The Soul Stone Is the Worst Stone
Was this really the only way to end Avengers: Endgame? Apparently so.
“Space, Reality, Power, Soul, Mind, and Time.” According to Dr. Strange, these are the six elemental powers that control the flow of the Marvel Cinematic Universe. After Thanos uses the stones to eradicate half of the world, the remaining Avengers and heroes instigate a time heist to retrieve the elements before Thanos and resurrect their loved ones. From a narrative perspective, the time heist offers a valuable opportunity for characters to face their past mistakes and complete their arcs. The time heist also rewards Marvel aficionados by referencing fan-favorite moments from past films.
However, there is one stone that doesn’t follow this pattern: the Soul stone. Its implications and impact on the narrative is messy, especially compared to the other stones.
Gamora’s Death
While Gamora’s death itself cannot constitute “sloppy writing,” the writers disrespect her character and potential. In Guardians of the Galaxy, we are first introduced to the “Most Dangerous Woman in the Galaxy” as a vengeful assassin. Every time Gamora appears on the silver screen, she reiterates that she wants to bring Thanos to justice. After almost three movies of resentful banter against Thanos and a growing fanbase of Marvel fans rooting from the movie theaters, Thanos quickly shoves Gamora off a cliff in exchange for the Soul stone in Avengers: Infinity War.
Gamora never has the chance to fulfill her only goal within the franchise. Every time she is on-screen with Thanos, she is humiliatingly defeated within mere seconds. Gamora doesn’t even have a fighting chance. Although these instances prove that Thanos is a “really tough supervillain,” it disregards Gamora’s post-Thanos combat training and supposed natural talent as an assassin.
Afterwards, Gamora’s death is barely mentioned. When the audience gets to see its effects on other characters, it either doesn’t make sense or make a difference.
Thanos gets two emotional moments to reflect on Gamora’s death. Although interesting to watch, it doesn’t add any additional depth nor growth to his character. Thanos still believes that genocide is justified if the remaining population can thrive. It doesn’t matter if he is mourning adult Gamora or repenting to baby Gamora: Thanos is still Thanos, with or without Gamora’s death.
Star Lord’s arc suffers from a different problem. Upon learning about Gamora’s untimely demise, Star Lord messes up the Avengers’ plan to kill Thanos, which ultimately serves as the precursor of Avengers: Endgame. The only purpose of Gamora’s death is to fuel Star Lord’s unbridled, masculine rage.
Gamora has been the MCU’s latest victim of “fridging.” Fridging, a term that originated with a Green Lantern comic, is generally used to denote female characters in fiction who are depowered, injured, or killed to move a male character’s story arc forward. Oftentimes, these deaths add little depth to the narrative as a whole. Marginalized characters are not plot devices or fan service, but deserve to be treated as characters in their own right. As comic book writer, Gail Simone, once said “If you demolish most of the characters girls like, then girls won’t read comics. That’s it!”
Think about it: If Gamora was replaced with Star Lord’s Awesome Mix Vol. 1 Cassette tape, would the narrative remain the same? Star Lord would still solicit an intense reaction against Thanos, transpiring the events of Avengers: Endgame. It doesn’t matter that “Gamora” comes back to life because even Loki’s fake-out death was treated with more dignity. When all is said and done, Gamora is objectified and disrespected in her death.
Natasha Romanoff/Black Widow’s Death
If Gamora was disrespected in the Marvel franchise, then Black Widow was completely written off.
Black Widow was first introduced to Marvel Cinematic Universe as a sultry, talented, strong, intelligent, Mary-Sue, Russian spy in Iron Man 2. As Pepper Potts puts it:
“She is from legal, and she is potentially a very expensive sexual harassment lawsuit if you keep ogling her like that.”
Again, while her multi-faceted character isn’t necessarily “bad writing,” the MCU doesn’t give a chance to develop her character beyond her mysterious demeanor and eye-candy persona.
Sure, Romanoff saves the day in Iron Man 2 by hacking Rhodes’ battle armor. Sure, Romanoff recruits Bruce Banner. Sure, Romanoff has a mysterious friendship with Clint Barton. Sure, Romanoff is an active member of the Avengers.
But unlike every other Avenger (with the exception of Clint Barton), we never get to focus on her desires, motivation, goals, or anything else that distinguishes her from the other Avengers.
Until Avengers: Endgame.
Within the first half-hour, Black Widow starts talking sentimentally about the Avengers. The film decides to speed-run Black Widow’s characterization process in order to get the audience to care enough about her eventual death.
After Black Widow sacrifices herself for the Soul Stone, her death is glossed over. The Avengers briefly acknowledge that Black Widow is missing and ask if she had any family. Almost immediately afterwards, Thanos promptly ends the pity party and the final fight begins. At least Gamora’s death had a noticeable effect on the main cast of characters. At best, the Avengers were slightly bummed out by Black Widow’s sacrifice before moving on.
Worse, Black Widow has been an important character in the MCU for a much longer time than Gamora. Theoretically, Black Widow’s death should have more of an emotional impact. After all, Tony Stark’s death was met with an entire ceremony of the Post-Endgame survivors and an entire movie (Spiderman: Far From Home) dedicated to its implications. Black Widow’s death was rushed and brushed off. If the filmmakers were planning to kill Black Widow, they should have released Black Widow before Avengers: Endgame. This could dramatize the emotional impact by getting audiences to “care” about Black Widow without having to rework the script.
Other than her sudden importance in the same movie that features her death, Black Widow acts as a the glue that conveniently patches up plot holes and issues that arise in the narrative. She is rarely treated like a character herself, unless she is under the influence of the male gaze.
Sacrifice to the Soul Stone? No Thanks.
The filmmakers of the MCU could have chosen many different interpretations of the soul stone. Perhaps the soul stone was a test of “worthiness” like Thor’s Mjölnir. Maybe it was a test of friendship or “letting go of past mistakes.” It didn’t even have to be a test at all.
But still, the MCU chose an inevitable roadblock that could only lead to death, thus ending two of the most promising superwomen in the franchise. In respect to the narrative, this sendoff is both tragic and deeply unsatisfying. In respect to diversity in storytelling, Gamora and Black Widow have become the latest victims of a sexist treatment within an industry marketed to the male gaze.
