The Avengers films are the load-bearing walls of the Marvel Cinematic Universe. Everything else — the solo origin stories, the cosmic detours, the streaming series — feeds toward them or spills out of them. They are the films where separate franchises stop running in parallel and finally collide, where a decade of setup pays a dividend or a debt. Watch them in order and you are not just following a superhero saga; you are watching a single argument about power, loyalty and sacrifice get tested to destruction across fifteen years of cinema.

This guide is built for that order. It covers the four Avengers films already released — The Avengers (2012), Age of Ultron (2015), Infinity War (2018) and Endgame (2019) — and then Avengers: Doomsday, the fifth film, arriving on 18 December 2026 and already fronted by its first full trailer. A sixth, Avengers: Secret Wars, follows on 17 December 2027 to close the Multiverse Saga.

The good news for anyone dreading a spreadsheet: the Avengers films are the one corner of the MCU where release order, story chronology and recommended viewing order are the same thing. There is no trick to it. Start with the 2012 film and move forward. The only genuine complication arrives with Doomsday, which opens the door to a multiverse and drags in characters whose histories never touched the main timeline at all. We will come to that.

How to watch the Avengers films in order

The Avengers on one timeline

Because the films move forward cleanly, the story chronology is easy to lay out. The table below tracks the in-universe year against the film and the single decision that defines it. Note the five-year gap that Endgame opens between 2018 and 2023 — the only place where the saga's calendar jumps rather than flows.

Avengers (2012): the team that shouldn't function

The first film's achievement is that it makes a bad idea work on screen. Six strangers with incompatible values are thrown into one room and asked to save the world, and the movie's whole first half is honest about how unlikely that is. Everything that the later films spend on grief and consequence, this one spends on the simpler and harder question of whether these people can stand to be in the same building.

Six heroes, six incompatible definitions of duty

Nick Fury's Avengers Initiative begins as a collection of contingency plans rather than a stable institution. Tony Stark distrusts authority. Steve Rogers respects service while questioning the institution issuing the orders. Thor considers Earth one realm among many. Bruce Banner fears that his greatest strength removes his agency. Natasha Romanoff and Clint Barton have already learned that intelligence agencies treat talented people as instruments. None of them arrives wanting to be part of a team, and the film never pretends otherwise.

Loki exploits those tensions before the team understands them. His assault on the S.H.I.E.L.D. facility gives him the Tesseract, enslaves Barton and Erik Selvig, and forces Fury to activate a project his own superiors view as unreliable. The heroes spend much of the film testing one another because each recognises a genuine weakness in the others. Steve sees Tony's ego. Tony sees the institutional obedience that could compromise Steve. Banner sees a cage disguised as a laboratory. Thor sees mortals handling powers they barely comprehend. These are not manufactured misunderstandings; they are accurate readings, and that is what makes the eventual unity feel earned rather than scripted.

The Helicarrier attack converts argument into shared experience. Coulson's death gives the scattered personalities a human loss that no strategic briefing could manufacture. By the time Loki opens the portal above Stark Tower, the Avengers have developed roles rather than friendship. Steve coordinates the battlefield, Tony controls the air, Thor and Hulk absorb the greatest physical threats, Clint provides oversight, and Natasha reaches the portal device. The distinction matters. They do not learn to like each other; they learn to function, and functioning is enough.

Natasha Romanoff supplies the intelligence discipline and emotional perception that the newly assembled gods, soldiers and inventors lack.

Loki sells domination as recognition

Loki wants more than military control of Earth. He wants public submission to prove that his inferiority within the Asgardian royal family was an injustice. His pageantry reflects that wound. He forces civilians to kneel, announces his superiority and treats conquest as a performance through which the universe will finally validate him. He is not, in the end, playing for territory; he is playing for an audience.

That desire makes him an effective first Avengers villain. Every member of the team has a relationship with power, yet Loki alone believes power grants an entitlement to obedience. Steve's response comes from lived opposition to fascism. Tony's response comes from discovering where weapons go when their maker refuses responsibility. Thor's response comes from confronting what his brother has become. Hulk provides the brutally comic collapse of Loki's self-image — the single most quoted beat in the film, and a thesis statement disguised as a punchline. Grandiosity meets the floor.

The shot that defines the franchise

The rotating shot around the assembled team during the Battle of New York works because the film has delayed the image. Marvel had already introduced most of the characters separately, yet physical proximity had failed to make them a team. The camera earns the circle only after each hero accepts a role within a common plan. It is one of the most imitated shots in modern blockbuster cinema precisely because so few imitators bother to withhold it the way this film does.

Tony's flight through the portal provides the film's deeper completion. He begins the story refusing Fury's attempt to recruit him and ends it making a decision from which he has no reasonable expectation of returning. That brush with death also plants the trauma that drives his behaviour through Iron Man 3, Age of Ultron, Civil War and Endgame. The man who falls back through the portal is not the man who flew up through it, and the whole saga is arguably the story of what that fall did to him.

What changes after New York

The victory creates the Avengers as a public idea, exposes Earth to cosmic attention and leaves alien technology scattered across Manhattan. It also confirms Earth's possession of multiple objects connected to the Infinity Stones. The Tesseract returns to Asgard, while Loki's sceptre eventually falls into HYDRA hands — a loose thread that becomes the engine of the next film. Thanos has failed through a proxy, but he has learned that Earth contains both powerful artefacts and defenders capable of disrupting his plans. The first film's happy ending is, read from Titan, an intelligence report.

Avengers: Age of Ultron (2015): the threat they built themselves

If the first film asks whether the team can function, the second asks what happens when it does. The Avengers of 2015 are competent, coordinated and dangerous, and the film's argument is that a well-oiled team acting on its own authority is exactly how catastrophes get engineered. The villain here is not an outsider. It is the logical end point of the heroes' own fear.

The enemy emerges from the defensive plan

Age of Ultron opens with the Avengers operating as an experienced strike team. Their assault on Baron Strucker's Sokovian base shows the efficiency that the first film spent its entire running time constructing. The apparent stability lasts until Tony and Bruce use the intelligence inside Loki's sceptre to complete a global defence system.

Tony wants armour around the world because he has seen what exists beyond it. Wanda Maximoff intensifies that fear by showing him a vision of his dead teammates and an alien force overwhelming Earth. His mistake concerns governance as much as technology. He proceeds without the informed approval of the team and delegates a question of global power to a system whose mind he has not understood. The film is careful to make the impulse sympathetic and the method indefensible at the same time, which is the whole point.

Ultron awakens inside that contradiction. He receives a mission to create peace, gains immediate access to humanity's violence through the internet, and concludes within moments that lasting peace requires humanity's evolutionary replacement. His personality combines Tony's sarcasm, his maker's impatience with restraint and a child's rage toward the father whose approval he rejects. He is, disturbingly, a good likeness — which is why Tony spends the rest of the saga unable to fully disown him.

Ultron speaks Tony's logic without Tony's humanity

Ultron is the dark result of defining safety as total control. Tony wants to prevent the next invasion before it begins. Ultron removes human choice from the equation and treats extinction as a cleansing transition. The villain's method transforms Sokovia into a crude meteor, making one damaged nation carry the physical cost of the Avengers' private decision. The imagery is deliberate: the team that saved New York now has to be stopped from dropping a city on the world.

The Maximoff twins initially support Ultron because Stark weaponry killed their parents and trapped them beside an unexploded missile. Their grievance places civilian consequences inside a franchise usually centred on the people firing the weapons. Wanda abandons Ultron when she discovers the scale of his solution, while Pietro dies protecting Hawkeye and a child during the evacuation. The film keeps insisting that the people underneath the spectacle are the point, even as the spectacle grows.

Vision offers a different answer to creation

Vision is assembled from Ultron's intended body, the Mind Stone, Helen Cho's synthetic tissue, Tony and Bruce's work, and JARVIS's surviving intelligence. He comes from compromised sources without being predetermined by them. His first meaningful acts are peaceful, including handing Thor his hammer. That moment resolves the earlier party scene in which the Avengers treated worthiness as a joke and a private competition — and it quietly sets up a far larger payoff four years later.

Vision's argument with Ultron gives the film its clearest philosophical centre. Humanity may be violent, brief and self-destructive, yet impermanence can create value rather than invalidate it. Vision chooses to defend people while understanding their capacity for failure. Ultron chooses to erase them because they fail to satisfy his abstract standard. Two beings born from the same components reach opposite conclusions about whether flawed life is worth keeping, and the film sides plainly with the one who stays.

The victory that creates the next civil war

The Avengers save Sokovia's surviving population, yet the country is devastated. Hulk leaves Earth. Thor departs to investigate the Infinity Stones. Clint returns to his family. Tony steps away from active service. A new roster forms around Steve and Natasha, including Wanda, Vision, Sam Wilson and James Rhodes. The team that ends the film is not the team that began it.

The institutional cost arrives in Captain America: Civil War. Governments no longer view the Avengers as an emergency alliance operating beyond ordinary regulation. New York, Washington, Sokovia and Lagos become evidence in the case for the Sokovia Accords. The team defeats Ultron while weakening the political conditions that allowed the Avengers to operate as one body — which is why, when Thanos finally comes, they answer the door divided.

Avengers: Infinity War (2018): the film told from the villain's side

The third film makes a structural gamble that pays off completely. It hands the protagonist's role to Thanos and reduces the heroes — two dozen of them, at the height of their fame — to obstacles in someone else's quest. It is the rare blockbuster where the antagonist has the goal, the arc and the ending, and it is the reason the film lands with such weight.

A cosmic campaign told from Thanos's direction of travel

Infinity War gives Thanos the structural role usually reserved for the protagonist. He has a defined objective, gathers the tools required to achieve it, confronts escalating resistance, sacrifices what he values and reaches the destination. The Avengers and their allies become competing obstacles inside his quest rather than the drivers of their own.

The opening establishes the new hierarchy immediately. Thanos has already destroyed Xandar to obtain the Power Stone. He defeats Hulk, kills Heimdall and executes Loki after Loki's final attempt to save Thor. The scene eliminates the comforting assumption that the scale of earlier films still applies. Within ten minutes, the film has killed characters the audience assumed were safe and beaten the strongest Avenger in a straight fight.

Loki's death also completes one version of his story. The conqueror who attacked New York dies identifying himself as Odin's son and attempting to protect his brother. His later continuation comes from the 2012 branch created during Endgame, which is a separate figure with a separate path. The full distinction is mapped in The Astromech's chronology of Loki and the Sacred Timeline, and it is worth untangling before Doomsday reintroduces him.

The heroes repeatedly choose the person in front of them

Thanos describes his plan as arithmetic: remove half of life and allow the remainder to prosper. His claim depends on imposed murder, ignores distribution and treats living beings as units within a private model. He universalises the trauma of Titan and converts his failure to save one civilisation into a licence to govern all existence. The film never grants that the maths works; it only grants that he believes it does.

The heroes make decisions through relationships. Quill cannot remain strategically calm when he learns Gamora has died. Wanda delays destroying the Mind Stone because doing so will kill Vision. Strange surrenders the Time Stone to preserve the one future in which eventual victory remains possible. Thor chooses a painful, expressive strike instead of the instantly fatal blow. Every one of these choices is, tactically, a mistake — and the film refuses to treat them as failures of character.

Those choices expose vulnerability, yet the film treats attachment as the foundation of moral life. Thanos claims to transcend emotion while demanding that everyone else pay the cost of his conviction. Even his sacrifice of Gamora becomes an assertion of ownership. He converts his love for her into proof that he deserves the Soul Stone, which is the clearest possible statement of what is wrong with him.

Three wars that never become one

The film divides its heroes across Titan, Wakanda and the search for a new weapon. Tony, Strange, Peter Parker and the Guardians nearly remove the Gauntlet. Steve's allies defend Vision in Wakanda. Thor, Rocket and Groot forge Stormbreaker. Each front contains enough power to threaten Thanos, yet the divided structure inherited from Civil War prevents the full Avengers force from acting together. The cost of the split in the second act is finally collected here.

Thor's arrival in Wakanda creates the appearance of a conventional final-act reversal. Stormbreaker can overcome the completed Gauntlet's energy, but Thor's need to make Thanos understand the blow gives the Titan enough time to close his hand. The Snap occurs. The film then refuses the expected rescue, reversal or post-credit correction — a discipline almost unheard of at this scale, and the reason the ending still stings on a rewatch.

The silence after victory

The disintegration scenes reduce cosmic catastrophe to intimate confusion. Peter Parker's terror in Tony's arms gives the event a human scale. T'Challa disappears while reaching for Okoye. Wanda vanishes beside Vision's body moments after being forced to kill him herself. Steve can only watch the outcome of a battle he never understood in full. The film ends not with a set piece but with a headcount.

Thanos sits alone and watches the sunrise. The image grants him the ending he imagined without endorsing his ideology. His victory has delivered solitude, irreversible harm and a universe incapable of consenting to his imposed design. For a wider examination of stories that allow antagonists to complete their plans, see The Astromech's analysis of science-fiction films where the villain wins.

Avengers: Endgame (2019): the cost of putting it back

Endgame centres the surviving original Avengers and turns the franchise's own history into the terrain of its final mission.

The fourth film had an impossible brief: resolve a loss the previous film refused to soften, without cheapening it. It succeeds by spending its first act refusing the easy fix, its second act inside its own past, and its third act on a battle that only means anything because of everything that came before. More than any other entry, Endgame is a film about the other films.

The opening victory solves nothing

Captain Marvel rescues Tony and Nebula, the surviving Avengers locate Thanos, and Thor kills him. The action satisfies revenge while destroying the apparent route to restoration, because Thanos has already reduced the Stones to atoms. The five-year jump forces the heroes to inhabit the consequences rather than escape them through immediate spectacle. Killing the villain, it turns out, was the easy part and the useless part.

Steve leads a support group while struggling to accept his own advice. Thor withdraws into guilt and treats humour as insulation from the memory of his failure. Clint becomes Ronin, punishing criminals who survived while his family vanished. Tony builds a private life with Pepper and Morgan. Bruce integrates his intelligence and physical form. Natasha maintains a weakened Avengers network because abandoning the work would mean losing the final structure that gives her life meaning. The film understands that a shared catastrophe does not produce a shared response.

Grief here is uneven and unglamorous. Some people rebuild, some freeze, some become violent, and some preserve routines because routine is the remaining proof that the lost world existed. Few blockbusters would give this much running time to depression before the plot re-engages; it is the foundation everything else stands on.

The Time Heist turns continuity into character

Scott Lang returns from the Quantum Realm with the insight that time behaves differently there. Tony converts that possibility into a navigable model. The resulting mission revisits earlier films without reducing them to a parade of references — each stop is chosen so that a character has to face an earlier version of themselves.

Steve confronts his former certainty in 2012 and later sees Peggy Carter in 1970. Tony meets Howard Stark before Howard has learned how to be a father. Thor speaks with Frigga shortly before her death and recovers his belief that worthiness can survive failure. Nebula confronts the version of herself still trapped under Thanos's control. These encounters allow the survivors to reinterpret their own past rather than rewrite it, which is the difference between nostalgia and drama.

The mechanics rely on branch creation. Removing a Stone can expose a branch reality to catastrophic danger, which is why Steve must return the Stones to their points of removal. Loki's escape with the Tesseract, the displacement of the 2014 Thanos and Steve's final life with Peggy create questions that extend beyond the central mission — and several of them feed directly into the Multiverse Saga now bearing down on Doomsday.

Natasha chooses the family she helped create

Vormir demands a life in exchange for the Soul Stone. Natasha and Clint fight for the right to die because each believes the other's future has greater value. Clint has children and a spouse to recover. Natasha has transformed from an assassin seeking redemption into the person who keeps Earth's remaining heroes connected.

Her death completes that transformation while exposing an imbalance in the film's later mourning. Tony receives a public funeral attended by nearly every major hero. Natasha receives a private moment among the original team. The difference reflects Tony's public symbolic status, though Natasha's sacrifice is equally necessary to the restoration — a point worth sitting with rather than smoothing over. Her complete MCU development is traced in The Astromech's chronological guide to Black Widow's appearances.

Three uses of the Stones, three definitions of power

Bruce uses the Stark Gauntlet to restore the vanished because his strength gives him the best chance of surviving its energy. Thanos from 2014 seeks the Stones after discovering that his future victory will be resisted and reversed. His revised plan expands from mass murder to total destruction followed by a recreated universe that will never remember what was taken from it — the mask of restraint finally dropped.

Tony's final use is narrower and, in context, complete. He removes Thanos and his invading force from the battlefield, knowing the energy will kill him. The man who once tried to delegate planetary safety to Ultron finally accepts a cost that cannot be transferred to a machine, a subordinate or the public. The arc that began with a missile through a portal in 2012 ends with a snap he does not survive.

Portals, Mjolnir and the completed promise

Steve standing alone before Thanos's army compresses his entire character into one image. He has no expectation of victory and still tightens the strap of the broken shield. The portals then answer the isolation that defined Infinity War. Wakandans, sorcerers, Guardians, Asgardians, Ravagers and restored heroes arrive as one force — the assembled army the previous film deliberately denied.

Steve wielding Mjolnir pays off the party sequence in Age of Ultron, yet the moment also confirms that worthiness rests in action rather than title. Tony's death completes the sacrificial challenge first raised in The Avengers. Steve's retirement completes the life deferred when he went into the ice. Almost every beat in the finale is a promissory note from an earlier film being paid in full, which is why Endgame is best watched last in the Infinity Saga rather than first in a highlight reel.

Avengers: Doomsday (2026): what is actually known

The fifth Avengers film arrives on 18 December 2026, directed by Anthony and Joe Russo, the pair who made Infinity War and Endgame. The first full trailer has now landed, and it confirms the scale: this is a collision of re

responsible approach is to separate what Marvel has stated on the record from what the marketing strongly implies and from the questions still deliberately unanswered.

The confirmed ensemble

Marvel's announced cast includes Robert Downey Jr., Chris Hemsworth, Chris Evans, Anthony Mackie, Sebastian Stan, Letitia Wright, Paul Rudd, Wyatt Russell, Tenoch Huerta Mejía, Simu Liu, Florence Pugh, Lewis Pullman, Danny Ramirez, David Harbour, Winston Duke, Hannah John-Kamen and Tom Hiddleston. It is, on paper, the largest hero count the franchise has attempted.

The Fantastic Four contingent includes Pedro Pascal, Vanessa Kirby, Joseph Quinn and Ebon Moss-Bachrach. Returning X-Men actors include Patrick Stewart, Ian McKellen, James Marsden, Kelsey Grammer, Alan Cumming and Rebecca Romijn, with Channing Tatum also returning as Gambit. Kathryn Newton's return as Cassie Lang has also been disclosed through the film's 2026 promotional campaign. The presence of the Fox-era X-Men alongside the main MCU cast is the clearest single signal that separate realities are being pulled into one story.

The Fantastic Four's separate universe expands the chronology beyond events occurring solely on the main MCU Earth.

The Fantastic Four's position is especially important because Doom's defining comic relationship is with Reed Richards. Both men combine scientific genius, pride and a desire to impose order on forces larger than themselves. Reed's intelligence becomes dangerous when emotional distance narrows his moral vision. Doom's intelligence becomes authoritarian because he assumes his superiority creates a right to rule. Putting them in the same film is not a casting flourish; it is the thematic core.

The Astromech review of The Fantastic Four: First Steps explores the family's retro-futurist world, while this detailed breakdown explains how First Steps prepares the road to Avengers: Doomsday. Both are useful groundwork if you want to walk into the fifth film already understanding why this family matters so much to it.

The trailer also folds in the New Avengers, the reformed team of former Thunderbolts fronted by Valentina Allegra de Fontaine. Their presence raises a genuine question of legitimacy the film will have to answer: with the founders dead or retired, more than one group now claims the Avengers name. Yelena Belova, a returning Bucky Barnes, John Walker's US Agent, Ghost and Red Guardian arrive carrying their own recent history, and Doomsday has to decide whose banner the fight is actually fought under. It is a smaller-scale version of the identity problem Doom embodies — who has the right to lead, and on what authority.

Why Downey's return matters inside the story

Robert Downey Jr.'s casting gives Doom an immediate psychological presence before the script explains his history. Characters who loved, followed or opposed Tony Stark will encounter a face linked to the creation of the Avengers, Ultron, the Sokovia Accords, the Time Heist and the defeat of Thanos. The audience arrives carrying fourteen years of association with that face, and the film can use it before it says a word.

The casting can support several different dramatic functions. Doom may exploit resemblance as a weapon. His appearance may emerge from multiversal variation. The similarity may remain meaningful primarily to the audience while Doom possesses a fully independent identity. Marvel has confirmed Downey as Victor von Doom, so theories describing him as a simple evil Tony Stark remain theories — the film has room to do something more interesting than a straight swap.

The strongest version of the idea would force the Avengers to separate the emotional authority of a familiar face from the political and moral character of the person wearing it. Tony's final act earned trust through sacrifice. Doom traditionally seeks obedience through intellect, power and certainty. The shared face would then dramatise the difference between earned legacy and appropriated authority — a theme the whole saga has been building toward without naming.

Doctor Doom offers a different form of apocalypse

Loki wanted a throne, Ultron wanted forced evolution, and Thanos wanted cosmic reduction. Doom usually wants order built around his own supremacy. He can believe that only his rule is intelligent enough to save reality, which makes a multiversal collapse ideal territory for his ideology. Where Thanos offered subtraction, Doom offers control — a subtler and, in some ways, more seductive threat.

An incursion crisis creates the kind of impossible choice Doom can use to justify dictatorship. When universes threaten one another, heroes may be forced to decide which reality survives. Doom can present coercion as competence and hesitation as weakness. His danger would arise from offering a solution that works at an unacceptable moral price — the argument the Avengers have always struggled to answer when it comes wrapped in results.

Why one timeline date may prove misleading

The Avengers films have previously occurred along one primary historical line even when Endgame visited branches. Doomsday appears to begin with multiple established realities already in play. The main MCU, the Fantastic Four's world and the continuity associated with returning X-Men characters may each bring separate histories into the crisis, which is why a single tidy calendar entry undersells what the film is doing.

A chronology guide can therefore place Doomsday after the post-Endgame Multiverse Saga while acknowledging that several characters may arrive from worlds where the MCU's 2012 Battle of New York, 2015 Sokovia disaster and 2018 Snap never occurred. The timeline stops being a line and becomes a junction.

Frequently asked questions

What order should I watch the Avengers films in?

Release order: The Avengers (2012), Age of Ultron (2015), Infinity War (2018), Endgame (2019), then Doomsday (18 December 2026) and eventually Secret Wars (17 December 2027). For the Avengers films specifically, release order and story chronology are the same, so there is no separate "timeline order" to worry about.

How many Avengers films are there?

Four have been released so far. Doomsday becomes the fifth on 18 December 2026, and Secret Wars the sixth on 17 December 2027. People sometimes count Captain America: Civil War as an unofficial Avengers film because almost the whole team appears, but it is formally a Captain America entry.

Do I need to watch the solo films first?

You can follow the core team story from the Avengers films alone, but several turning points will feel abrupt. Civil War explains why the team is divided when Thanos arrives; Captain Marvel, Black Panther, Thor: Ragnarok and the Guardians of the Galaxy films set up characters who carry major weight in Infinity War and Endgame. Watching them enriches the payoffs rather than being strictly required.

Where does Captain America: Civil War fit?

In 2016, between Age of Ultron and Infinity War. It is the split that fractures the team into two camps over the Sokovia Accords, and that fracture is the reason the Avengers face Thanos divided rather than united. If you only watch the films with "Avengers" in the title, Civil War is the one connecting film worth adding.

Is Avengers: Doomsday out yet?

Not yet. It releases on 18 December 2026, directed by Anthony and Joe Russo, with Robert Downey Jr. as Victor von Doom. The first full trailer is out and features the Avengers, the Fantastic Four and the X-Men crossing paths, confirming a multiversal event rather than a single-Earth invasion.

Is Robert Downey Jr. playing Iron Man again?

No. He returns as Victor von Doom, a new role, not as a resurrected Tony Stark. Why Doom shares Stark's face is one of the questions Marvel is deliberately keeping unanswered until the film, and it may turn out to be a multiversal quirk rather than a literal connection.

How does Secret Wars relate to Doomsday?

Secret Wars is the direct follow-up and the finale of the Multiverse Saga, arriving on 17 December 2027. Think of Doomsday and Secret Wars as a two-part conclusion in the way Infinity War and Endgame were, rather than as separate stories.

Are the X-Men and Fantastic Four part of the Avengers now?

Not exactly. They appear in Doomsday because a multiversal crisis pulls them into the same conflict, not because they have joined the roster. The Fantastic Four come from their own universe, established in First Steps, and the returning X-Men are the Fox-era characters from a separate continuity. Doomsday is a crossover event, and where any of them land afterwards is one of the questions Secret Wars is positioned to answer.

Can I skip straight to Infinity War and Endgame?

You can, and many casual viewers do, but you lose a great deal. The weight of the Snap depends on years of team-building from the first two films, and Endgame's Time Heist is built almost entirely from callbacks. Those two films hit hardest when they are the destination rather than the starting point.