#Natasha has at least one for every MCU film its ridiculou

[critter-of-habit]

Oh also, Ahsoka fan artists, if you need any references pls hmu because I am a compulsive hoarder

[doux-amer]

Okay, so I no longer have the energy to discuss Marvel stuff at length, but I enjoyed Black Widow, to my surprise. I went in with low expectations, but it ended up being solid. Was it a groundbreaking movie? No. But I’d rank it as one of the best MCU films and it felt like a nice change of pace from your standard MCU fare. The film avoided prioritizing action over character arcs and didn't interrupt the story with unnecessary and often distracting humor.  It's become increasingly obvious over recent years just how much the MCU has started to suffer from what made it unique and innovative in the first place—an interconnected cinematic universe. Everything feels like it's a stepping stone to some big event (hah, in that way, it's emulating the comics well), with characters's stories hastily and sloppily pushed aside for The Main Team Event TM. 

And that's why Black Widow worked. It didn't have world-ending stakes. It wasn't about one Big Bad (the big bad in this story, much like in CA:TWS, is the system which is why the "main boss" didn't have to be impressive and intimidating on his own). The story felt quiet and contemplative in between the action scenes. It was very intimate and the story benefited tremendously from that. What happened in this movie was something that would mean very little to anyone other than the people directly involved and would go unnoticed. 

This isn't something that the whole world will know about and praise her for, and no one treats it as such, both in terms of the characters and the people behind the film. With the exception of a few lines and moments, this film isn't cringeworthy, in-your-face, and ultimately shallow GIRL POWER GIRLBOSS OMG FEMINISM which Captain Marvel and Wonder Woman (and that one stupid as hell scene in IW) both leaned into and imo, were either hindered by or even suffered from. This story is very much one about the patriarchy, misogyny, agency, etc., but it tries to see what the personal ramifications are and how sickening and even banal it all is. It’s about how the world works and treats women, no matter who they are. It’s about how Dreykov, for all his power, is a dime a dozen. The world made it possible for men like Dreykov to exist and do harm. The world goes on without him there, and in the wake of his death and the destruction of the Red Room, his victims still have to deal with all the pain and figure out what they want to do, how they want to do it, and who they want to be afterwards.

Obviously, we also got to see more of Natasha and who she is, what makes her tick, and how her past formed the person she is now. And yes, I dislike Scarjo so I was ready to not care about the movie, but god, I love Natasha and miss her so badly. I ended up unexpectedly crying when the film started and didn't stop until the opening credits ended, not even because something was sad but because that was Natasha! When kid Natasha whipped out her gun and shielded Yelena, I recognized both that skill and heart instantly and it hit me hard. You got that repeatedly throughout the film, and it knits together all the little pieces of Natasha we got throughout the decade. It gives her consistency and strengthens what we already know drives her: her desire to atone and protect and her yearning for a family.

The supporting cast was good too. You could tell they had fun and you could tell they had the acting chops. I get very leery of actors who go over the top in the MCU because almost all the time, it ends up backfiring and undermining their character, but David Harbour had a lot of fun with Alexei and it never bothered me. And I think that's because, behind all of the bombast, there was real emotion behind it that he took seriously and the others did as well. Rachel Weisz...I mean, I don't think I need to say anything more. You expect her to be good and of course she was. And Florence? Yes, this might not be 616 Yelena in many, many ways and I can see how that's upsetting to people (this applies to the Taskmaster as well), but if you see MCU Yelena as her own person, man. Florence overshadows Scarjo which, well, isn't surprising considering her brilliance, but I will say, though, that part of it is because Yelena is a much more energetic character whereas Natasha is more introverted and even a little awkward and shy at times. 

I loved the relationships and they all felt real to me. When they said they were a family? I believed them. When you saw them grapple with what they'd done in the past and what they did to each other and to other people? That felt real too. 

And the action scenes! Wow, did I miss actually good fight choreography after three horrible shows full of goofy af fight scenes that had bad choreography and were terribly shot (the less we talk about Loki, the better, though TFATWS, which probably should have had the slickest shots had by far the worst cinematography). The fights were engaging and you really sensed the urgency and danger in every fight. I felt like Natasha was in danger, that she would get hurt. The hits HURT and you could tell how painful that walloping was (with the exception of the ridiculous scene where Dreykov punched her repeatedly in the face and there was no sign of impact). Everyone felt very human and very easy to break. 

The flow was great and maybe it was slow for some people, but I liked that. I liked that the story took its time to unfold. I liked that you didn't sense any impatience or panic. Everything happened in its own time, but it never dragged for me. There was a great balance between emotional, quiet moments and bursts of action, and neither felt like they undermined the other, a frequent issue I have with MCU works (yet again, one of the best examples and most recent ones is Loki; I hated the fight sequences because they felt so unnecessary and they truly disrupted the flow of things).

Were there things that I wish we got more of or thought could have been tightened up better? Yeah. I wish we got to see more of the Widows, for one thing. I also think it would have been interesting for Natasha to mull over the brainwashing she had versus what Yelena went through; what Yelena went through was much worse and similar to what Bucky went through, but Yelena has the excuse of being a victim with little to no free will whereas Natasha? She was psychologically messed with, but she wasn't being mind controlled. It would've been interesting to see that explored more in depth. I wish we got to see more of the Taskmaster. Etc. etc.

More than anything, though, what left me sad and disappointed after my initial joy and feeling of enjoyment dissipated, was the fact that this came too late. This is a movie that should have come right after CW, and we should have gotten a Black Widow movie right after the Avengers and before TWS or at least after TWS. This is, by far, the most unanimous take and it makes me wonder how everyone at Marvel feels about that, that this is, more than anything, the opinion that's being echoed consistently amongst reviewers and moviegoers alike. And it will never ever ever ever ever fail to piss me off that Markus, McFeely, and the Russos didn't know the Black Widow movie was going to even happen and they ended up offing her. That's a massive decision and I don't know, MAYBE you should have had some more communication! Maybe if that happened, Natasha wouldn't have been fridged (she shouldn't have been in the first place, and one of the things I deeply appreciated about this movie was that it pushed back on the wrongs that male directors and writers have done to her (e.g., Whedon's awful approach to her forced sterilization in AoU, the Russos and M&M saying Clint couldn't die because he had a family as if someone who isn't a parent is less important and less deserving to live and as if Natasha's relationships didn't matter)). Maybe we would have gotten more solo movies with her. We can still get more BW movies, sure, but Natasha herself deserved more. 

And that's why, despite thinking this is one of the best movies of the MCU even if the story itself isn't particularly sensational and not being blown away by it (again, I didn't think it was impressive, but I thought it was very solid), despite being pleasantly surprised by the fact that I enjoyed a MCU movie which is rare for me and walking away with barely anything to be disappointed about let alone upset about, despite thinking that this is the story Natasha deserved and being relieved and happy that this is what she got and this is how she's going to go out, I was still left sad for what could have been and what she deserved. 

[cassatine]

Nine films into its now 21 entries, the Marvel Cinematic Universe found its groove — albeit with caveats. The series’ long-running imbalance is owed to both occasionally muddled character arcs and often-incoherent worldviews. For the most part, the MCU captures the texture of America’s post-9/11 military politics, though it rarely has anything of significance to say about it. This superficiality has been a sticking point on the Road to Endgame, even for some of the series’ very best entries.

Marvel’s backdrops are politically charged, if not outright political, but the way they’re framed tends to act in contention with the stories being told. Captain America: The Winter Soldier falls unequivocally on the “incoherent worldview” side of things, however it succeeds more than its predecessors thanks to its clarity of character. It’s arguably the best Marvel movie till date, combining slick action, taut structure and sincere performances, though it’s hardly immune to the series’ political pitfalls. After all, it was the third Marvel film to be partially funded by the Pentagon.

A Shield From Criticism

Marvel’s incongruous political outlook is owed, in major part, to the series starting out as government propaganda. Like hundreds of Hollywood films, early Marvel movies like Iron Man and Iron Man 2 were produced with U.S. military assistance, which means they were also locked-in to scripts approved by the Department of Defense.

The Avengers was eventually turned down for this assistance, though it certainly attempted to appease the Pentagon at some point during its production (U.S. military equipment ended up in the film regardless). And while Iron Man 3 seemingly alluded to Marvel’s disagreement with the D.O.D — “There’s no politics here… There’s no Pentagon. It’s just you and me.” — the studio resumed its relationship with the U.S. government for its Captain America sequel, a partnership that continued until as recently as this year’s Captain Marvel.

Several scenes in Captain America: The Winter Soldier were filmed at an Army base near Cleveland, Ohio according to the Pentagon’s Hollywood database (obtained via SpyCulture). In return, the Army received “a significant portrayal in the film” at “no cost to the government.” A likely condition of this partnership, as with the Pentagon’s production agreements on Iron Man and Iron Man 2, was Marvel ensuring none of this portrayal was negative.

The result of this dynamic is a film, and a series, that only pays lip-service to questioning authority. The stories take aim at fictionalized structures, while real wings of U.S. government and their military policies remain unchallenged, despite them forming a major part of the fictional backdrop.

The real-world military presence in these films is treated as a desirable norm, while the real-world problems they cause or exacerbate are passed off to fictional villains. In the process, the heroes ultimately fight to maintain the status quo, wherein U.S. militarism is framed as the more peaceful alternative. The Avengers never truly rattle the cage, not in any way that would create long-lasting change.

The Winter Soldier’s critique of drone warfare and data mining is the closest Marvel has come to speaking truth to American power, though it stops short at every turn. In prior entries like the Iron Man films (not to mention Captain America’s own debut), the villains usually mirror some element of real-world authority, but they’re made palatable to all audiences once they’re stripped of real-world ideologies.

The film attempts to use specific U.S. military methods (and their justifications) to grounds its character-centric story. However, it also continues the series’ wishy-washy approach to power by letting real-world structures off the hook, shifting the blame for those methods to fictional entities (One has to imagine the film’s D.O.D. overseers preferred the responsibility for overtly American problems be directed elsewhere).

The result, while most certainly an exciting action-adventure, is a movie whose own story is frequently undercut. It teeters on the edge of substance, yet it feels constantly hesitant.

The Big Reveal

Understanding The Winter Soldier requires talking about its midpoint, a reveal that brings its themes into focus. Captain America/Steve Rogers (Chris Evans) and Black Widow/Natasha Romanoff (Scarlett Johansson) are fugitives from S.H.I.E.L.D., which has been recently compromised. This military outfit had a nebulous international allegiance in The Avengers, though its visual coding (and its Washington DC headquarters) make it closer to a defense branch of the U.S. government.

After tracking down a mysterious data point, Rogers and Romanoff discover, embedded within S.H.I.E.L.D.’s very origins, the digitized consciousness of Arnim Zola (Toby Jones), one of Rogers’ World War II adversaries. The real-life Operation Paperclip, which folded former Nazi scientists into American intelligence, resulted in Nazi science division H.Y.D.R.A spreading fascist ideology within American ranks. As it stands, H.Y.D.R.A. and S.H.I.E.L.D. are effectively one. They plan to kill anyone who might oppose them, though their impetus for doing so is un-specific; their ideology, once again, is “power” in the abstract.

In previous Marvel efforts, the villains’ plans often had a political façade, with something cartoonishly sinister beneath the surface. Obadiah Stane sought power in the form of Iron Men, the Abomination sought it in the form of big, green muscles, and Red Skull wanted power in the form of, well, magical powers. The Winter Soldier however, flips the script in that regard, retrofitting ridiculous-sounding comic elements like secret super-Nazis, a man in a computer, and even Batroc The Leaper in order to make them part of a larger political fabric. Here, the villains are driven by both in-universe history as well as political ideology, or at least something resembling the latter.

Rather than infiltrating America from the outside, H.Y.D.R.A. has grown to become part of American governance over the decades. It is made up of American Senators and military personnel, from fighter pilots all the way to a member of the World Council. The Winter Soldier comic’s Aleksander Lukin, a former K.G.B.-operative and modern-day avatar for the Red Skull’s consciousness, shows up here as Alexander Pierce (Robert Redford), a stripped-down American vessel for H.Y.D.R.A.’s ideas. In the film, Pierce has always been an American, and his methods are drawn from America’s real-world foreign and domestic policies. “Zola’s Algorithm,” the computer program that tells Pierce whom to target, is threat analysis through data-mining, not unlike the N.S.A. secrets exposed by Edward Snowden.

“Project Insight,” the algorithm’s next phase, involves drone ships picking off targets who pose a threat to H.Y.D.R.A.’s global security — or as Steve Rogers describes it, “Holding a gun at everyone on Earth and calling it protection.” Functionally, these crimes are a carried out by members of the American military, working in the shadows, killing and spying with impunity, causing Rogers and Romanoff to realize they might not work for the good guys after all.

On the other hand, revealing that covert Nazi infiltrators have been pulling the strings all along also waters down the narrative. The dilemma our heroes face is one of misguided allegiance, but this reveal makes it far too easy for them to come to terms with their mistakes. Rather than having to confront their place in a corrupt power structure, that structure is revealed to have secretly been another organization altogether, one that Rogers and Romanoff have never perceived as being the good guys. In effect, there’s little need for them to introspect since it turns out they were duped. The film thus avoids all questions of America’s role in these distinctly American methodologies.

H.Y.D.R.A., while descended from Nazis, have little connection to Nazi ideology. Instead, the organization seeks to bring the world under singular rule, without any further framing as to what they stand for — or against. For a second time in the series, a Captain America film responds to the question of who would be most vulnerable to the villains’ ideology with the same disappointing answer: America, and America only.

In Captain America: The First Avenger, H.Y.D.R.A.’s immediate target was America, the military superpower, rather than any specific group persecuted by the Nazis. In The Winter Soldier, the result is similar; the immediate targets of “Project Insight” are mostly Americans on domestic soil. It’s a horrifying image from an American standpoint, though as a metaphor, it’s largely disconnected from its real-world equivalent. In either case, scrubbing the villains of specific outlooks means the characters opposing them needn’t have specific allegiances. This Captain America neither fought for persecuted peoples during World War II, nor does he fight for victims of America’s preemptive drone strikes in the Middle East. He only seems to fight for Americans.

While Rogers battles a military apparatus meant to mirror that of America, the fight ultimately comes down to a simplistically framed binary (despite the film’s musings about the world being more complicated than it once was). Captain America, draped once more in his red, white and blue, attempts to stop the Nazis — one of the unambiguous villains of World War II — from carrying out mass murder. It doesn’t hold much weight as a metaphor, even in the context of post-2016 America, whose own Nazi resurgence is tied to unconfronted elements of white supremacy in American life and government.

In The Winter Soldier, American governance is implicitly framed as the peaceful aspiration. Its disruptors — both now and throughout history — are fictitious foreign infiltrators, who secretly perpetrate America’s real-world crimes. “Coups, assassinations and proxy wars? Couldn’t be me.”

What else is one to expect from a film, even a great one, made in part to promote the U.S. military machine?

[ice-connoisseur]

ten faves

Rules: name ten favorite characters from ten different things (tv, movies, books, etc.)

This came from @thegirlwholied nearly...3 weeks...ago now, but I am slow, and indecisive, and time basically has no meaning at the moment anyway, so. 

1.       Sally Lockhart (the Sally Lockhart quartet)

First name I wrote down.  I met Sally in my early teens and I’ve never quite given up on wanting to grow up to be her. I love each and every member of Garland and Lockhart a ridiculous amount (and my love of the found family trope can probably be traced back to their door), but Sally, with her grit and her stubbornness and her fierce indepenance, captured me in something special from that moment in the first paragraph of the first book when all I knew was her name and that she was about to kill a man. 

2.       Elizabeth Bennet (Pride and Prejudice)

I considered shying away from the stereotypical here, but that would just be lying to myself as well as anyone else.  I relate more to Jane, or Charlotte Lucas, or even Mr Darcy – at least in terms of social awkwardness, not finances, sadly – but, like him, I can’t remember the first time I fell in love with Lizzy Bennet, I was in the middle of it before I even knew I had begun. 

(Jennifer Ehle probably had something to do with it though.)

3.       Hermione Granger (Harry Potter)

Look, I was an introverted, bookish, rule-abiding adolescent, and Hermione was suddenly someone I could recognise myself in.  I wanted to be Ginny (and Sally, and Lizzy, and several others on this list); I already was Hermione, in a lot of ways, and she made that a bit more ok.

4.      Carrot Ironfoundersson (Discworld)

I wanted to put a Discworld character in here, and I’m a little bit sad at myself for not picking a woman – especially since this is inadvertently turning out to be a very female-heavy list.  I even started the process of trying to choose between Sybil Ramkin, Tiffany Aching, Adora Belle Dearheart, and Angua, to name but a few.

But the thing is, I made the fatel error of first trying to read the Discworld in publication order, and it took me years to venture any further than the first 50 pages of Colour of Magic.  Even in later books the Wizards just.  Aren’t my thing.

And then, at some point – and I’m a bit hazy on the when, to be honest – I picked up Guards Guards and spent the entire book blinking at Carrot, reading and re-reading; I kept wanting to turn to someone else and nudge and point, because is this guy for real?! And then, again, a page later, for completely different reasons and in completely different tones, is this guy for real AGAIN?!  Terry Pratchett’s books are richly populated with wonderfully rounded, flawed, individual characters, and at first glance Carrot is comparatively straightforward. I hope I never lose that quiet moment of glee I feel at realising that, of course, he really, really isn’t. 

5.       Titty Walker (Swallows and Amazons)

Consider Titty a bit of a catch-all for the tomboy girls who filled my childhood reading – George Kirrin, Maia Fielding, Kit Russell and the rest – but she’s the one I thought of first.   I was not an adventurous child - I am not an adventurous adult, for that matter – but these were the books that meant I could be.  I think Titty’s adventures always felt the most tangible, somehow, and the image of her tacking up the field home to read her father’s telegram cemented something in me at an impressionable age that I don’t think I’ve ever quite shaken off.

6.       Leslie Knope (Parks and Recreation)

Again, I love each and every character on this show, but Leslie Knope; annoying, overbearing, forthright Leslie Knope, who cares so damn much about everything that she makes everyone else care more too, who never once considers being anyone other than who she is, who makes mistakes and faces up to fixing them, who will always, always use a favour to help other people…Leslie Knope, folks.  I love her and I like her. 

7.       Rose Tyler (Doctor Who)

It’s a pretty close call between Rose and Donna Noble, to be honest, but Rose got there first.   Unapologetically, unashamedly working class Rose, from the council estate, with no A-levels and no prospects and no expectations that anyone will ever give a damn about her, who saves the world in so many different ways, who grows up and laughs and loves and changes but never in the fundamentals of who she is – brilliant, compassionate, brave.   Her life is fantastic because she marches through it punching literal holes in the universe to make it so. 

8.       Lyra Silvertongue (His Dark Materials)

Lyra, who loved her world of Oxford rooftops, and ran from it.  Lyra who loved Roger, and killed him.  Lyra who loved Pan, and left him.  Lyra who loved Will, and lost him.  Lyra who lies.  Lyra who left home and came back different, and that was only just the start of her growing up. I’ve been reading Lyra for 20 years and I read her a little bit different every time, but I never love her any less.

9.       Phil Coulson (Marvel Cinematic Universe)

I’m probably stretching things a bit here, because when I say I love Phil Coulson, I’m referring to Phil Coulson of the MCU up to and including 2012, and the subsequent fanon interpretations of him.  I tried Agents of Shield early on and it didn’t stick.  But I saw Avengers Assemble in the cinema with no prior Marvel knowledge (comic or film) and spent the next three days watching the rest of Phase One (hilariously, at the time, five films felt like a lot).  I was in my very early days on Tumblr when #Coulsonlives was a thing, and I still remember the absolute explosion of joy that was.  Every now and again (like right now, actually) I go through a phase of re-reading an unhealthy volume of Clint/Coulson fic – and I do love Clint, and I love Gamora, I love Sam Wilson and Natasha Romanoff and Pepper Potts - and it’s dry, snarky, utterly unflappable who Coulson hooks me every time. 

10.       Georgiana Lestrade (The Least of All Possible Mistakes)

Look, I have a lot of feelings about every person on this list and quite a few who aren’t, but if I had to pick the one who felt the most…real, I suppose…then Georgiana Lestrade is my easy answer.  She’s the person I would always want fighting my corner.  George has no false ideals, no delusions about either herself or her world; she is completely grounded in herself and her London – which is almost a character in its own right, one of my very favourite things about Pru’s writing.

Competent, practical, fiercely unphased George, who carries a taser and throws stationary at her underlings; who is gloriously, unashamedly pragmatic; nearing forty and glad of it; as honest and self-aware of her own nature as I think a person can be; and above all else who is damn good at her job.  She might give one hoot about what other people think of her, but she’s certainly not going to waste a second.  That she is surrounded by wild, dangerously intelligent men is almost incidental, but she is, and that is a part of her story – though far from the whole of it - and she takes no more shit from them, never doubts her own right or ability to stand beside them, than she does any other person. 

One of the saddest truths of my fandom life is that Pru will never finish the Regency spy AU of this AU, and I mourn this far more often than is healthy XD

***

This was fun and hard in equal measure, and there are so many more I could have listed - Jack Robinson, Violet Baudelaire, Brienne of Tarth, Leia Organa, Theo Hart, to name but a few - but I’m as happy with it as I’ll ever be.

Tagging @firesign23, @kiraziwrites, @angel-deux-writes and @ajoblotofjunk, and also anyone else who wants to give this a go, because I would love to read more of them. 

[anorakofavalon]

The Beauty and the Geek: Why Brutasha Makes Sense

(AKA: An Open Letter of [Constructive] Criticism for Joss Whedon)

I wrote an essay in which I parse through my feelings on probably the most controversial pairing of the MCU. I settled on the relationship making sense, thematically, even though the execution was terrible. Sorry if it's a little long, but I'd love to have a discussion about this with any of you willing to take the time to read it.

---

Joss Whedon is great at his job. He’s flawed, like anyone else, but he’s a fantastic writer. I hardly need to remind you of his portfolio, after all. As a matter of fact, his portfolio is so very nearly spotless that his writing flaws come across, at least notably, in only one movie. Avengers: Age of Ultron. You might point out Justice League, but I’m discounting it because while there were flaws there, they weren’t all his, and not all of them were present in unison.

In Ultron, Whedon was pushed to his writerly limits. Understandable, considering that he was burdened with not only following up on the masterpiece that was The Avengers, but he had to do so while taking into account the events of the movies that took place between then and Ultron and where that left the characters. Not only that, he also had to setup the rest of the franchise and introduce a multitude of new characters. Doing any one of those three things is difficult, but doing all of them at the same time while also offering a coherent and enjoyable movie to fans is a monumental task. He did what he could.

One particular weakness of the movie, as pointed out by a large number of people after its release, was the relationship between Bruce Banner and Natasha Romanoff. Recently, people have warmed up to and adapted to it. But the damage is done. It left the impression on just about everyone that it was rushed and clumsily handled. I agree that it was clumsily handled, but I don’t think that it was necessarily rushed.

I’d like to make an argument for the relationship, and in doing so, maybe offer a critique to Mr. Whedon that might be helpful. My argument is the following: Bruce and Natasha’s relationship in the Marvel Cinematic Universe is thematically sound. It’s a natural step forward in both of their respective arcs, and I believe that Mr. Whedon made an excellent, and conscious, storytelling decision when creating the pairing. (He might even have had it in mind since The Avengers.)

But before I go any further on analyzing why I believe this, I think it’s important to dispel a few common and relatively superficial complaints about the couple. Firstly, some people prefer Natasha to have been with Clint, Steve, or even Bucky. I understand the general sentiment there, but I have contentions against any of these people because they don’t make sense in the context of the MCU. Clint is out of the picture because he has a family, and they are simply best friends, practically siblings to each other. Bucky and Natasha have very little screen time together in which they aren’t fighting by the time Age of Ultron happens. Steve is the most sensical of these options. But Steve and Natasha aren’t compatible people, at least not in the sense of a romantic relationship. Why? Because A.) She explicitly prefers more passive, “dorky” men, B.) Steve is still not over Peggy Carter, C.) Putting them together would be, aside from blindingly obvious, harmful to their wonderful friendship because D.) Steve and Natasha have, up to Ultron, had a very strictly professional relationship. They’re friends.

The other big complaint is simply that Bruce Banner seems to be too old for her. This is a, frankly, ridiculous complaint. Mark Ruffalo is one hot dude, and Black Widow is a fully grown woman perfectly capable of having emotions for whoever she damn well pleases. Somewhat older or not.

And speaking of those emotions, people have been quick to point out that they seemingly developed out of nowhere. I disagree, to a certain degree. The seeds of this have been rooted from the very beginning of The Avengers. Their first interaction was tense and interesting. Subtle things were present. Hints of flirtation (granted, at the time she was trying to manipulate and recruit him into helping SHIELD) were present, and there’s a few visual cues. Particularly when Banner says “I don’t always get what I want” while touching a crib. I recommend re-watching it.

And of course, there’s the entirety of Ultron, where they throw quick glances, outright flirt, and seem to have developed a close relationship via “the lullaby”. But the leap from Avengers to Ultron is quite wide, considering that a few things have happened, and besides, wasn’t she deathly afraid of the Hulk during Avengers? The answer to that is yes. And that’s why it was so jarring for practically everyone, including those of us who have embraced the ‘ship. Presumably, all of their bonding happened during Natasha’s stay in Avengers Tower between Winter Soldier and Ultron. The problem? We didn’t see that. We just saw that she could calm down the Hulk all of a sudden and had a good relationship with Banner.

I won’t defend the execution of this. It could have been smoother, without a doubt, but given the duress that Whedon was under with managing the storylines of literally every other character, I can forgive him. But what I can’t forgive him for is the execution of a few other things concerning the two. Namely, how he handled their conversation in the Barton household and the Ultron kidnapping.

The Barton Household conversation could have been positively wonderful. It was a little off-putting instead. I don’t think it’s a bad conversation mind you, it shows that Black Widow is willing to open up to Bruce Banner in a way she doesn’t usually do with others, and it really serves to humanize her further. The premise is this: Bruce Banner isn’t willing to be with her because he believes that he’s a monster and that he can’t give her a normal life (read: children). Natasha counters with the fact that in her view, she’s a monster because the Red Room made her one. And she can’t have children. The issue is clear: these are two separate, parallel, lines of conversation happening at once, and they get muddled, and viewers got confused accordingly. The way the dialogue was framed had disastrous consequences. Rather than achieving its goal the scene left us with the impression that she thought she was a monster because she couldn’t have children when really what she meant was that she was a monster because the Red Room dehumanized her and turned her into a weapon, and in the process, sterilized her.

While awkward, a lot of people later understood what was meant and the outrage died down. But it didn’t help that later in the movie, Widow was used as a literal damsel in distress when she was captured by Ultron for very little reason. Now, I’m a firm believer that strong female characters should be allowed to have love interests. Love isn’t a weakness. But this moment makes Black Widow seem like merely a love interest. She was helpless and a man had to rescue her. And it was, you guessed it, her love interest. This whole concept was a mistake. It could have been any other Avenger. Because if there’s one thing Black Widow is not -- it’s helpless. (And as a side note, that scene at the Avengers party where he fell on her chest? Ridiculous. Whedon pulled the same trick in Justice League and it was equally un-funny. It harmed his cause more than it helped. Comedy could have made the transition into the relationship less jarring for fans but he approached it in the single worst way possible. Also, the ass shots. What the hell Whedon? Like, I get it, but c'mon man. If you're gonna do it, at least be egalitarian and give us some Hulk booty too. Taika did it.)

All of these things combined gave people a less than spectacular impression of the couple at first, since it consumed both of their respective storylines for the entire movie, but I warmed up to it and so did others. Because despite the execution, I think it makes perfect sense thematically.

It begins in The Avengers. We’re going to briefly revisit the scene I mentioned earlier, where Natasha is recruiting Bruce. At this point we know a few things about them: Banner is relatively in control of the Hulk, but he doesn’t want to “Hulk out”, He is not afraid of Natasha, and finally, Natasha is very much afraid of him. At first she acts unfazed, but when he slams his hand on the table to test her there is genuine fear in her eyes and she pulls a gun faster than he can blink. He smiles away the tension, assuring her he was just testing her. But the power dynamic became clear. At first, Natasha believed she could manipulate him like she did Tony, but with Banner that wasn’t the case. He saw right through her. This remains a constant theme. He could read her like a book.

She’s weary of Bruce for the rest of the film, but it culminates when she faces the Hulk. Mr. Whedon lets the camera linger on her after her near death experience. Natasha Romanoff is shaken. This was incredibly humanizing for her because the Hulk is a force that she is truly powerless to do anything about, which must be an unfamiliar feeling for the world’s greatest assassin. Regardless, when Fury calls her to take down Barton, she walks it off. That encounter grew her character. A character that has remained fairly mysterious thus far except for one single moment, a truly wonderful scene where she manipulates the ultimate deceiver: Loki.

Loki thinks he’s got a read on her, likely because she was being very honest when she told Loki “I’ve got red on my ledger, and I’d like to have it clean.” Loki already knows, playing on her apparently emotional side by saying “Your ledger is dripping red, it’s gushing and you think saving a man no more virtuous than yourself will change anything?”

It’s all a trick, of course, because she pretends to let it affect her. But Black Widow knows how to compartmentalize emotions, and she handled the situation wonderfully. But I don’t doubt that what Loki said was true -- to a degree. That is Black Widow’s chief insecurity: that she is a monster, and she can never be a hero like the other Avengers because of her past.

A few scenes later, after the Hulk Out, Banner wakes up in a warehouse, where an old man is looking over him. The very first thing that he asked was “Did I hurt anyone?”. And that there is his chief insecurity: that he is a monster because he is a danger to everyone around him.

So you have two characters who both have terrible pasts that were forced on them by circumstances entirely out of their control. Both admire each other professionally as well as people. Let’s not forget that Natasha’s first interaction with Banner was of him living in an impoverished country in order to help people. Both are looking to become better than who they are, but I wouldn’t be surprised if Natasha was affected by this. Hulk has caused just as much harm as she has, but Banner is making up for it by healing others. She might feel she can’t do that because her skillset has always been to harm others. That’s why I think she’s one of the most compassionate of the Avengers, and always comforting her friends. Be it Steve at Peggy’s funeral, or Clint in Endgame when she’s the only family he has left. It makes total sense that Bruce and Natasha would turn to each other as friends and confidants. I don’t think anyone else in the group could understand their shared and unique type of trauma. And as Natasha said, “all [her] friends are fighters”. But Bruce is not. In her eyes, he’s a perfectly normal, mild-mannered gentleman. She’s not afraid of him or Hulk by the time Age of Ultron rolls around, but boy is he afraid of himself.

And they both want normality. So they propose running away. A bit on the dramatic side, but I can see why Whedon chose to use this idea. It makes the ending of the film more poignant, when she chooses to have Banner Hulk Out (and I suspect Banner understands why), thus sacrificing their fantasy of normality. Because they’re Avengers. The mission comes first. Still, it was far too melodramatic for my taste and out of character for both of them. Particularly Natasha. And again, it makes it seem like Natasha was Banner's love interest when it really ought to be the other way around, from a storytelling perspective and also because of the nature of the characters. That was a lapse in judgement from Whedon that weakened the presentation of their potential relationship.

I don’t think the relationship will remain completely intact by the time Endgame finishes, but I do think they’ll acknowledge it and give them a proper send off. It might not last, but their relationship helped them grow as characters. It allowed Banner to realize that he isn’t really a monster. That he is useful in his own right. And it helped Natasha get peace of mind. She isn’t a monster either, she’s a hero. And for better or worse, that means she has to do heroic things. Even sacrificing normalcy.

And plus, it's just adorable man.

[thesffcorner]

Avengers: Endgame

Avengers: Endgame is the latest and concluding  film to the first 10 years of the MCU. Endgame, takes place right after the events of Avengers: Infinity War, and follows the remaining heroes as they try and regroup after Thanos’ snap.

This is a film that, in some ways has been in the making for over 10 years. As such, there are a lot of expectations placed on it, and I don’t think it’s humanly possible to meet them all. For the most part, I enjoyed it; there were some issue with the pacing and characters arcs, but overall, this film is a masterpiece, if nothing else than it’s sheer scope. The Russos have set out to make a celebration of the entire Marvel universe, and in many ways there were successful. As an experience, watching the past 10 years of film-making being brought in and celebrated the way they are here was super positive, and though I found the story a bit lacking, I think it’s worth seeing if nothing else, then for that alone.    

Let’s be real though. You don’t want me to convince you to see this. You were already going to see it. Presumably, if you are here, you want to read what I thought about the film. So let’s cut to the chase, and under the cut and let’s get into my SPOILER FILLED thoughts.

Let’s start with the run-time.

This film, is a little less than 3 h long, and you FEEL, every single min of those 3 h. Part of the problem, is that there is no intermission; the other part is the structure. The first 40ish mins, are setting up where the characters are, the bulk of the film has to do with the Avengers going around collecting the stones, and then the third part is another 40 mins of a CGI battle that feels like it lasts an eternity. Helms Deep, ain’t got nothing on this; it’s so long it actually felt more draining than the almost identical hour long Battle of Wakanda for Infinity War. Then, when that’s over, we still have another 15-20 mins of tying up loose ends, and finally the film is over.

The film is too long. The issue is, I couldn’t tell what things could have been cut. The beginning set-up is slow, but it’s necessary to get us up to speed on where these characters are now, and if they have changed. While I found the battle needlessly long, it was cool to see the entire MCU come together, and every character  gets at least one little moment to shine, even if it’s just a few seconds long. There are dozens upon dozens of characters at the end, and the sheer enormity of the cast makes it impossible to have the battle be short, but I still think it could have been significantly truncated. After all we already saw a massive brawl in Infinity War; I don’t necessarily think we needed one here too, though I will admit that that’s probably an unpopular opinion.

The set-up at the start was imo, one of the better parts of the film. It’s incredibly depressing; the scene between Tony and Steve at Avengers HQ was harrowing; I liked the brief spike of energy when the Avengers go after Thanos, but it’s quickly deflated when he tells them the stones are gone. Then we get the ‘5 years later’ card, and it was like a blow to the face.

Having the bulk of the main plot set 5 years later was both a good and bad idea. On the one hand, 5 years is long enough for certain people to have moved on (some haven’t) and what little we get of what the world is like now was interesting. The best two story-lines for me were Thor Clint; I have been hoping we would get the Ronin story-line at some point in the MCU, and we get a glimpse of it here.

Thor was absolutely amazing; Hemsworth got his wish to have Thor be exactly like what he and Taika developed in Thor: Ragnarok.

The rest of this part was more than a little contrived. Scott getting released from the quantum realm by a rat, Tony figuring out the time travel in a single scene; it felt like the Russos just needed an excuse to get the characters from point A to point B, and went with the most uninteresting way to do it.

I had some issues with the main hook of this film, being time travel. First, I’m not a huge fan of time traveling stories; I tend to find their stakes are jumbled and rather low, they over-rely on common tropes, and almost never end in a satisfying way. I’d like to say that Endgame avoids this, but unfortunately it falls into some of the same traps, as all the films it tries to distance itself from.

There is a catch here in that the Avengers aren’t trying to prevent Thanos from snapping his fingers, but trying to collect the stones before he does. They even make a point of explaining why they can’t just travel back in time and steal the glove from Thanos before he snaps, in a pretty entertaining scene between Nebula, Rhodey, Scott and Hulk. I liked that they had to travel to a point in the past where at least one person had a direct contact with the stone, so they have a precise anchor in the time stream (and also it’s a clever way of going back to the battle of New York, Asgard, and Morag with the Guardians).

It was the part of the film I found most creative and had the most fun with. The team splits into 4 groups, and each group has to work around the obstacles of being in the past, with the group in New York being the funniest. Everything about the Battle of New York was great; the clever way in which they try and get the scepter and tesseract; trying to outwit Loki, Shield, Hydra and their own past selves. I can’t decide if I like the scene with Cap fighting himself more, or Scott giving Tony a heart attack; either way this was the most entertaining part of the film.

Hulk going to the Sorcerer Supreme and trying to convince her to give him the time stone was also good; I liked the reason why she didn’t want to give him the stone, and why she ultimately changes her mind. The idea that removing the stone would split an alternate reality where the Sanctuary failed at its job to keep Earth safe from dark magic was clever and we even see it in action, when Scott and Tony fail to get the tesseract, enabling Loki to escape, meaning in this new timeline, the Avengers failed to upper-hand Loki and lost the space stone.

Tony and Steve going back to the 70’s on Tony’s birthday to steal the tesseract from Shield/Hydra was also really fun. Hank Pym’s amazing 70’s hair was great, but the real standout was the scene between Tony and Howard; it was sad, funny and heart wrenching, and I’ll talk a bit more about it when we get to the characters.

Thor and Rocket go to Asgard to get the aether from Jane, which was likewise hilarious, both because Rocket and Thor as a tag team work really well, but also because it’s so clear that Natalie Portman refused to come back for Endgame, so they had to work around her, by reusing her scenes from Thor: the Dark World, and inserting Rocket. It was also really nice to see Asgard again, and like Tony, Thor too gets a really sweet and emotional scene with Frigga.

The third team is Nebula and Rhodey which was a fine pairing, but I feel that both characters were very underused. They bond a little over both having to rely on prosthetics to live, but most of this section is devoted to getting Thanos back into the film. Thanos being able to see what future Nebula could see through past Nebula’s cybernetic eye (something that maybe Nebula should have thought of before being the one to go to Morag, or at least warned the others about BEFOREHAND), was neat. However, another unpopular opinion of mine is that bringing Thanos back was unnecessary and only needlessly prolonged the film. We had too much Thanos in the last film, his story is over; I realize the Russos wanted him to have a rematch against all the Avengers combined when he’s not mortally wounded, but I would have gladly just watched the team traverse through the time-space continuum looking for the stones for 2 hours.

The final team was the one that actually made me mad. Clint and Natasha have to go to Vormir and get the soul gem. Okay… first off: why out of all the team members, do Clint and Natasha have to be the ones to go to Vormir? Wouldn’t it have made so much more sense for it to be Rocket? Nebula and Thor are indisposed, but they could have called Carol back, if nothing else than as back up, seeing as Vormir is in freaking space. Even without Carol, both Clint and Natasha could have easily done New York, considering they were there instead of Tony, Scott, Steve or Bruce.

Second, we are shown in the film, that the group is discussing what the best course of action would be, and they take notes on all the stones, and each person’s contact with the stones. When they were discussing Vormir, Nebula even says that that’s where Thanos killed her sister. So how come when they get there, Natasha and Clint are completely confused when Red Skull tells them one of them has to sacrifice so the other can get the stone?

Third, we have this ridiculous fight, between Clint and Nat about who will sacrifice themselves, and the Russos picked Nat? The ONLY female founding Avenger, the oldest member of the group along with Clint and Fury, and she does NOTHING this entire film, but throw herself in a pit to further Clint’s already massive man-pain over being a murderer and losing his family. This bit INFURIATED me; even if the reason Nat had to die was because Scarlet Johansson wanted to exit the MCU, there had to have been a better way to have her leave than killing her halfway through a 3 h movie, where her role up until that point had been sitting at a desk and crying.

Since I’m already talking about Natasha, let’s talk about the characters. In my review of Infinity War, I said that Nat, and Steve had such a small part, because the Russos were saving them for this film. For Steve that’s mostly true; his role is bigger, he gets some funny scenes, he gets some ‘character development’ (we’ll get to that). But Nat? What does she get? She’s overworking herself because she can’t move on, and is sad about Clint turning into a murderer. Then she sacrifices herself so Clint can get the soul stone and go back to his family, and it’s supposed to be a callback to when he didn’t kill her all those years ago, and had her join Shield. It was so reductive and uninteresting, and had nothing to do with her actual character. And don’t give me that ‘greater good’ bs; the Russos have been writing Nat for 4 films now, if they wanted her character arc to be about sacrificing for the greater good, they should have written it that way, dammit.

With Steve, like I said he gets a few touching moments, like running the support group, giving the rally speech before they go to the quantum realm, and getting up to fight Thanos after he has been beaten and his shield is broken.

But what was his character arc? Like Nat, the Russos have been writing Steven for 4 films now, and in every single one, they have failed to understand him as a character. They have had 4 films, and they still don’t know what to do with him. They seem to have this idea that Steve is just incapable of letting go: he can’t let go of the past, he can’t let go of the life he could’ve had with Peggy, he can’t let go of Bucky. He has spent 11 years out of the ice, has made a new close family with Tony, Nat, Sam, even Thor and Bruce, he’s even had a new love interest with Sharon, and he’s still completely stuck on the idea that his only chance at life was 80 years ago.

So here we have more of that: Steve can’t and won’t move on. He will risk his, and his friends’ lives for the slimmest of chances that things could go back to the way they were. That he can save everyone. It’s noble, but it’s not a character arc. Steve is exactly the same character he was in Captain America, and he has had no progress in 7 films.

He started out as someone who didn’t know his place in the world, and he ends this film by choosing to abandon his entire life and all his friends he worked so hard to bring back, in order to go back to Peggy. Everything he did in the present, all his friendships, memories, getting Bucky and Sam back, meeting Sharon, saving the world, none of it matters as much as being with Peggy. I’m sorry, but I just don’t buy it.

Moreover, this brings its own host of issues. If Steve went back in time, exactly when did he go? Before he crashed the plane? How did the bomb not detonate then? After he was frozen? Either way, in that timeline there are 2 Steve Rogerses. Did he just… convince Hydra not to dig him out? Did he kill his past self?

Was he still Captain America? If yes, then that should drastically change the timeline in the present day right? Things wouldn’t have happened the same way, so why would Hulk, Sam and Bucky be at that spot at that time? If the present timeline didn’t change, then how did Steve end up old and on the bench?

If he wasn’t Captain America in the past, how did he hide it? Did no one recognize him? Peggy did. Also, if Sharon exists in this timeline, then wouldn’t Steve have committed incest when he kissed her in Civil War?

I have the same timeline question for the rest of the cast. When Hulk snapped, he brought every person who disappeared, 5 years into the future, right? So is everyone 5 years older? If yes, then wouldn’t that make Peter Parker 19-20 years old? Why is he still in high school then?

If not, then how is Ned, and all of Peter’s other classmates exactly the same age? Did they all gets snapped? Every single person on that bus? That’s not random selection then now is it?

Clint, another character that the Russos don’t like or understand, didn’t fare much better. In the comics, he becomes the Ronin because Norman Osborn becomes President, and he creates a government sanctioned Avengers team full of criminals, where Bullseye is Hawkeye. He becomes Ronin to work illegally as an Avenger. Here it’s because his family got snapped, and because of that he is angry that some criminals remained alive, so now he’s killing them? What?

And then he just… gets his family back? And now everything is ok, and all those people he killed are completely forgotten?

Not to mention the absolutely infuriating scene, where Rhodey, Clint, Hulk, Thor and Steve, argue about whether Natasha is really dead or not. 5 men, argue about the ONE woman who had to sacrifice herself so they can all feel guilty and argue about it for 2 mins? This film really hates women, doesn’t it.

There’s a scene during the battle where Captain Marvel has to take the stones through Thanos’ army, and then all the female characters stand around her as back up, and it’s supposed to be this really empowering moment to see how far the MCU has come in representation.

Except it’s not, because having all the women fight CGI blobs for 1 min of a 3 h movie, while cool, doesn’t make up for the other 179 mins of shitty treatment of all your female characters.

Case in point: Gamora and Nebula. I really, really hated this plotline too. First, I hate that the Russos understanding of Peter Quill just seems to be that he’s an idiot. Great.

Second, since we can’t bring back Gamora from Vormir, we have Gamora from 9 years ago coming back to the present, so all the development James Gunn did with her character, he bonding with the Guardians, her relationship to Peter, he relationship with Nebula, all that is reconnected away. Thanks a lot guys! Way to completely negate years of development for the sake of your shitty plot twist!

Then we have Thor. I absolutely loved Thor in this film; he’s depressed, suffers from panic attacks, hides his pain with alcoholism, has put on weight, is very funny, and has the best interactions with all the cast. The scene in Asgard where he gets to talk to Frigga was beautiful; however, I wish he had gotten a scene with Loki or Jane, because that would have completed his arc. Like, it’s a bit strange that he seems to have forgotten that Loki died last film, and has no reaction when they sneak by his cell, but when he sees his mother he loses it?

While I do love Thor and Rocket, and I did think the final scene between Thor and Peter was funny, I just don’t want Thor in the Guardians films. Guardians already has a blonde, hot but dumb as bricks leading man, we don’t need two to compete for who gets to say the most dumb things this minute points.

Carol is barely in this film. She has 2 lines and 2 fight scenes, and I wonder why they even bothered. She is the strongest character in the MCU, and here she has a tug of war with Thanos for like 5 secs, before she gets swatted away, and isn’t in the rest of the film. They could have written her in if they wanted to, since she had contact with the tesseract in the 90’s, but nope. She’s off to space somewhere, because no girls allowed.

I don’t have much to say about Hulk. He’s in the movie. He says things. He has a single funny scene. He gets to do the snap. Yay.

Finally, we have Tony. The Russos love Tony Stark. I love Tony Stark. Tony Stark dies in this film. It’s made painfully obvious from the very first scene, and the film does everything it can to tug at your heart strings. And I still bought it.

First, we have him surviving a near death experience in space. Then when we cut to 5 years later, he has a daughter with Pepper, as well as a nice cabin in the woods. He doesn’t want any part in quantum traveling, because he got his second chance. He knows he won’t get a third.

I liked the scene where he and Pepper discuss what to do. It’s nice development for both of them; Tony has learned how to communicate with her, and tells her about the Avengers and the quantum travel. Pepper tells him that trying to get him to stop doing something is impossible for both of them. I also enjoyed all the scene between Tony and his daughter; they were sickeningly sweet.

Then we have the scene between him and Howard; I really loved that Tony still loves his dad, and doesn’t think he was a bad man even if they had a bad relationship. I also liked that Howard was worried about being a good father, since he knew he cared about work more than anything else in his world.

And then, to make things the worst, he gets a reunion with Peter, which was the final nail in the coffin. It was so emotional and seeing Peter say goodbye to Tony was even worse. He also gets the hero’s goodbye; he kills Thanos by snapping his finger and the gauntlet kills him. It’s the goodbye he deserves, and it’s the goodbye Nat deserved to have, but didn’t get.

So that’s it. Them’s my thoughts on this film. It was bittersweet, and it was mostly satisfying. I don’t expect that it could have possibly lived up to my expectations, but I am proven once again, that Marvel doesn’t really understand what I like about these movies.

It will be interesting to see how this changed universe will go on now: Thor’s in space, Sam is the new Cap, Tony and Nat are dead, and Clint is a murderer. I hope we get a lot more of Carol, T’challa, Hope, Steven, and Peter, but as for the OG Avengers, the ones that got me into this cinematic universe, this was a pretty decent, though not perfect send off.