Which MCU Hero Teams Up Best With 'Ben Tennyson In The MCU'?

Curiously, I like lining up numbers and stories — and when I put Jay Cutler and Ben Roethlisberger side-by-side, the headline is pretty clear: Ben built a bigger pile of money. Jay’s net worth is generally put in the ballpark of around $35–45 million, which reflects a solid NFL career, some endorsement checks, and a lifestyle that’s been public and comfortable. I think people sometimes undervalue how much Jay parlayed his name into media moments and off-field income too. Ben, on the other hand, usually shows up with a larger estimate — roughly in the $70–90 million range depending on the source. That gap makes sense once you unpack it: Ben had a longer run as a franchise QB, more big contract years, and postseason runs that drive legacy pay and post-career opportunities. Plus, longer tenure often means bigger pension and more lucrative local endorsements. So yeah, if I had to sum it as a fan with a spreadsheet in my head: both are wealthy former quarterbacks who live well, but Ben’s career length and contract history almost certainly pushed his net worth appreciably higher than Jay’s — and that’s the angle that sticks with me.

what fascinates me most is how practical Hydra's cruelty was. They didn't control Bucky for some abstract reason — he was a walking weapon: trained in combat, physically strong, and loyal to missions when they stripped him of his past. After the train fall they captured him, patched him up with a metal arm, erased chunks of memory, and rewired him to become a covert asset that answered to their cues. This made him a perfect assassin for decades. Hydra's goals were cold and strategic. By using cryo-stasis between jobs they extended his life and kept him fresh, and by programming trigger words and routines they guaranteed obedience without leaving a paper trail. On top of that, their deeper plan — hinted at through Arnim Zola's files and the way they embedded into institutions — was to have tools like Bucky carry out deniable operations. That way, destabilization, targeted killings, and the undermining of organizations like S.H.I.E.L.D. could all happen without Hydra revealing itself. Watching Steve confront that reality in 'Captain America: The Winter Soldier' and later seeing Bucky try to heal in 'The Falcon and the Winter Soldier' is what makes the whole thing so effective; it's not just spycraft, it's tragedy, and that mix is why it stays with me.

Marvel's 'The Foundation' is one of those titles that makes me scratch my head a bit when trying to connect it to the MCU. From what I’ve gathered, it’s not an official MCU project—more like a standalone comic series that explores deeper, almost philosophical themes about power and society. The MCU tends to focus on more action-packed, interconnected stories, while 'The Foundation' feels like it’s playing in a different sandbox. That said, Marvel’s comics often seed ideas that later pop up in films, so who knows? Maybe someday we’ll see elements of its grand narrative woven into a future phase, especially with the multiverse now in play. I love how Marvel experiments with tone across its properties. The MCU’s vibe is so distinct from something like 'The Foundation,' which leans into hard sci-fi and political intrigue. It’s cool to think about how Kevin Feige and his team might one day adapt its themes, though. Imagine a 'Secret Wars' arc where the MCU’s heroes stumble into a 'Foundation'-inspired civilization collapse. The potential for crossover is there, even if it’s not direct. For now, I’m happy to enjoy it as its own thing—a rich, thought-provoking read that expands Marvel’s storytelling range.

the short version is: there’s no public, confirmed project that pins down a full 'Black Widow' anime crossover with the MCU. That said, dreams and industry breadcrumbs are everywhere, so it’s easy to see why folks keep speculating. Marvel has dipped into anime before — the 'Marvel Anime' collaborations that adapted 'Iron Man', 'Wolverine', 'X-Men' and 'Blade' showed the company is willing to experiment with Japanese studios and styles. More recently, Marvel’s animated shows like 'What If...?' proved they’ll play with different formats and realities, which makes an anime spin-off feel far from impossible. From a creative standpoint, 'Black Widow' is practically tailor-made for anime treatment. The espionage, covert ops, morally gray backstories and emotional scar tissue of Natasha Romanoff (and her surrogate family like Yelena) lend themselves to moody, kinetic anime visuals — think noir lighting, slow-burn flashbacks to the Red Room, and stylized hand-to-hand sequences that anime studios love to choreograph. A studio like Production I.G. or Bones could turn the Red Room into a gorgeous, grim playground of color and motion. Logistically, though, Disney and Marvel control the character usage tightly; any anime would likely be a collaboration, possibly a limited series or OVA that sits adjacent to MCU canon rather than rewriting it. Fan energy matters here too: social media art, doujinshi, and fan animations keep interest high, and streaming platforms are always hungry for IP-driven content that targets Japan and the international anime audience. Voice casting would be interesting — would Marvel cast MCU actors to voice their roles in English while Japanese seiyuu handle the Japanese dub? Or would they go full seiyuu casting and treat it like a separate creative take? Until Marvel or a partnering studio drops an official trailer, it’s speculation, but definitely a juicy, plausible possibility. I’d jump at the chance to see Natasha’s world reimagined with anime sensibilities — it could be haunting and beautiful in a way live-action can’t always reach.

I still get a little giddy thinking about how sneaky 'Ant-Man and the Wasp' is with the MCU timeline. I saw it at a late-night screening and left feeling like I'd been handed a backstage pass — it doesn’t shout “big event,” but it quietly rearranges a few puzzle pieces. The movie is set after 'Captain America: Civil War' and before 'Avengers: Infinity War', which is a small but important placement: Scott Lang is under house arrest the whole film (explains why he’s absent from the bigger battles), and the plot's last beats line up almost perfectly with the beginning of the Thanos catastrophe. That mid/post-credits crossover — Scott getting stuck in the Quantum Realm right as a snap happens — is the film’s main calendar move. It gives us a believable reason for his absence in 'Infinity War', and it seeds the later return in 'Avengers: Endgame' without shoehorning him into Infinity War’s action. Beyond timing, the bigger contribution is conceptual. The film treats the Quantum Realm not just as a neat sci-fi setting but as something with strange temporal properties and untapped potential. Janet’s experience there, and Hank and Hope’s experiments, turn the Quantum Realm into narrative currency. When 'Endgame' needs a way to fix five years of loss, the groundwork laid in 'Ant-Man and the Wasp' becomes indispensable: the idea that you can manipulate quantum states and maybe even travel through “time” at subatomic scales happens because these characters have already been poking at the problem. In story terms, that means the movie doesn’t rewrite events so much as supply the method — it hands the later films a plausible tool for the time heist rather than forcing a contrived solution. On a smaller, sweeter note, the movie affects the emotional timeline too. Because Scott is trapped in the Quantum Realm during the snap, his reappearance in 'Endgame' carries both relief and narrative purpose — he’s not just comic relief, he’s the linchpin for the plan. Also, the film’s treatment of family, regret, and second chances makes the later consequences hit harder: the stakes in the larger battles feel personal because these characters already solved a crisis without fireworks. So, while 'Ant-Man and the Wasp' doesn’t drastically rewrite the MCU timeline, it quietly bridges gaps, seeds crucial science, and positions Scott and the Pym family as the engineers of one of the franchise’s biggest fixes — and that sort of subtle scaffolding is exactly the kind of connective tissue I love finding between films.

I still get chills thinking about how perfectly that line bookends Tony Stark’s story. He first says 'I am Iron Man' at the very end of 'Iron Man' (2008), during the press conference scene right after he escapes the villains and returns to civilization. The film released in early May 2008, and that final moment—Tony stepping up and dropping the bombshell—was a straight-up mic-drop that rewrote superhero movie rules. It wasn’t just a reveal; it was a character choice that set the tone for the whole MCU: blunt, cheeky, and defiant. Then, eleven years later, he uses the line again in a much heavier way. In 'Avengers: Endgame' (2019), during the climactic final battle, Tony says 'I am Iron Man' (often remembered as 'And I am Iron Man' right before he snaps) and sacrifices himself to defeat Thanos. The contrast between the two moments—the first as a playful reveal and the second as the ultimate, world-saving declaration—hits me every time. It’s tidy, tragic, and strangely hopeful. As someone who’s watched the MCU grow from a risky experiment to this massive tapestry, those two 'I am Iron Man' beats feel like bookends. They’re a brilliant writerly echo, and if you’ve never watched both scenes back to back, try it: the emotional ride is unreal.

I still get a little thrill thinking about how big-screen Marvel snatched pieces of 'The Ultimates' and refashioned them into something that felt both familiar and brand-new. When I first read Mark Millar and Bryan Hitch's run, it hit me like a blueprint for cinema—cinematic framing, grounded tech, and heroes treated like state assets rather than untouchable paragons. The MCU didn’t slavishly copy panels, but it absolutely borrowed the DNA: the cynical government oversight vibe that shows up in 'Captain America: The Winter Soldier' and 'Captain America: Civil War', the modernized, militarized costume sensibilities, and the idea that superheroes are media events and geopolitical tools. Visually and tonally, 'The Ultimates' made superheroes feel like they could exist in our world, and the MCU leaned into that hard—surveillance, PR, and politics became dramatic fuel instead of mere background noise. Casting choices are another obvious adaptation trick. Nick Fury in the MCU feels plucked straight from Ultimate comics—Samuel L. Jackson’s look and attitude match the Ultimate Fury so well that it feels like a wink from the creators. But elsewhere the MCU mixes and matches: Ultron’s concept—an AI uprising—is straight out of the comics, yet they changed its origin to be Tony/Banner-made to serve Tony’s arc and keep the roster tidy for the films. Quicksilver and Scarlet Witch were reshaped because of rights history, so their powers and origin got a Sokovian spin in 'Age of Ultron' rather than the mutant backstory. Those are choices born of storytelling economy and legal reality, but they also reflect a pattern: the MCU picks the thematic heart of an Ultimates element and rewrites its anatomy to serve character-driven cinema. What I love is how the MCU often humanizes the blunt edges of 'The Ultimates'. Where the comics could be blunt, even brutal—questioning whether heroes should answer to the state—the films slow-burn those debates through personal stakes: families, trauma, and betrayals. Hawkeye’s family life, Wanda’s grief in 'WandaVision', Stark’s guilt—these emotional rewrites let the cinematic audience feel the cost of living in a world of powered beings. The result is a patchwork adaptation: sometimes it’s visual mimicry, sometimes it’s thematic lift, and sometimes it’s a complete reinvention. As a long-time reader, I find that dance between fidelity and reinvention endlessly fun—like spotting easter eggs while watching a new story take shape from familiar pieces.

I get a little giddy talking about Howard Stark — he’s basically the prototype for the brilliant-but-mischievous inventor trope in the MCU. In the early timeline you mostly see him as the brain behind a lot of WWII-era prototype tech: experimental weapons, advanced aircraft concepts, and a grab-bag of spy gizmos. In 'Captain America: The First Avenger' he’s shown leading Stark Industries’ research efforts and helping the SSR analyze weird tech recovered in the war. That footage of him poking at strange crates and running tests is basically canonical shorthand for “Howard was reverse-engineering alien-level material.” Beyond those era-specific toys, Howard’s work with the Tesseract is the real origin point for later Stark breakthroughs. The films and the 'Agent Carter' series make it clear he was entrusted with the Tesseract and spent years studying it; the energy research and engineering that resulted provided the knowledge bedrock that later turned into S.H.I.E.L.D. technology and, down the line, Tony’s more refined power cores. You’ll also see him credited as a founder of the organization that grows into S.H.I.E.L.D., which ties his lab notebooks and patents directly into the MCU’s tech tree. So while you won’t always get a neat list like “Howard invented X, Y, Z,” you do get the throughline: experimental wartime hardware, early Tesseract-powered research, and a stack of spy/field gadgets and prototypes that future Stark generations would refine. Thinking about that legacy always makes me want to dive back into the movies and hunt for little props and schematics — it’s like a scavenger hunt for nerds.