to the masses or whilst telling a story that captivated audience, making over a billion at the box office.

最近一部由女性主導和執導的電影成功地吸引了大眾，或者講述了一個吸引觀眾的故事，票房收入超過十億，《芭比娃娃》就是一個例子。

And over the years, you can point to films like the original Black Panther, Crazy Rich Asians and Cocoa, which all made plenty of money at the box office while still being able to tell rich stories with characters who have depth.

多年來，你可以提到像原版《黑豹》、《瘋狂亞洲富豪》和《可可夜總會》這樣的電影，這些電影都在票房上賺了很多錢，同時仍然能夠透過有深度的角色講述豐富的故事。

Not to mention all of the Oscar-nominated films with nonwhite and non-male lead in recent years.

更不用說近年來所有由非白人和非男性主演的奧斯卡提名電影了。

Effective representation can be accomplished in a way that doesn't feel like mere pandering, but only if the creators care enough to put the effort in.

有效的表現可以透過一種不只是迎合的方式來實現，但前提是創作者足夠關心並付出努力。

Instead, Disney continuously checks the boxes of representation without putting the necessary resources into the stories their casts are attached to,

相反，迪士尼不斷地檢查代表性的框架，而不將必要的資源投入到他們的演員所附加的故事中，

doing it more for investment funds and looking great politically rather than trying to tell a good story.

更多地是為了投資基金，並在看起來政治正確，而不是試圖講述一個好故事。

And by tethering actors from underrepresented groups, the stories that are terrible.

透過將來自代表性不足的群體的演員束縛起來，故事變得很糟糕。

Disney isn't actually doing these groups any favors either.

迪士尼實際上也沒有幫這些群體什麼忙。

In fact, they're probably actually hurting these groups.

事實上，他們很可能正在害這些群體。

These actors are now becoming a lightning rod for inevitable online backlash surrounding disappointing release after disappointing release for beloved franchises.

這些演員現在正成為不可避免的網路反彈的避雷針，圍繞著令人喜愛的系列電影令人失望的上映。

Now it is always easy to blame the woke agenda and racial casting for the problems that actually have to do with exceptionally lazy storytelling and it sets back any real progress that Hollywood is supposed to be hoping to make, to be inclusive.

人們總是很容易將問題歸咎於覺醒的議程和種族選角，而這些問題實際上與極其懶惰的講故事有關，這阻礙了好萊塢本應希望取得的真正進步，即包容性。

Ultimately, Hollywood just needs to tell good stories.

歸根結底，好萊塢只需要講好故事。

But when these big studios are doing this for the investment scores from BlackRock and Vanguard, when they're doing it to appease their corporate shareholders, it seems like this is an impossible fee for them.

但當這些大電影公司這樣做是為了獲得貝萊德集團和先鋒集團的投資時，當他們這樣做是為了安撫公司股東時，這對他們來說似乎是不可能的費用。

Hollywood can have more diverse casts.

好萊塢的演員陣容可以更加多元化沒有錯。

This isn't the full problem here, but the stories need to be good enough to effectively platform their talents in order for it to matter.

這並不是問題的全部，但故事必須足夠精彩，才能有效地展示他們的才華。

And if you don't believe me, just take a look at Marvel's philosophy on writing in recent years, especially when it comes to their TV series on Disney Plus, where it is revealed that MCU shows have completely done away with showrunners.

如果你不信，看看漫威近年來的寫作理念就知道了，尤其是他們在迪士尼 Plus 上播出的電視劇，據透露，漫威的節目已經完全取消了製片人的職位。

And if you don't know what a showrunner does, they typically come from a writing background and oversee all creative aspects of a series, maintaining a cohesive vision across multiple episodes of the same series, they effectively run the show.

如果你不知道製片人是做什麼的，他們通常有寫作背景，負責監督劇集的所有創意方面，在同一集的多個劇集中保持有凝聚力的願景，他們有效地管理節目。

And Disney has chosen to do away with this position on recent projects in an effort to save money.

而迪士尼為了節省開支，在最近的作品中選擇了放棄這個職位。

And as we've already covered, their recent stories have suffered immensely, being criticized for their pacing, their cohesion and their overall tone, most of their movies now just feel like woke pandering where you get lectured when you want to be entertained.

正如我們已經介紹過的，他們最近的故事受到了極大的影響，在節奏、連貫性和整體基調上都受到了責備，現在他們的大多數電影都讓人感覺像是在慫恿你，讓你在想娛樂的時候被說教。

And it's this philosophy on cutting costs when it comes to the creative behind their projects that is translating into their recent films.

當涉及到項目背後的創意時，這種削減成本的概念正在轉化為他們最近的電影。

Instead of recruiting experienced directors or screenwriters at the top of their game, Marvel seems content on investing in unproven and inexperienced writers with minimal credits to their name.

漫威似乎不招募經驗豐富的頂尖導演或編劇，而是滿足於投資那些未經證實、缺乏經驗、功勞的編劇。

And this wouldn't be a problem if Disney was willing to offer them the support they need once the project starts.

如果迪士尼願意在項目啟動後為他們提供所需的支持，這就不是問題。

But the Marvels doesn't mark the first time a director has expressed their veiled frustration with a lack of control or lack of discernible vision from executives on a Disney project.

不過，《驚奇隊長2》並不是第一次有導演對迪士尼項目缺乏控制力或高管缺乏明確的願景表示隱晦的不滿。

And as a result, the differences between modern Marvel projects and the Marvel projects of yesteryear are night and day to audiences now, but it never used to be this way.

因此，現在的漫威作品與過去的漫威作品之間的差異對於現在的觀眾來說是日夜不停的，但以前從來沒有這樣過。

In fact, to understand how Marvel even came up with the awful idea of the Marvels, we need to understand the MCU at its core and what made it so successful.

事實上，要了解漫威是如何想出漫威這個可怕的想法的，我們需要了解漫威的核心以及是什麼讓它如此成功。

And it's kind of a tragic story.

這是一個悲劇性的故事。

You see the genesis of the MCU was marked by Iron Man in 2008, a film that not only breathed new life into Robert Downey Junior's career, but also laid the foundational stone for Ward Burgeon into a cinematic colossus.

你看，漫威宇宙的起源以2008 年的《鋼鐵人》為標誌，這部電影不僅為小勞勃道尼的職業生涯注入了新的活力，也為沃德·伯金成為電影巨人奠定了基石。

The idea of interconnected storytelling across multiple movies was a gamble that paid off extremely well, captivating audiences worldwide.

跨多部電影講述相互關聯的故事的想法是一場賭博，回報非常豐厚，吸引了全世界的觀眾。

The subsequent releases leading up to the monumental of the Avengers in 2012 were incredibly well-received and heralded a new era of blockbuster filmmaking.

2012 年上映的《復仇者聯盟》的後續上映獲得了令人難以置信的好評，預示著大片電影製作的新時代的到來。

The phenomenon of the Avengers showcased the potential of a shared universe on a grand scale, both critically and commercially, cementing the MCU status as formidable force in the entertainment industry.

復仇者聯盟的現像級討論和商業上都展示了大規模共享宇宙的潛力，鞏固了漫威宇宙作為娛樂產業強大力量的地位。

And then the following era from 2013 to 2018 can be termed as the golden era of the MCU, where Marvel had gem after gem, gold after gold, new pinnacles of success with films like Guardians of the Galaxy, Black Panther and Avengers Infinity War.

接下來的2013年到2018年可以說是漫威電影宇宙的黃金時代，漫威電影層出不窮，金子接連不斷，《星際異攻隊》、《黑豹》、《復仇者聯盟3：無限之戰》等電影都取得了新的成功。

These films were not merely commercial juggernauts but were also praised for their compelling storytelling.

這些電影不僅是商業巨頭，還因其引人入勝的故事情節而受到讚譽。

Nuance character development in cultural renaissance, Black Panther was a milestone, receiving praise in a good way for its progressivism.

《黑豹》在文化復興中的細微角色發展方面是一個里程碑，因其進步主義而受到好評。

Actually exploring African culture and identity, effectively proving that diversity and representation could be achieved without being sanctimonious, preachy and compromising on the storytelling quality.

實際探索非洲文化和身份，有效證明可以在不道貌岸然、說教和犧牲講故事品質的情況下實現多樣性和代表性。

However, the post-2019 phase following the climax of Avengers Endgame marked a transitional period for the MCU as it ventured into uncharted territories with new characters and story arcs.

然而，《復仇者聯盟4：終局之戰》高潮之後的 2019 年後階段標誌著漫威宇宙的過渡期，因為它以新的角色和故事情節冒險進入未知領域。

While films like Spiderman: Far From Home continue to charm audiences,

雖然《蜘蛛人：離家日》等電影繼續吸引觀眾，

others like Captain Marvel received mixed reviews with critics often targeting this perceived lack of depth and storytelling and character development.

其他像《驚奇隊長》這樣的影片收到的評價褒貶不一，評論家通常針對的是缺乏深度、故事講述和角色發展的缺乏。

Not to mention the woke nonsense virtue signaling.

更不用說覺醒主義的廢話美德訊號了。

This period also witnessed Marvel's ambitious foray into television with series like She-Hulk, one of the worst TV shows ever made in history.

這段時期也見證了漫威雄心勃勃地進軍電視領域，推出了《女律師浩克》等系列劇，這是史上最糟糕的電視節目之一。

And people started to hate on the MCU for this stuff.

人們開始因為這些東西討厭漫威宇宙。

It was garbage, people laughed it and mocked it.

這是垃圾，人們嘲笑它，譏諷它。

It was a joke and it's only got worse from there.

這簡直是個笑話，後來情況越來越糟。

And that's where we are today with the next upcoming release, The Marvels, which is a far cry from the origins of the MCU.

這就是我們今天即將上映的《驚奇隊長2》的情況，它與漫威宇宙的起源相去甚遠。

The high standards set by earlier films seems to be completely decimated with awful storytelling and shallow character development.

早期電影設定的高標準似乎因糟糕的故事講述和膚淺的角色發展而被徹底摧毀。

Going from creative genius and compelling storytelling to a more formulaic and pandering approach, marking a significant departure from the MCU's earlier ethos that balanced representation with robust storytelling.

從創造性的天才和引人入勝的故事講述到更加公式化和迎合的方法，標誌著與漫威電影宇宙早期平衡表現與強大故事講述的精神的重大背離。

And Marvel's current strategy, as exemplified by the Marvels stands in stark contrast to other flourishing franchises that have successfully managed to either maintain or boast their audience base over time.

以《驚奇隊長2》為代表的漫威目前的策略與其他蓬勃發展的特許經營權形成鮮明對比，這些特許經營權隨著時間的推移成功地維持或誇耀了自己的觀眾基礎。

As I mentioned earlier, people love that Marvel films were so interconnected as it would always create a sense of anticipation and engagement amongst audiences.

正如我之前提到的，人們喜歡漫威電影的相互關聯性，因為它總是能在觀眾中產生一種期待和參與感。

Whereas other franchises doing the similar sort of thing like Christopher Nolan's Dark Knight Trilogy maintained a very tight narrative focus within a self-contained universe, which works extremely well with everyone loving the storytelling depth and complexity and Marvel's emphasis on evolving character arcs was just like many other successful franchises like the Harry Potter series.

而其他系列做類似的事情，如克里斯多福諾蘭的《黑暗騎士三部曲》，在獨立的宇宙中保持了非常嚴格的敘事焦點，這對於每個喜歡講故事的深度和複雜性的人來說都非常適合，而漫威對不斷發展的角色弧線的強調就像許多其他成功的特許經營權，例如哈利波特系列。

However, recently Marvel's new endeavors seem to veer towards a more superficial portrayal of characters, failing to ever delve into the complexities that wants to find its heroes and antiheroes.

然而，最近漫威的新努力似乎轉向了對角色的更膚淺的描繪，未能深入研究英雄和反英雄的複雜性。

And you can really see this comparing Marvel to other franchises today.

將漫威與當今的其他系列進行比較，你確實可以看到這一點。

In the past, Marvel would always stand head-to-toe with other franchises like Harry Potter and the Dark Knight Trilogy.

過去，漫威總是能與《哈利波特》與《黑闇騎士三部曲》等其他系列電影正面交鋒。

But today, it's completely different.

但今天，情況完全不同了。

For instance, the stand-alone film, the Joker in 2019, completely broke conventional superhero modes, exploring a dark character-driven narrative that became one of the best films of the year with an incredibly powerful message, a deep, complicated character and a story that everyone could get behind.

例如，2019 年的獨立電影《小丑》完全打破了傳統的超級英雄模式，探索了以角色為主導的黑暗敘事，憑藉令人難以置信的強大信息、深刻而複雜的角色和每個人都可以支持的故事。

It was a cultural relic, completely exemplifying the zeitgeist from that year.

這是一個文物，完全體現了當年的時代精神。

Similarly, the Mandalorian from the Star Wars franchise showcased a blend of episodic storytelling with overarching narrative threads rekindling interest and acclaim for the franchise.

同樣，《星際大戰》系列中的曼達洛人展示了情境故事與整體敘事線索的融合，重新點燃了對該系列的興趣和讚譽。

But what do we have with Marvel? More rehashed, woke garbage that nobody cares about.

但漫威給我們什麼呢？ 只有更多的換湯不換藥，沒有人在乎的覺醒主義。

There is no deeper message.

沒有更深度的內容。

There is no deeper meaning, there is nothing of substance worth watching here.

沒有更深層的意義，沒有什麼值得一看的實質內容。

It's all just a bland spectacle with Marvel today.

現在的漫威作品一切都是平淡無奇的。

There is no innovation.

沒有創新。

They got too comfortable with the trite they were pushing.

他們太喜歡老生常談了。

There is no creative control for the filmmakers.

電影製片人沒有創意控制權。

All the creators of these Marvel films are so frustrated by the restrictions put on them by Disney and without fostering originality and quality storytelling, Marvel is going down a horrible pit.

這些漫威電影的所有創作者都對迪士尼施加的限制感到非常沮喪，如果不培養原創性和高品質的故事講述，漫威就會陷入一個可怕的深淵。

So when we wonder what's happened to Marvel, why the quality has slipped so badly, it all really boils down to Disney misallocating their resources and a lack of investment in creative, more so in woke lecturing.

因此，當我們想知道漫威發生了什麼事，為什麼品質下滑得如此嚴重時，這一切實際上都可以歸結為迪士尼資源分配不當以及缺乏對創意的投資，尤其是在覺醒主義講座方面。

And so it seems like they just use their diverse casts and their political messaging to be a shield for them.

因此，他們似乎只是利用多元化的演員陣容和政治訊息來保護自己。

So when they're called out for poor storytelling, they can just point to bigotry as the reason and ultimately use minority actors and directors as a shield for criticism.

因此，當他們因講故事不佳而被指責時，他們只能指出偏執是原因，並最終利用少數族裔演員和導演作為批評的盾牌。

The valid criticism of their cost-cutting and creative and overall poor strategy and perhaps even worse recent Marvel projects in the vein of the Marvels tend to adopt dialogue and see as that alienate and antagonize the majority of the IP's core audience, which again creates an environment where the actors in these films are set up to fail.

對他們的成本削減、創意和整體糟糕策略的有效批評，甚至可能更糟的是，最近的漫威項目傾向於採用對話，並認為這會疏遠和對抗大多數IP 的核心觀眾，這再次創造了這些電影中的演員注定要失敗的環境。

It's clear that Disney could care less by promoting diverse and female driven stories and casts, all they care about is their own image.

很明顯，迪士尼可以透過推廣多元化和女性驅動的故事和演員陣容來不在乎，他們只關心自己的形象。

It's all fake, it's all a facade.

都是假的，都是裝出來的。

And ultimately, when all is said and done a movie that's good and appeals to its core audience tends to avoid criticism and their cast going to thrive.

歸根結底，一部吸引核心觀眾的好電影往往不會受到責備，其演員也會茁壯成長。

But the Marvels will clearly be one of the worst movies made.

但《驚奇隊長2》顯然會成為最糟糕的電影之一。

The only hope now for fans of the M U is that it will be the straw that breaks the camel's back.

對於漫威宇宙的粉絲來說，現在唯一的希望就是它能成為壓倒駱駝的稻草。

A corporation that Disney can only willingly lose money for so long. After over a year of continuous flops, movies like the Marvels will go away.

迪士尼是一家只能心甘情願虧損這麼久的公司。 經過一年多的連續失敗，像漫威這樣的電影將會消失。

And if Disney learns a lesson from their failures in 2022 and 2023, it's that if they start investing in story again, instead of focusing on pandering to allow a minority of people online, people will watch their movies.

如果迪士尼從 2022 年和 2023 年的失敗中吸取教訓，那就是，如果他們再次開始投資故事，而不是專注於迎合少數人上網，人們就會觀看他們的電影。

And this doesn't mean they have to do away with the diverse cast of female leads.

這並不意味著他們必須取消女性主角的多元化陣容。

All they have to do is give these casts stories and characters that can help them shine.

他們所要做的就是賦予這些演員故事和角色，幫助他們發光發熱。