This article presents content and pertinent analysis to cultural repertoire of Marvel Cinematic Universe’s superhero motion pictures. It investigates Avengers sequels: The Avengers (2012), Avengers: Age of Ultron (2015), Avengers: Infinity War (2018), and Avengers: Endgame (2019). This article explores how the Avengers sequels as recontextualized superhero provide cultural imperialism, pharmakon portrayal, hegemonic masculinity, and Nancy’s sovereignty. These motion pictures serve US heroism and patriotism interest. It also illustrates binary interplay: order-chaos, law-violence and villain-superhero that occurs among superhero, extraterrestrial race, robot and Titan. Moreover, it depicts the traditional masculine ideal valorization where men are more likely powerful, intelligent, and equipped by sophisticated technology whereas women are seen as supportive superhero with implied beauty standard. The sovereignty complex set of authority, superhero’s autoimmunity, along with the implication of superhero motion pictures as canon of multicultural literature in English pedagogy are discussed.