Marvel Archives - Page 11 Of 43 - The Wide Screen

April 5, 2021

“Loki” 2nd Trailer Leans Into The Absurd Side Of Marvel

WandaVision was the gust of fresh air that blew open the doors to the Marvel Cinematic Universe’s untapped reserves of sheer absurdity, and for that I think we will always be thankful. But WandaVision‘s weirdness was very specifically engineered to produce a sense of dread in the viewer, an understanding that something had to be terribly wrong – because worlds like the one Wanda had created for herself couldn’t possibly exist in the (mostly) grounded MCU. Loki, on the other hand, reassures those of us who loved WandaVision that the MCU actually is just…weird. Permanently.

I’ve compared the upcoming Loki series’ concept and styling to the works of British fantasy author Terry Pratchett before, and the second trailer (released today quite out of the blue: classic God of Mischief move) only makes that comparison more apt – as well as making a convincing argument for everyone involved in the production of this series going on to develop an adaptation of any one of Pratchett’s novels after this is done. There’s also shades of Dr. Who, Dirk Gently’s Holistic Detective Agency, and Hitchhiker’s Guide To The Galaxy – basically, every zany, high-concept, British sci-fi/fantasy ever made rolled up into one.

The new trailer for Loki treats us to one deliciously abstract visual after another, beginning with a charming elevator noise as a magical glowing door appears in the wall of what looks like a horrendously ugly 1980’s subway-station with brown, orange, and mustard-yellow tiling; soon revealing a man in a German stahlhelm, holding the Tesseract in one hand, and gripping the Norse deity’s arm with the other. I mean, seriously, just read that sentence and tell me it doesn’t sound like the opening to a Dirk Gently mystery.

The atrocious color palette is echoed throughout all the lobbies, waiting rooms, offices, and elevators of the Time Variance Authority, or TVA for short, in whose headquarters Loki has unwillingly ended up. As in the Marvel Comics, it appears the TVA work from behind-the-scenes to monitor the flow of time, making sure everything runs like clockwork and working to ensure that alternate timelines are cut off before they in turn sprout innumerable other timelines – each an entire universe of possibilities. Like Wanda walking out onto the empty soundstage of her life and finding stage-lights and auditorium seating, we’re seeing for the first time the nuts and bolts of the MCU.

From their seemingly infinite office space (which I’m fairly certain is tucked away in its own dimension, not limited by the confines of our earth), the TVA dispatches heavily-armed soldiers (including one prominently played by Lovecraft Country‘s Wunmi Mosaku) across the Multiverse to locate anyone caught moving across timelines, and drag them back for trial…where they will presumably face Gugu Mbatha-Raw as Judge Renslayer. This character’s first name hasn’t been revealed, but don’t be surprised if it turns out to be Ravonna, since Princess Ravonna Renslayer is a notable comics character who shares a long romantic history with Kang the Conqueror, a time-traveling Marvel villain who’s already been confirmed to appear in Ant-Man And The Wasp: Quantumania, played by Jonathan Majors of Da 5 Bloods and Lovecraft Country.

The TVA’s agenda is still not entirely clear, so it’s possible – I’d say probable – that they have an ulterior motive for keeping Loki alive and enlisting him into their army of timeline-hunters, beyond just needing his “unique Loki perspective”, as Owen Wilson’s Mobius puts it. They, or at least some of their top agents like Renslayer, might be working with Kang to conquer all the timelines simultaneously, and Loki’s knack for causing mischief might work in their favor. Kang could even be the hooded figure we see battling TVA hunters in the agency’s hallways and utilizing their glowing portal technology – though, with alternate universes in play here, that could just as well be Lady Loki, or Old Loki, or another of the God’s many variants.

But while that mystery is sure to be compelling, the thing that has me most excited for the series is the thought of traveling back in time through the history of our earth, and of all the Nine Realms yet to be explored – and all the versions of them that exist throughout the Multiverse. Loki has already been seen playing the part of notorious real-life hijacker D.B. Cooper in the 1970’s, but now we get a clearer glimpse of other locations he’ll travel to, including a Medieval festival (where we later see a TVA hunter wielding a jousting lance); a Roman street that’s probably in Pompeii based on the wall of ash and smoke bearing down on the grinning God; a Roxxcart supermarket; a ruined New York City; an otherworldly mining facility; and two diametrically-opposed castles, one bathed in golden light and the other dark, laced with cracks as if made of glass.

Another awesome reveal is the return of Loki’s magic powers, an aspect of his character that’s been sidelined in his last few movie appearances in favor of his twin daggers. Those beautiful weapons still show up in the trailer, but it’s nice to see him wielding magical green energy-blasts as well, particularly given how badly the Russo Brothers used him in Infinity War; not even allowing him to pull a signature magic-trick on Thanos before having his neck broken. It’s still one of the most embarrassing character betrayals in the MCU, if you ask me.

But the crucial difference is that this Loki is Avengers-era Loki, at the height of his game, riding a massive confidence boost from escaping the Avengers on Earth, and still significantly more villainous than heroic. And the writers have clearly gotten into the character’s headspace from that period, because the chaotic mess of Shakespearean angst that we all fell in love with is finally back, and I can’t wait to see where (and when) his story goes from here.

Trailer Rating: 8.5/10

April 2, 2021

“The Falcon And The Winter Soldier” Episode 3 Review!

**SPOILERS FOR THE FALCON AND THE WINTER SOLDIER AHEAD!**

It’s no coincidence that the best and by far the most outrageously entertaining episode of The Falcon And The Winter Soldier yet happens to also be the longest, at fifty-three minutes: still not quite an hour, but close, so close. And those additional few minutes make all the difference, allowing ever major plot beat (and reader, there are several) the space they need to breathe while making the slower character moments feel more organic and earned…resulting in several characters finally realizing their full potential.

This is the first episode of either The Falcon And The Winter Soldier or WandaVision that I’ve watched where I haven’t felt rushed for time, constantly checking the progress bar at the bottom of the screen to try and frantically calculate how much of the remaining runtime is actual story, and how much is credits. But whereas WandaVision sometimes felt like it needed more of the former to counterbalance the length of the latter, The Falcon And The Winter Soldier is perfectly balanced…as all things should be (I’m sorry, I couldn’t resist).

If it’s story and substance you seek, you will not be disappointed this week: everything involving the escape of Helmut Zemo (Daniel Brühl) is gotten out of the way in the first few minutes, freeing up the rest of the episode to take us to the Indonesian pirate kingdom of Madripoor, for some awesome fight scenes, a tense reunion with Sharon Carter (Emily VanCamp), and a few major developments in the Super-Soldier Serum storyline, before returning to Eastern Europe for a confrontation with the Flag-Smashers – which gets delayed to next week, but only because another entity intervenes at the last minute that demands our immediate attention, and gives us the kind of surprise cliffhanger ending that should please many fans.

But it’s Zemo who made it into the top three trends on Twitter this morning, and who serves as the best entry point into the breakdown – or should I say, Baron Zemo, since the criminal mastermind is revealed to have been a descendant of Sokovian royalty before the brutal deaths of his entire family and the destruction of his homeland in the aftermath of Age Of Ultron: which I suppose I should have guessed, given how many trips around the world he was able to take while spending money on hotels, large weaponry, and elaborate disguises. What’s a private plane, a collection of vintage cars, and a creepily devoted elderly butler (who’s just been waiting at the airfield for his master’s return for over five years, I guess?) compared to all that?

The only thing that confuses me slightly is why Zemo just happened to have his iconic comic-accurate purple face-mask just lying in the backseat of one of his old and unused cars. A popular theory suggested he might design it to resemble Thanos, to mock the surviving Avengers with the memory of their greatest failure…but that’s clearly not the case, and in the MCU, in the absence of any better origin story for this singularly bizarre piece of brightly-colored headgear, I’m just gonna assume it’s a rich guy thing and roll with it. A weird family heirloom or some high-end fetish-wear, perhaps.

With Daniel Brühl turning in his most deviously charismatic and seductive performance as the villain to date, it doesn’t take long for Zemo to escape his maximum-security prison with help from Bucky Barnes (Sebastian Stan): but, crucially, on the latter’s terms. Zemo tries his little brainwashing game again, of course, but the code-words meant to activate Bucky’s Winter Soldier persona no longer work as well as they used to, although Zemo guesses that they still trigger some response from deep within Bucky – who grows more and more violent over the course of the episode, as if his HYDRA programming is overwhelming his senses with every moment he spends by the side of his one-time handler.

But, toxic influence on others aside, Zemo does appear to be genuine in his offer of assistance to the heroes, who need his help locating the origin of the new batch of Super-Soldier Serum being used to juice up the Flag-Smashers. True, the only reason he agrees to help them is to fulfil his own mission of wiping out superheroes, and there’s no question he still loathes the Avengers…but at the same time, he saves their lives at crucial moments; he doesn’t lead them astray in Madripoor, although he clearly relishes watching them both endure humiliations while maintaining the disguises he selected for them, such as forcing Bucky to fake an activation, or forcing Sam Wilson (Anthony Mackie) to eat snake-meat; and five years in prison appear to have humanized him…in a creepy, “uncanny valley” sort of way: he dances at a nightclub in Madripoor in a scene terrifyingly reminiscent of Spider-Man 3, and voices his opinion on Marvin Gaye and the “African-American experience”, earning a questioning look from Sam. He’s doing the bare minimum, and from Zemo that’s…a lot.

But perhaps some of it comes down to the fact that, in Madripoor, even a villain as legendary as Zemo is out of his element. We only get to catch a fleeting glimpse of what life is like in the pirate kingdom’s flourishing criminal underworld, and already I can’t wait to go back, perhaps in Shang-Chi and Hawkeye. The city doesn’t boast many big cameos from Marvel Comics’ rogues gallery, mostly just references (for instance, Sam Wilson’s disguise as the “Smiling Tiger” is a nod to an obscure Marvel villain with Thunderbolts ties), but the big players are still out there. In this episode, we only get to visit the lair of a villain named Selby (Imelda Corcoran), who radiates that wealthy-British-white-woman-who-still-regards-Southeast-Asia-as-her-colony type of unsubtle racism.

One of Madripoor’s less racist but no less morally gray residents is Sharon Carter, whose days of fighting for justice at S.H.I.E.L.D. and the CIA ended long ago. But despite her complaints with Sam and Bucky for leaving her to fend for herself after the events of Civil War, it’s clear that a few years on the run from authorities, operating a criminal enterprise in Madripoor’s fabulously wealthy Hightown district, have done wonders for Sharon’s character arc, finally giving her personality traits beyond “occasionally offers encouraging advice to male love interest (who is also her late great-aunt’s boyfriend)”. She’s now the semi-antagonistic, deeply cynical, three-dimensional character she might have been all along were it not for the Russo Brothers’ obvious disinterest in her potential beyond what she could offer Steve by silently backing him up in every argument.

The only thing about sticking her in a luxury penthouse apartment and giving her a side-hustle selling stolen artwork to the rich and famous is that it makes it ever so slightly difficult to relate to her apparent dissatisfaction with that cushy career path, and her desire to return to the US with a Presidential pardon: but The Falcon And The Winter Soldier already seems to have that figured out, implying that Sharon might not be entirely sympathetic, and that her plea for a pardon may hide an ulterior motive. Some fans think she could even be the mysterious “Power Broker” who commissioned the new Super-Soldier Serum.

But to my mind, the better bet is that John Walker (Wyatt Russell), the MCU’s new Captain America, is the Power Broker. We know from last week’s episode that Walker’s body was considered such an extraordinary natural phenomenon that he was studied by MIT. Episode three (and the behavior of the Flag-Smashers, who have all sampled the Serum at this point) revealed that this new variant of the Serum was designed to be, in its creator’s words, “subtle, optimized, perfect”, needing no “clunky machines” or “jacked-up bodies” to function – so even if Walker had taken it, he might have been able to hide that fact from MIT’s researchers.

The only wrinkle in this theory is that Walker clearly doesn’t have that kind of physical strength anymore: as evidenced in his fight with the Flag-Smashers. So perhaps this new variant of the Serum only works temporarily (which would explain the Flag-Smashers carrying it around with them at all times), or he could have been given an early, less effective, prototype by Dr. Wilfred Nagel (Olli Haaskivi), the new Serum’s inventor. Either way, the fact that Nagel designed his Serum using blood samples from Isaiah Bradley, the forgotten Black Super-Soldier, would makes this revelation particularly interesting from a thematic standpoint. And the only other thing we know about the Power Broker is that they’re hot on the trail of the Flag-Smashers, hunting for the stolen Serum…just like Walker, whose search for the anarchist organization is growing increasingly desperate and destructive, as he’s wielding the full weight of the shadowy organization known as the GRC (Global Repatriation Council) to find them.

Walker’s hunt seems intensely personal, from the way he threatens possible suspects to his use of Flag-Smasher Karli Morgenthau‘s (Erin Kellyman) first name. Why, unless Karli is in possession of the one piece of evidence that could forever tarnish Walker’s pristine reputation, potentially even lose him the Captain America gig?

With the mission to Madripoor cut short by Nagel’s death, Sam, Bucky, and Zemo return to Europe without Sharon to find the Flag-Smashers on their own and get to the bottom of the mystery. But in its closing minutes, Bucky suddenly veers off from the rest of the group, telling Sam to go on ahead without him – and while I was at first confused and concerned that this was just a plot device to separate the gang before a fight scene, it’s quickly revealed that Bucky is aware of someone else pursuing them. And even as I was getting ready for it to be some old acquaintance of his from HYDRA, the episode surprised me yet again, as the familiar Wakanda theme plays over the arrival of Ayo (Florence Kasumba), a Dora Milaje warrior.

Ayo appeared in Black Panther, where her most significant scene (one in which it was hinted that she was LGBTQ+ and attracted to General Okoye) was unfortunately cut – so it’s absolutely thrilling that she’ll get a proper chance to shine while representing Wakanda in The Falcon And The Winter Soldier. Her mission is to find and presumably kill Zemo, who caused the death of Wakanda’s King T’Chaka in Civil War, and her distinctive fighting style will add an exciting new element to the upcoming action scenes, particularly if she’s armed with her culture’s traditional weaponry. This was not a surprise I expected, but it’s the one I think we all needed – particularly since Ayo’s inclusion may begin to give us some insight into how the MCU will move forward with Wakandan storylines following the tragic passing of Chadwick Boseman.

Zemo, Sharon, Ayo…with all the characters that The Falcon And The Winter Soldier has taken in just one episode and already completely revitalized, it’s extremely exciting to see how the series will continue to do the same for Sam and Bucky, our leads. And it’s once again abundantly clear that Disney+ really is the best place to do this for all the MCU’s supporting characters, who deserve the time and space that only a six-hour television series can provide.

Episode Rating: 9.5/10

March 28, 2021

It’s 2021 – Stop Queerbaiting Bucky Barnes, Please And Thank You

When I said I wanted The Falcon And The Winter Soldier to generate more conversation amongst the MCU fandom, queerbaiting discourse was not what I had in mind, I’ve got to be honest. Mostly because I had gone into this series basically resigned to the fact that the character of Bucky Barnes would probably never be revealed to be LGBTQ+ either in The Falcon And The Winter Soldier or anywhere in the MCU, even after years of fans pleading for him to be. Yet here we are, a mere two weeks into the series’ run, already heading down an all-too-familiar path…[*sighs*]…so let’s talk about it.

Bucky Barnes’ sexuality has been a subject of fervent – and occasionally heated – debate for years. Fans took one look at his intense relationship with Steve Rogers, and realized what Marvel and the Russo Brothers either hadn’t, or didn’t want to admit: it was heavily queer-coded, and that was what made it alternately so compelling and so frustrating…because once Marvel saw what they’d done in creating the pairing commonly known as “Stucky”, it felt to many fans like the studio went out of their way to squash it.

Bucky had always been just as central to Steve’s character arc as Steve’s “best girl”, Peggy Carter…if not more so, given how little the Russo Brothers actually utilized Peggy when they had the chance. Captain America: The Winter Soldier was literally named after him, and revolved around the reveal that Bucky didn’t die in WWII, but was reborn from a potentially fatal injury as an emotionless assassin brainwashed by HYDRA to assist in the overthrow of democracy. Steve couldn’t bring himself to give up on Bucky, instead spending two movies chasing him down, doing everything in his power to save him from his own demons, and from those who would hurt and manipulate him.

Ultimately Steve is successful, but then Bucky – and by extension, Stucky – kind of disappears. In Endgame, he only has a few lines of dialogue at the end of the movie…just before Steve decides to go back in time and live out the rest of his life with Peggy, whose entire character arc in her Agent Carter series (which Endgame canonized earlier in the movie!) is thus scrapped. Some people like this ending for Steve and Peggy, which is fine. But whether you like it or not, there’s no denying it marked the death of Stucky, with Steve confirming through his actions that Peggy was his one true love.

So you can see why, going into The Falcon And The Winter Soldier, I wasn’t expecting much when it came to the matter of Bucky’s sexuality. Yeah, Marvel has talked a lot recently about the responsibility they feel to better represent the diversity of the modern world. But when it comes to finally getting an LGBTQ+ superhero onscreen, their policy has always been one of “maybe next time”, and it’s getting really old at this point.

Maybe in Guardians Of The Galaxy Vol. 2…no, to be honest, I don’t even know what James Gunn was referring to in that case. Maybe in Thor: Ragnarok…nope, just a deleted shot of a woman walking out of Valkyrie’s bedroom. Maybe in Black Panther, then?…nah, just a deleted scene of ambiguously gay flirting between Okoye and another woman. Well then, maybe in Endgame…of course not, just an unnamed civilian character who mentions going on a date with a guy. Maybe in WandaVision…no, Billy and Tommy Maximoff, both queer characters in the comics, have yet to be confirmed as such onscreen.

So even though The Falcon And The Winter Soldier featured plenty of lightly queer-coded scenes of Bucky and Sam Wilson tumbling on top of each other in the grass like Anakin and Padmé in Star Wars, or going to couples counseling to work out their problems…I wasn’t prepared to read anything into that. Sure, it felt like queerbaiting, but at the same time it felt like affection between men was being used as the joke in all those scenes, and I said as much.

There was, of course, that one puzzling line in the premiere where Bucky goes on a date with a woman, and mentions that he tried online dating but couldn’t get past all the “tiger photos”…something that confused the heck out of me, because I was not aware of the fact that tiger photos are a real thing on dating apps (or at least, were, before some apps banned the practice), and that specifically, they are a real thing almost exclusively found on men’s dating profiles. Men apparently pose, often half-naked, with tigers and other large cats. I don’t know why, but it’s apparently common enough information to spark a whole conversation on Twitter about the subject.

So of course, in a recent interview with NME, The Falcon And The Winter Soldier‘s showrunner and head writer, Malcolm Spellman, was asked about whether that subtle reference was meant to imply anything about Bucky’s sexual orientation. And Spellman opted to answer as follows: “You just gotta…I’m not…I’m not diving down rabbit-holes but, uh, just keep watching.” It’s a non-answer, in line with non-answers Marvel content creators have given to questions before. But this wasn’t a question about Mephisto being in WandaVision. And this answer merely teases us with the infinite possibilities of an incredibly vague “maybe”.

Because a “maybe” isn’t exactly reassuring, but it holds out a lifeline to fans who are desperate for any LGBTQ+ representation…and if you’re gonna extend that lifeline, you can’t tug it away at the last minute. Because that is the definition of queerbaiting: the tried-and-true process of luring queer audiences into a show or film with the promise of meaningful LGBTQ+ representation, then never following through in any substantial way, or else revealing in the end that “surprise! They were straight all along! Fooled ya!”

I want to give Spellman the benefit of the doubt and dare to hope that maybe, maybe, he really is hinting that Bucky is queer, because that kind of reveal would be incredibly powerful and important: and because I don’t want audiences to use this conversation about queerbaiting as a way to ignore or actively undermine everything this series has already done for Black representation in superhero media – although confirmation of Bucky’s queerness would inevitably be weaponized for roughly the same effect. Even leaving potential queerness aside, Bucky is already used by some audiences to distract from Sam’s character. It’s racist, and needs to be called out.

And if fans “keep watching” only to come out the other side with nothing, what then? If it hadn’t been for Spellman’s non-answer, I’d probably be regretful but unsurprised. Mark me down as frustrated and unsurprised now if we don’t even get another “exclusively gay moment” akin to LeFou dancing with a guy for about 0.1 seconds in 2017’s Beauty And The Beast. Because up until now, I was prepared to write off every instance of queer-coding in the series as simply being interpreted differently by fans than by the creators.

So a word of advice to Marvel, and all of Hollywood: don’t tease what you can’t or simply won’t follow through on, when it comes at the expense of queer fans who are still looking for representation in mainstream media, and keep being lured in different directions by series’ and films each promising to be the one that finally gets it right…but only if you “keep watching.”

March 26, 2021

“The Falcon And The Winter Soldier” Episode 2 Review!

**SPOILERS FOR THE FALCON AND THE WINTER SOLDIER AHEAD!**

The Falcon And The Winter Soldier got off to a bit of a slow start last week, drawing in a huge audience for Disney+ but generating fairly minimal buzz online – with the exception of some admittedly very thought-provoking niche discussions about whether Tony Stark should have paid the Avengers, and what Bucky’s reference to “tiger photos” said about his sexuality, if anything. Just MCU stan twitter at its finest.

Generally, though, there was some concern among fans that The Falcon And The Winter Soldier wouldn’t turn out to be a big conversation-starter like its predecessor, WandaVision, which consistently had even casual audiences going wild with theories – a crucial element of the series’ popularity that backfired in fans’ dumbstruck little faces towards the end. That concern has hopefully been assuaged today. Coming off a premiere I described as soft and fluffy fanfic (albeit a very good one), The Falcon And The Winter Soldier ratchets up the tension, the drama, and the stakes, for all our characters – even John-punchable-face-Walker (Wyatt Russell).

In some way, this is the closest thing to a Walker-centric episode…and hopefully the last time we’ll be asked to dive so deeply into the character’s psyche. During an extended opening sequence that had me terrified the whole episode was going to focus on his backstory, we learn that Walker is a golden boy in the U.S. military, the recipient of three Medals of Honor, and a really bad actor (to be clear, that’s Walker: not Russell, who’s doing a very good job), who’s apparently only trying to do the right thing by stepping into Captain America’s shoes. But as his marching band intro music plays over the Marvel title cards, it’s impossible to take him seriously.

Deep down, even Walker must realize or suspect that he’s a pawn: a tacky, suitably camera-friendly piece of sentient military propaganda designed by the U.S. Government to project a frighteningly familiar image of jingoistic nationalism to the rest of the world, while tales of his heroic exploits distract the media from the government’s more sinister operations elsewhere…in short, he’s the kind of manufactured, consumer-tested Build-A-Bigot that the modern GOP wishes they had, and have been trying to construct for years now (looking at you, Dan Crenshaw)…and he is everything Steve Rogers knew he couldn’t be in The First Avenger, when he too was trotted out as morale-boosting entertainment for the troops.

But while Walker leans into the commercialization of his character, posing with Cap’s shield and marketing action figures of himself, Sam Wilson (Anthony Mackie), the rightful heir to the legacy, has to get back to work fighting the mysterious Flag-Smashers: who serve a valid purpose in the story, but don’t feel very organically implemented, having just suddenly become the antagonists because Joaquin Torres (Danny Ramirez) has made them out to be. The Flag-Smashers don’t appear to be very well-organized villains, perhaps because they’re not all that villainous: their leader, Karli Morgenthau (Erin Kellyman), is implied to actually be helping people by smuggling medicine to refugee camps around Central and Eastern Europe.

In return, she and other Flag-Smashers are welcomed into the homes of civilians, calling back to a conversation Sam had last episode about the “tremendous amount of goodwill” that keeps superheroes functioning despite not being paid for their services to humanity. That being said, the Flag-Smashers are still heavily-armed and accompanied by an elite bodyguard of enhanced Super Soldiers, including Morgenthau herself. To deal with the heightened threat, Sam calls in Bucky Barnes (Sebastian Stan), who’s conveniently answering texts now. A result of his therapy working, or a plot device? We shall never know.

We all knew, however, that I wasn’t going to be able to make it through this review without geeking out over the heroes’ reunion – where the conversation quickly turns to “The Big Three”, Sam’s term for aliens, androids, and wizards; the Avengers’ most common enemies. In the back-and-forth, Bucky mockingly namedrops Gandalf, before smugly revealing that he read The Hobbit when it first came out, in 1937 – a miraculous feat given that the first American edition of the book wasn’t published until 1938, which means Bucky didn’t just pick this up on a whim: he literally would have had to order it all the way from England, because he’s just that much of a Tolkien nerd. By a lucky coincidence, yesterday was also Tolkien Reading Day!

The random yet endearing exchange continues the fluffy fanfic vibes I picked up from the premiere episode…and speaking of fanfic, are we gonna talk about the new SamBucky content, or what? Yes, yes, we are. And not just the banter, but the inherent sexual tension of them being forced to roll on top of each other during an action scene, or engage in a “soul-gazing exercise” at the orders of Bucky’s therapist (played by Amy Aquino, who is phenomenal). For me, it’s the way all the heteronormative “bromance” jokes and sight gags accidentally just make the situation more gay.

The episode packs a lot into its back half, including a pretty long action sequence with the Flag-Smashers in rural Germany, which moves from an abandoned warehouse to a highway fight on the tops of two moving MAC trucks like a violent Euro Trucks Simulator mod (complete with random, seemingly driverless car that gets wrecked in the ensuing chaos while trying to pass). Things quickly go wrong: Falcon’s wings are somewhat limited on the narrow stretch of road, and Karli Morgenthau smashes his drone Redwing over her knee, while Bucky’s vibranium arm can’t save him from being dragged under a truck. And that’s when John Walker intervenes to “save” the duo, popping up in the first of many surprise appearances.

This is followed by what feels like an even longer sequence of Sam and Bucky being forced to ride back to the airport with Walker’s team after their humiliating defeat; a cringeworthy opportunity to see how fame has gotten to Walker’s head in a very short time. In the face of mediocrity, Sam keeps his cool, while Bucky loses his temper quickly and insults Walker, before jumping out of the vehicle when Walker’s companion, Lemar Hoskins (Cle Bennett), reveals his ridiculous code name, Battlestar. Sam, as a Black man, is forced by circumstances to remain civil – because the one time he gets angry and raises his voice, later in the episode, he’s immediately surrounded by cops who threaten him.

On that sad note, it’s time to talk about Isaiah Bradley (Carl Lumbly), who makes his long-awaited MCU debut surprisingly early. Revealed as a former enemy of Bucky’s from the Korean War era, Bradley it turns out is still alive after six decades lying low in Baltimore: having been experimented on using the longevity-inducing Super Soldier Serum, or some variant of it. In the comics, Bradley’s origin story dates back to World War II, when white doctors used and abused his body to test out their own versions of the Serum, giving him enhanced abilities and a lifetime of trauma. I’ve always believed this reveal would be most significant if Bradley predated Steve Rogers’ miraculous transformation, but there’s no indication that’s the case yet.

Bradley’s introduction sheds light on the MCU’s dark past, while the introduction of his teenaged grandson Eli (Elijah Richardson) illuminates its hopeful future. Eli might seem like a background character in The Falcon And The Winter Soldier, but comics readers will recognize him as a member of the Young Avengers. He may even be the first Young Avenger to enter the MCU in his final form, given the recast of Cassie Lang and the fact that Wiccan and Speed will presumably also be recast when they age up to teenagers. In the comics, his powers come from a blood transfusion from his enhanced grandfather.

The history of the Serum is quickly emerging as the through-line of the series’ plot: running parallel to, and beautifully intersecting with, the emotional through-line of Sam and Bucky (and even John Walker) learning what went into the making of Captain America, and what it takes to live up to his legacy. But with only vague hints from Bradley as to his origins, and with Walker revealing – and confirming through his action scenes – that he doesn’t have a drop of Serum in his veins, the Falcon and the Winter Soldier are forced to turn to someone else for help…someone who knows the Serum’s history intimately, and was presumed to have killed all the Super-Soldiers manufactured by HYDRA in Bucky’s image: Helmut Zemo (Daniel Brühl), who is exactly the type of thwarted sociopath that creepily plays chess with himself while brooding in prison.

Episode Rating: 9/10