Since the release of “Avengers: Endgame” and the conclusion of the “Infinity Saga,” Marvel Studios seems to have somewhat lost its way in terms of both quality and storytelling. Having put out six films, eight television shows and one special within the past two years, it seems as though the studio has been bent on throwing all of its intellectual property at the wall to see what sticks, rather than fully dedicating itself toward the advancement of another epic overarching story. Though the “Multiverse Saga” was announced as its next big storyline, the Marvel Cinematic Universe (MCU) has shown little concern for providing a proper build-up to its next big adventure, although its conclusion is slated to hit theaters in less than four years.

With three TV series churned out this year alone, the Marvel train has shown no signs of stopping, nor has its resultant fatigue. However, its most recent offering, “She-Hulk,” thankfully provides enough meta humor, nostalgic call-backs and exciting character reveals to keep at least the most die-hard fans interested, even if its story is remarkably lackluster.

Stylized as a legal comedy, “She-Hulk” finds lawyer Jennifer Walters (Tatiana Maslany, “Troll Hunters: Rise of the Titans”) reluctantly taking on a role as superhero after accidentally coming into contact with her cousin, Bruce Banner’s (Mark Ruffalo, “The Adam Project”) blood. Each episode sees Walters taking on new superhuman court cases, such as that of Emil Blonsky, or the Abomination (Tim Roth, “Shang-Chi and the Legend of the Ten Rings”), while also juggling her personal life and newfound superhero persona.

In a similar vein to Marvel’s “Deadpool,” the series banks a majority of its comedy off of breaking the fourth wall and making meta commentary on both the series itself and the Marvel formula. With a snarky, pragmatic Walters taking the reins, the series adopts a sort of down to Earth, yet sugary and jovial tone which explores new territory for the MCU stylistically.

Like the other Marvel series, “She-Hulk” ultimately falls short in the story department. Though its nine episode count leaves more room for a fleshed out narrative compared to six episode series like “Hawkeye,” their brevity and serialized format contribute to a rather inconsequential narrative defined by its sluggish build-up and lack of true direction up until the last episode. While placing a stronger emphasis on characters and comedy may work for sitcoms, the notion this show makes some attempts at establishing an overarching conflict makes its half-hearted execution all the more infuriating.

As with other recent Marvel projects, “She-Hulk” is also distinguished by its uninspiring digital effects. Though the titular hero’s appearance was greatly improved since the first trailer’s abysmal showing, the rest of the show’s computer-generated imagery (CGI) is clearly rushed and unfinished, thus failing to nail the former high standards set by past Marvel projects.

Despite its middling qualities, the series leaves some room for excitement by reintroducing viewers to Daredevil (Charlie Cox, “Spider-Man: No Way Home”) whose memorable, albeit brief, appearance in the series warrants a great deal of excitement for both the character himself and his upcoming reboot series. However, the significant anticipation surrounding his return points toward a significant problem which looms over not only “She-Hulk,” but the entire MCU as a whole. Regardless of the humor, excitement or fan-service it promises, the enjoyment which comes from these factors can only last for so long, as what lies underneath them is a hollow story designed only to set up other properties, rather than generate interest in its own content.

Image from Marvel Entertainment via YouTube