In the grand cosmic calendar of the cinematic universe, the Marvel Cinematic Universe – MCU, if you’re hip with the lingo – has seen its zenith. Now in its salad days of sequels, spin-offs, and interstellar shenanigans, the sheen of novelty has worn thin, and it’s grappling with some harsh realities of its own making.Born in the turbulent times of 2008 – a year of crises, both financial and superheroic – the MCU led the way in interweaving multiple film and TV narratives into a grand tapestry of capes, quips, and hulking green rage-monsters. Warner Bros., owners of those equally famed spandex-clad individuals, DC, and Sony, with its tentacled grasp on Spider-Man’s universe, soon hopped onto the cinematic universe bandwagon. However, come on to the 2020s and the rosy flush of the MCU’s seemingly infallible moneymaking model has been served a harsh reality check.

It’s enough to make any fan shed a tear into their limited-edition Hulk Ben & Jerry’s. We’re talking audiences grumbling impatiently at the sudden scarcity of self-contained narratives and the ever-complicating web of interconnected storylines. The burning ember of the COVID-19 pandemic took a sledgehammer to the momentum of Phase Four that followed The Infinity Saga. But do not be fooled – the pandemic is only the capstone to a great crumbling monument of disappointment.

Take a step back in time to the halcyon 1940s’ heyday of Marvel Comics, and you will see an uncanny mirror image of the current MCU narrative conundrum. Then, a melodrama of intertwining storylines was evolving, a choose-your-own-adventure narrative odyssey, which becoming increasingly convoluted. Fast-forward to the 1990s, and Marvel shot out comic titles like candy from a broken piñata, attempting to lure naive buyers into a speculative purchase frenzy, only to bring about a calamitous industry crash.

Slide the reel forward to the present day, and the MCU seems to be replaying this same tired script. Oversaturated with crossovers, crammed with sub-plots from previous films or shows, the supposed ensemble is starting to sound ironically more monotonous. Each film appears to be yet another cog in an unseen and mysterious Thanos story machine, echoing the serialized form of comic book chapters.

In the beginning, there was quality control; each new project was given breathing space and time for story and character development. But the latest slew of TV shows and movies coming out with breakneck speed has resulted in haphazard glue-pot narratives, barely capable of keeping the overambitious jigsaw puzzle together, let alone entice an audience.

Once, crossovers were the cherry atop the Marvel sundae; now, they are as essential as sprinkles on the icing. Crossing paths was a novelty when there were fewer projects. But by the time Phase Four rolled around, the MCU had started to resemble a crowded comic con convention with everyone dressing their favorite characters in the wrong costumes.

Moreover, the focus on constant crossovers has resulted in the writing quality dipping faster than Thor’s hammer in a duel. From She-Hulk: Attorney at Law’s failed attempt at a legal dramedy to Secret Invasion, a hard-boiled espionage thriller gone soggy, the effect is dilution rather than expansion. Even when MCU does manage to churn out serious humor-infused content like Ant-Man and the Wasp: Quantumania or the breezy treat that is The Marvels, the audiences’ expectations are now as low as the chances of Loki keeping a promise.

But fret not, faithful fan, this isn’t the end. No, siree. The solution might lie in the old ways. We’re talking trilogies, ladies and gentlemen. The old X-Men trilogy or the Sam Raimi Spider-Man series, both of which danced the fine line of self-contained narratives and continuous storytelling. There was no homework, just pure, undiluted entertainment.

Capitalizing on the popularity of Avengers-style blockbusters while creating breathing space for more narratives may balance the equation. The MCU needs to pause, rewind and revisit its roots for a fresh take. After all, no one wants to study for entertainment, especially not if it’s for a super-powered algebra of how Captain Marvel fits with WandaVision. Superhero fatigue might not signal the impending doom of a genre, but it does indicate a yawn at repetition.

The Marvel Cinematic Universe might not be a disaster. Still, it’s undoubtedly at a crossroads where it needs to decide whether to plow forward with its current unmistakably shaky model or retrace its steps back to a more solid ground. And as far as the competitive market for superhero sagas goes, it’s not over until a caped crusader sings.