The Superhero Registration Act introduced in Civil War requires any person in the United States with superhuman abilities to register with the federal government as a "human weapon of mass destruction," reveal their true identity to the authorities, and undergo training. Those who register may work for S.H.I.E.L.D., earning a salary and benefits like other American civil servants.

Characters within the superhero community in the Marvel Universe split into two groups: one advocating the registration as a responsible obligation, and the other opposing the law on the grounds that it violates civil liberties and the protection that secret identities provide. While arguing with Iron Man about the law, Luke Cage (previously the second Power Man), an African American, compares the mandatory registration to slavery.[4] A number of villains also choose one side or the other.


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Public opinion turns against superhumans. Even the inactive members of the New Warriors are branded as "baby killers". Hindsight (desperate to distance himself from the team) releases their secret identities online, and several are attacked. She-Hulk forces Hindsight to shut down the site, and Hindsight is arrested by John Jameson. Angry civilians attack the Human Torch outside a club after he cuts the line and arrogantly delivers the quip, "Tell you what, gorgeous: next time you save the world from Galactus, you can borrow my free pass, 'kay?"

There are more than a dozen major characters and another dozen minor ones, including Black Panther (Chadwick Boseman) and Spider-Man (Tom Holland), all running, flying, stomping and blasting through a long, lumpy story inspired by the 2006 Civil War graphic novel arc. Thematically, it's potluck. Like "Avengers: The Age of Ultron," "Captain America: The Winter Soldier" and "Iron Man 3," "Civil War" is simultaneously about the ramifications of US intervention in a post-9/11 world; the responsibility of private military contractors (which is basically what the Avengers are here) to defer to their government and the United Nations; the question of whether civilian casualties negate the righteousness of a noble mission; the allure and price of vengeance; and individuals' ongoing, never-finished struggles to understand how their pasts drive their present-tense actions. (Several characters confess that they act from compulsion and then find ways to rationalize it.)

CAPTAIN AMERICA: CIVIL WAR opens with a fight between a crew of Avengers led by Steve Rogers -- aka Captain America (Chris Evans) -- and heavily armed mercenaries in Lagos, Nigeria, that ends up causing unexpected civilian deaths. Back home, Tony Stark/Iron Man (Robert Downey Jr.) calls upon Cap, Natasha/Black Widow (Scarlett Johansson), Rhodes (Don Cheadle), Sam/Falcon (Anthony Mackie), Vision (Paul Bettany), and Wanda/Scarlet Witch (Elizabeth Olsen) to sign an international accord that would limit the Avengers' authority and allow them only to act at the behest of the Secretary of State and a global task force. Tony thinks it's the right thing to do, as do Rhodey and Vision, but Cap disagrees. When an assassin detonates a bomb at the United Nations, where the accords were to be signed, the culprit seems to be Bucky Barnes/the Winter Soldier (Sebastian Stan) -- Cap's dear old friend. One of the casualties was the King of Wakanda; his son, Prince T'Challa (Chadwick Boseman), believes it's his duty to seek vengeance and emerges as the Black Panther. Unwilling to turn Bucky over to be arrested without learning more about what happened, Cap enlists his side to go against the accords and protect Bucky. Ultimately, Cap and Tony engage in an Avengers civil war, with old friends taking sides, and new allies -- like Ant Man (Paul Rudd) and (possible spoiler alert!) Spider-Man (Tom Holland) -- joining the fray.

As for the new additions, Boseman and Holland are fabulous as the Black Panther (the closest thing the Marvel universe has to Batman) and Spider-Man respectively. Peter Parker is for once played by an actual teen -- funny, nerdy, and in awe of his much more experienced fellow superheroes. In the big "civil war" fight scene, Peter prattles on, asking questions about everyone's suits and shield and abilities in a hilarious way. Meanwhile, Boseman is cool and fierce, believably a prince and a protector at the same time. There are small touches that reveal the deep bonds between this crew, like when Vision sweetly tells Wanda that he wants the world to see her as he does, not as a threat, or when Natasha asks Clint (Jeremy Renner), "we're still friends right?" We all know, no matter what side they might take in a particular argument, they're clearly still besties. Marvel might be churning these movies out at an incredible pace, but the quality and the depth in the Captain America movies in particular shows what's best about this superhero saga.

With the Accords in place, the Avengers would be beholden to the government, and because of past damage, the UN might decide to not let the Avengers fight a future conflict. If the conflict is big enough (or cosmic enough), this could lead to the government being in over their heads, and a lot of civilians getting hurt or killed. The UN having this kind of hold on a group of superheroes means that they decide which conflicts are worth having superheroes intervene in, and Steve doesn't believe that they should be able to make that call.

The most significant moment in She-Hulk: Attorney at Law's penultimate episode on Disney+ was the return of Matt Murdock. Not because fans got Daredevil, but because during his legal battle with Jennifer Walters, the Man Without Fear revealed that Captain America won the MCU civil war. She-Hulk Season 1, Episode 8, "Ribbit and Rip It" thus changed the Marvel Cinematic Universe.

The September 11, 2001, terrorist attacks on the United States caused nationwide hysteria over issues of national security, domestic terrorism, and civil liberties. The US government addressed these issues by passing the PATRIOT Act and launching a full-scale war against terrorism and its supporters, while citizens in many parts of the country "erected spontaneous memorials consisting of candles, flags, and posters of missing people." However, the prevailing atmosphere of grief and distress soon gave way to sentiments of nationalism, patriotism, and American heroism. While this response was reflected in many pop-culture products of the time, perhaps no format was better suited to portraying "heroism" than comic books. In fact, the regular storylines of comics like Captain America and Spider-Man were temporarily suspended and 9/11 dominated the next few issues. These issues discussed the superheroes' inability to stop the attacks and asked whether superheroes could still protect society in the twenty-first century. This trauma was revisited when Marvel comics produced the multivolume, crossover superhero storyline Civil War over a period of roughly one year between 2006 and 2007. The Civil War plot, while demonstrating similarities to events that took place around September 11, was crafted as an allegorical treatment of the American Civil War and the terrorist attacks addressing contentious post-9/11 debates over national security and civil liberties. In particular, the series critiqued the American hyper-nationalism of the time by portraying Captain America's alienation from American patriotic ideology, which had previously been his character's foundation. be457b7860

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