This article contains spoilers for "Marvel Thunderbolt".

It is not uncommon for the film "Marvel Cinematic Universe" to have a vague theme. "Captain America: The Winter Soldier" (2014) is a spy thriller with superheroes. "Ant-Man" (2015) is a Heist movie with superheroes. "Spider-Man: Homecoming" (2017) is a high school film with ... well, you get the idea. Anyway, one thing is to play with the aesthetic specific genre, and completely another to be Really for something.

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From his first scene, director Akeejk Schreier's "Marvel" shows that he intends to be submitted in that last category. "Thunderstorms*" is a surprisingly mature emotional stroke of the intestines During the entire period, and while there are enough costumed characters to guarantee its inclusion in the superhero genre, he shows the viewer with heavy threads. Of course, the film has its predictable moments, such as the strong telegraph "twist" Taskmaster of Olga Kurilenko dies early in the movie. However, its fades on the shaded side of American politics are sharper than everything Secure and forgotten "Captain America: Brave New World" He has to offer, and his moments of friendship rival to some of the brightest moments MCC produced. However, the comprehensive theme of the film is far more complex than any of it: mental health.

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Yes, "Thunder*" is everything for mental health in general, making a strong allegory of depression in particular. In the first scene, Jelena "Black Widow" Belova (Florence Pug) takes over a high -highest CIA mission, while her story is trying to articulate mental health problems that leave her by draining a sense of emptiness. The film continues to make this central theme for many other main characters, too. This includes the powerful antagonist of the film, The Void, which is an effective physical manifestation of the lifelong, deep depression of Robert "Bob" Reynolds (Louis Pulman).

All thunder members have their own problems, but the true masterful blow of the film is Bob - aka Sentiri of Marvel, the villain "Thunderbolt*" Which is more than it fills the eye. The film is slowly revealing this mysterious survivor of the Sentiri project experiments to have serious mental health problems, which at least partly derive from a terrible, offensive childhood and are intensified by substance abuse. This left him seriously haunted by the inner darkness that named the Bob-shaped gap, which is manifested on depression.

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When Bob is subjected to the treatment of sentries and receives the superpowers of the game, the gap also becomes stronger. Before appearing, his presence is felt when Jelena, Johnon Walker (Wyatt Russell) and Valentina Allegra De Fontein (Ieuli Louis-Dreyfus) all experience visions of their worst memories of physical contact with Bob. This proved to be a key component of depressed coded modus operands: it turns people into two -dimensional black spots, leaving them trapped in a maze of their worst memories, while insisting they are meaningless.

Accordingly, the culmination of the film is an allegory of healing. Since there is no way to physically beat the gap, Jelena and others deliberately enter her dark area of ​​effect and move through their darkest memories. After returning and reaching the worst memory of Bob - the lab in which the physical incarnation of the gap appeared - they help Bob beat his internal darkness with positive beliefs. It's not every day when you watch a MCU movie where a large group of hugs saves the day, but after the film has spent so much of its duration, exploring the destructive toll behavior, has taken the mental health of its characters, it is an incredibly convenient choice.

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Antagonist as a "gap" allows the film to explore the psyche of his characters in a way that is quite unprecedented in the genre of superhero. With a combination of voids and dialogue in the real world, we learn that Walker, a self-written big husband and father who complements him, is the ball of shame and regret that he barely holds together after his wife left him in his fall to Captain America at "Sokol and the Winter Soldier". Later, Val's vision shows that her father was shot dead by a threatening figure accusing Val's father of being too confident and declaring that he would take care of Val. This goes a long way to explain how Val has become such an attractive and relentless figure-and it is a low key that says that this event in the form of life is its worst memory.

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Jelena's story gets the greatest mileage from the traps of the emptiness memory. The two different picks in the terrible training of the Black Widow she was subjected to in the red room when she was just a child illustrating her sense of gap and the huge feeling that she had done more evil than she could really gather. This, by the way, is something she shares with her dear sister Natasha (Scarlett Johansson), who referred to the sensation as "red on her book".

Even characters without gaps retrospective attract attention to their varied problems with mental health. For example, the red guardian (David Harbor) may be a comic-casting, but he has serious problems with self-esteem, the heart-to-end of the game, revealing that his Slovenian self-insulation is at least partly because he did not believe that he needed Jelena.

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Let's be fair, "Thunder*" is not the only time MCC has been calling for such deep things. Baki Burns's difficult past (Sebastian Stan), since the Super Washy Brain Soldier is enough at the moment that he does not attract much attention in this film. However, "Thunderbolts*" cares to call his traumatic history and show that he is on the same page as other characters, to the point that he is one of the most intuious team members in accepting a climate group that allows Bob to realize that he is not alone and returning the gap. Baki knows what he is. Also, the traumatic lab of Ghost's (Johna Johnon-Kamen) past and the feeling of isolation that comes with her special set of power were the key points of conspiracy at Ant-Man and Vasp, so they are only briefly discussed here ... but the film devotes a few moments to her slow-to-be-life.

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"Thunderbolts*" is not the only recent MCU film that devotes itself to a particular concept. By its nature, "Black Panther: Wakanda forever" is to move forward after the devastating loss. "Guardians of Galaxy Tom 3" brings a message of how compassion and kindness (or lack of them) can affect humans. However, no movie has the same focus on the laser level of a specific allegory that has "Thunderbaltes*"-to the point that when the thunder finally learn to manage their different problems by being there for each other, the film right away Promotes them to *new vengies.