Sharon Carter Archives - The Wide Screen

September 8, 2021

“What If…?” Episode 5 Gives Us The Wasp We Always Deserved

**SPOILERS FOR WHAT IF…? AHEAD!**

If any consistent throughline has emerged in Marvel’s What If…?, it’s that the Ant-Man films are more important than you think. The animated anthology series hasn’t always been kind to the franchise, necessarily – Hank Pym turning into a serial killer and Janet Van Dyne unleashing a zombie virus on the earth could both be considered character regressions – but ironically, these dark twists on what has always been considered the most lighthearted subdivision of the Marvel Cinematic Universe might finally get people to go back and rewatch the Ant-Man films.

And with Ant-Man And The Wasp: Quantumania shaping up to be an Avengers-level crossover event, that’s a perfectly reasonable ulterior motive for What If…? to have. Now we just have to hope that under Peyton Reed’s usually lackluster direction, Quantumania can handle its core cast of characters as well as What If…? does in only thirty minutes. For me, as a fan of Hope Van Dyne (Evangeline Lilly) especially, I’m gonna be honest: What If…?, more so than either of the Ant-Man films or Endgame, finally gave us the Hope Van Dyne we were promised when she first suited up as the Wasp, and the Hope Van Dyne we deserved.

Being a fan of Hope Van Dyne isn’t easy. Even with so much comics history to draw from in her case, the MCU has never really had a clear idea of what to do with her character or how to realize her full potential – something which the Civil War debacle made very clear. In case you missed it, the Russo Brothers were initially going to work the Wasp reveal into their script for Civil War, including her alongside Scott Lang (Paul Rudd) in the iconic airport battle. And it probably would have been awesome.

But Peyton Reed wasn’t too keen on that idea, because he wanted to introduce the Wasp and define the tone of her action sequences. He got his way, the Russo Brothers relented, and Wasp waited until Ant-Man And The Wasp for her next appearance…which was massively underwhelming, because – surprise, surprise – Peyton Reed is kind of terrible at directing action. And by the time the Russo Brothers finally did get to work with Wasp, they had too many characters on their plate to do anything substantial with her, so she got relegated to a background role in Endgame.

Basically, it’s a mess. But here, in What If…?, Hope Van Dyne is given pride of place in a story that revolves around her, and Lilly proves herself thoroughly up to the task of carrying the episode on her vocal performance. The Nexus Event of this week’s alternate timeline spins out of Ant-Man And The Wasp, with Hope’s mother Janet becoming the host body for a zombie virus that Hope accidentally unleashes upon the world when she brings Janet back from the Quantum Realm (don’t even get me started on Janet’s characterization – or lack thereof – in the MCU thus far). Hope’s grief and guilt drive her to lead the search for a cure, and it’s her brave self-sacrifice that ensures the survival of…well, hope.

This episode is filled with sacrifices, some a little more necessary than others. I was genuinely moved when Bruce Banner (Mark Ruffalo) charged into the zombie horde, going head-to-head with the zombie version of Wanda Maximoff in a fight that actually seemed pretty evenly matched…at least long enough for the remnants of the Avengers to escape Camp Lehigh with a cure for the zombie virus. It was one of the few moments since the very first Avengers movie where Banner’s dignity and heroism have been fully visible. And then on the other hand you have Bucky Barnes (Sebastian Stan) running at Wanda with a tiny pistol and getting catapulted into the stratosphere. The confidence, the total lack of braincells…an all-around himbo, even in death. We stan.

And that’s a big part of what makes What If…? so fun. The stakes are high, and characters die! They also die pretty horribly most of the time, especially in this episode, which is a nice change from how Marvel superheroes usually go, with a few aesthetically-pleasing facial scars and a bruise or two. This adds another layer to the suspense because nobody wants to see their favorite superhero devoured by zombies or worse, transformed into one – although Wanda fans will support her no matter what, and I appreciate that energy (she does cut quite a striking figure as she levitates above the battlefield, her telekinetic abilities still intact but fused with insatiable hunger).

And there’s just something so precious and romantic and not-at-all terrifying about the fact that Vision (Paul Bettany) has been keeping zombie Wanda alive this whole time by feeding her human captives to preserve her strength while working on a cure for her using the Mind Stone embedded in his head. Couple goals, am I right? But of course, there’s no timeline in the Multiverse where Vision doesn’t die tragically, so here he rips the Mind Stone out of his own skull and hands it over to the Avengers as atonement for his actions: which, to be fair, are probably the most villainous that we’ve ever seen from a Marvel hero. Wanda cradles his lifeless body, raising the question of whether zombies can feel emotion, and more importantly, what would a zombie WandaVision look like?

Whether or not Vision’s sacrifice was worth it is left a mystery. The Avengers – or rather, T’Challa (Chadwick Boseman), Peter Parker (voiced by Hudson Thames), Scott Lang’s disembodied head in a glass jar, and Doctor Strange’s levitating cloak – fly off to Wakanda with the Mind Stone and a new sense of purpose, but just before the credits roll it’s revealed that Thanos himself has become a victim of the zombies. Missing only the Mind Stone to complete his Infinity Gauntlet, Thanos sets his sights on Wakanda…and of course, the episode ends there.

What If…? has utilized this type of ending several times now, and assuming the series doesn’t have plans to return to these storylines at some point, I like the idea of offering fans a chance to write their own endings. Every week, this series hands the fanfic authors of the world another opportunity to expand upon the Marvel Multiverse in their own way, and that’s genius. This episode was already full of fanfic tropes, from unexpectedly wonderful crossovers (the payoff to that Baba Yaga gag in Ant-Man And The Wasp…*chef’s kiss*) to a scene of Bucky Barnes showering (although let’s be honest, most fanfics would leave out the Disney-mandated strategically-placed steam).

As of this writing, I am still waiting for that zombie WandaVision AU. Do not make me write this myself.

Episode Rating: 8.9/10

April 17, 2021

Who Is Contessa Valentina Allegra de Fontaine?

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

Ralph Bohner walked, so Contessa Valentina Allegra de Fontaine could…also walk, but in really fancy high-heeled boots that even she admitted were incredibly uncomfortable.

There was a time, at the height of WandaVision‘s popularity, that it didn’t seem so inconceivable that any number of celebrity cameos might populate the series’ later episodes, giving rise to countless theories each more outlandish than the last. First it was Evan Peters as Peter Maximoff, then suddenly the entire X-Men universe was going to spill over into Westview by means of the Multiverse, including Ian McKellen as Magneto, Patrick Stewart as Professor X, and Hugh Jackman as Wolverine. Then it was Tobey Maguire as Spider-Man, for reasons still unbeknownst to me. Somewhere along the line, fans decided a throwaway reference to an “aerospace engineer” was actually a nod to Mr. Fantastic or Blue Marvel. Al Pacino as Mephisto was a topic of serious debate.

And in the end, the big cameos that WandaVision teased turned out to either be misdirects or literal pranks by the cast. Evan Peters wasn’t even playing Peter Maximoff: he was just a random guy named Ralph Bohner, and the fact that he played the X-Men universe’s version of the character whose personality he assumed in Westview was a coincidence. But therein lies the danger of theorizing – it’s incredibly fun, particularly in comic-book franchises where there are no shortage of rabbit holes to dive down, but you shouldn’t let it interfere with your ability to enjoy a story that turns out to be doing something completely different than what you theorized.

At the same time, I do think filmmakers and showrunners could perhaps refrain from overhyping literally every reveal, as seemed to sometimes be the case with WandaVision, if only to protect their own projects from inevitable fan backlash. But caving in to the most absurd fan theories is also a bad idea: how much further afield would The Falcon And The Winter Soldier have drifted in its middle section if it had had to stop and introduce Wolverine in Madripoor?

All of that is to say: Julia Louis-Dreyfus popping up in The Falcon And The Winter Soldier as an iconic character from Marvel Comics was the perfect kind of surprise, because, while it’s quite a brief cameo, and doesn’t distract a bit from the main narrative, it’s also fun, unpredictable (while still making sense in hindsight, like any good twist), and allows us to do some rabbit-hole diving right now, as we discuss the past, present, and future, of Contessa Valentina Allegra de Fontaine (no, I will not abbreviate it to Val: Contessa Valentina Allegra de Fontaine literally says in the episode never to do that, and my SEO optimization says to pad my posts with at least 600 words).

Formally known as La Contessa Valentina Allegra de la Fontaine, the character first appeared in the Nick Fury: Agent Of S.H.I.E.L.D. comics in the late 1960’s, with her backstory mostly shrouded in mystery, but generally giving the impression that she was a fabulously wealthy Italian heiress until her parents were killed, at which point her skills as a hand-to-hand fighter and sharpshooter caught the eye of S.H.I.E.L.D., and she was recruited into the organization as Agent 14. Appointed leader of the all-women S.H.I.E.L.D. team “Femme Force”, Contessa Valentina Allegra de Fontaine’s working relationship with Nick Fury quickly became a romantic one – so romantic, in fact, the Comics Code Authority intervened.

More recently, La Contessa has played a major role in the Secret Invasion storyline, being the victim of a Skrull impersonator. While laying low in Britain, she worked alongside Lance Hunter, who has already appeared in the MCU-adjacent Agents Of S.H.I.E.L.D. TV series. And then her entire backstory was retconned, and she was revealed to be a Russian sleeper agent working with the organization known as Leviathan to infiltrate HYDRA, leading to her taking over the title of Madame Hydra.

In the MCU, all we know about her comes from her exceedingly brief interaction with John Walker, during which she tells him to keep in touch with her as he might prove “very, very valuable to certain people”. Although she never states her true purpose, her knowledge of classified state secrets suggests a connection to either S.H.I.E.L.D. or HYDRA – and her threatening aura (plus the villainous purple highlights in her hair, an upgrade from her Bride of Frankenstein-esque white streak in the comics) makes the latter more likely. We also know from Vanity Fair that Julia Louis-Dreyfus was originally supposed to debut in Black Widow, most likely in a post-credits scene.

That, coupled with the handful of hints she drops, have led many to believe she’ll be assembling the MCU’s Thunderbolts (a team of reformed villains from the comics) or Dark Avengers (a team of evil doppelgangers of the original Avengers), jumping from films to Disney+ shows and back to recruit all the best baddies onto her team before they can be killed or imprisoned. She just missed her opportunity to accost Baron Zemo (the original founder of the Thunderbolts in the comics), but the fact that he’s currently on his way to The Raft rather than Wakanda makes it easier for La Contessa to potentially break him out. And if she does appear in Black Widow, that’ll probably be where she picks up Natasha Romanoff’s younger sister, Yelena Belova.

Since she’s clearly being set up as a puppet-master of sorts, she may also be tied to the Power-Broker of Madripoor – and there’s a possibility they’re one and the same. That honestly makes more sense than Sharon Carter being the Power-Broker herself, since she doesn’t seem to have much motive to design an army of Super-Soldiers. But Carter could be working for La Contessa, something that would parallel the characters’ dynamic in the comics, where Carter was a Femme Force member and the two were rivals for the team’s leadership position.

It’s also important to note that even if Contessa Valentina Allegra de Fontaine is affiliated with HYDRA, and even if she does call herself Madame Hydra, that doesn’t somehow retcon Agents Of S.H.I.E.L.D.‘s version of Madame Hydra out of existence, as some people are claiming. S.H.I.E.L.D.‘s Madame Hydra is a character from the HYDRA-operated Framework simulation, not even a real person, and her character design was lifted from Ophelia Sarkissian, another woman who wears the title in the comics. Haters love to claim Agents Of S.H.I.E.L.D. isn’t MCU canon, but it still lives rent-free in their heads.

There also remains the slight chance that La Contessa isn’t a straight-up villain. A lot of S.H.I.E.L.D. agents are just…kind of shady, particularly those in Nick Fury’s inner circle. I think this is least likely out of all the options, but if it means we get to see Samuel L. Jackson and Julia Louis-Dreyfus flirting all the way through the Secret Invasion series, I’d be okay with keeping her on S.H.I.E.L.D.’s side for a little while. Though it would be even more entertaining if they’re bitter exes on opposite sides of a conflict between their teams, whose romantic history allows them to predict their insignificant other’s next moves.

So what do you think Contessa Valentina Allegra de Fontaine is plotting? Which team of villains should she be assembling, and why? Share your own thoughts, theories, and opinions, in the comments below!

April 16, 2021

“The Falcon And The Winter Soldier” Episode 5 Review!

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

Billed by the series’ producers as the single best episode of The Falcon And The Winter Soldier from a thematic standpoint, and highly-anticipated in the fandom due to its rumored inclusion of an epic Marvel Comics cameo, episode five – which bears the simple yet potent subtitle, “Truth” – delivers overwhelmingly on both fronts, diving into a timely discussion about Black identity in America while precisely utilizing the incomparable Julia Louis-Dreyfus to plant seeds for MCU storylines in the near future. After drifting slightly off-course in episode four, the series has regained its footing and the focus is back where it belongs, on Sam Wilson (Anthony Mackie)’s journey of reconciliation.

Louis-Dreyfus’ unexpected cameo as Marvel’s famous Contessa Valentina Allegra de Fontaine is a big deal for comic-book fans, probably deserving of its own breakdown, but The Falcon And The Winter Soldier very wisely doesn’t belabor the point, slipping the charismatic Contessa into just a single early scene before having her exit just as mysteriously as she arrived, leaving a blank business card and a promise to “keep in touch” in her wake. It hasn’t been confirmed if she’ll show up again in The Falcon And The Winter Soldier‘s upcoming finale, but there’s no question we’ll be seeing more of Louis-Dreyfus in the MCU soon, as her character’s sprawling comics history gives her plenty of potential story directions from which to choose.

But all the Easter eggs in the Marvel Multiverse (and there are thousands) can only go so far when it comes to crafting a truly meaningful story. Thankfully, that’s why The Falcon And The Winter Soldier is blessed to have a head writer like Malcolm Spellman, who uses the series’ penultimate episode to develop a profound commentary on the sacrifices Black people in America are expected to make every day for a country built by and for white supremacy…and how Sam Wilson’s fight to protect what he sees as the legacy of Captain America isn’t anywhere near as simple as it would be for a white man.

That’s something even Bucky Barnes (Sebastian Stan) comes to acknowledge later in the episode, apologizing to Sam for all the times he questioned his decision to give up Captain America’s shield, and specifically for never once considering how Sam’s identity as a Black man factored into that controversial decision. It’s a powerful moment that recognizes Sam’s Blackness as a crucial element of his character in-universe that can’t and shouldn’t be ignored or downplayed, even when that makes white characters and viewers uncomfortable; especially when that necessitates reevaluating Hollywood’s so-called “colorblind” strategy of treating characters as paper dolls, and racial and cultural identities as interchangeable outfits.

But that’s a moment. And in too many cases, The Falcon And The Winter Soldier‘s best scenes have been mere moments – due to occasionally poor pacing and the nearly consistent issue of time constraints. The latter is at least not a problem in today’s hour-long episode, which makes room for one extended dramatic sequence that I suspect will still be hailed as the series’ thematic high-point even after next week’s finale. In a story that revolves around Black identity, it’s no surprise that this incredible sequence is focused exclusively on two Black men – Sam Wilson and Isaiah Bradley (Carl Lumbly), who meet up at Isaiah’s house on the outskirts of Baltimore, with Sam initially intending to give the old man a chance to see Captain America’s shield.

And as Sam approaches the house, with the shield wrapped up in brown paper, it’s easy to envision how that hypothetical could have played out with a different screenwriter; all tears of joy and feel-good vibes. But Isaiah stops him in his tracks, recognizing the shield before Sam ever gets a chance to unwrap it. “Leave it covered,” he tells Sam bluntly. “Them stars and stripes don’t mean nothin’ good to me.”

At last, Isaiah finally gets a chance to tell his story. It’s not a comfortable one, particularly for anyone who recognizes the intentional parallels between his account and the history of the real-life Tuskegee Syphilis Study conducted on Black men between 1932 and 1972. Isaiah describes how he and the other men in his facility were told they were being treated for tetanus, though in reality their bodies were being used by the US Government as expendable vessels on which to test out experimental versions of the Super-Soldier Serum – all part of a race to recreate what Isaiah describes as the “great white hope” of Steve Rogers; the same race being run by John Walker (Wyatt Russell), a living still-frame of whiteness in action.

Lumbly’s performance throughout the sequence is so vividly and excruciatingly present, there’s no need for dramatized flashbacks even as Isaiah tells of his escape-attempt, and the thirty years he spent in prison on charges of treason while the experiments continued, and he was slowly drained of his superhuman blood, his resolve to live, and his sense of self. He was mutilated, erased from history, and, upon being released, forced into hiding. The fact that his blood now flows in John Walker’s veins backs up his pessimistic worldview: his entire life was reduced to the parts of him that could be mined to create more juiced-up white guys.

But it’s what Isaiah has to say about Sam that cuts most deeply: like an emotional gut-punch on par with, if not far exceeding, Vision’s profound analysis of grief in WandaVision. “They will never let a Black man be Captain America. And even if they did, no self-respecting Black man would ever wanna be.” It’s probably one of the most powerful lines ever spoken in the MCU, so quietly paradigm-altering that it demands a response from Sam – but since we don’t get to hear one because the scene ends there, we’ll have to see his response instead, through his actions. I don’t trust Disney to make the right call here, but it would be incredibly empowering to see Sam come out of this unaffiliated with the American government in any way.

To be honest, I don’t see another option that makes sense given how far Sam has progressed. He’s already shed his identity as the Falcon, symbolically passing his wings along to Joaquin Torres (Danny Ramirez); who, if the comics are to be trusted, will get plenty of use out of them. And while he could still use the Captain America moniker, he’s clearly sympathetic to the motives, though not the methods, of the anarchist Flag-Smashers – which probably wouldn’t make him too popular with any government, least of all the United States’.

The Flag-Smashers are an example of a subplot that has been meandering so long it feels pointless, only barely being kept afloat by Erin Kellyman’s performance as Karli Morgenthau. The group is apparently being secretly assisted by Sharon Carter (Emily VanCamp), who breaks Georges Batroc (Georges St-Pierre) out of jail and sends him along to New York City to help the Flag-Smashers orchestrate a hostage crisis that will shape next week’s finale – though the nighttime setting gives me concern that we won’t be able to fully appreciate the splendor of Sam Wilson’s new set of wings, which I believe to be the unspecified Wakandan-designed gift left behind at Sam’s house after Bucky stops by to help him fix up his family’s old fishing-trawler.

Separate from Sam, Bucky’s journey also starts strolling off on its own, leading him to the memorial in Sokovia namedropped two weeks ago by Baron Zemo (Daniel Brühl), whom Bucky finds there. In a slightly strange turn of events, Bucky aims a gun at Zemo’s head and pulls the trigger, only to then reveal that he removed the bullets…some emotionally manipulative payback for all of Zemo’s own manipulations. The Dora Milaje arrive to escort Zemo to The Raft, the high-security underwater prison seen in Civil War that is totally a great place to be holding one of the most dangerous criminals in the world.

Obviously he won’t be there for long, but I have a feeling his time on The Falcon And The Winter Soldier may have come to an end. With a mid-credits scene revealing that John Walker is hard at work on his own handcrafted replica of Captain America’s shield (is anyone gonna tell him it needs vibranium to actually be effective, or…no? Okay), all our focus in next week’s finale will have to be on the action-packed showdown between Walker, Morgenthau, Barnes, Wilson…and Julia Louis-Dreyfus, which is a bizarre yet wonderful twist of fate that I can’t wait to watch spiral out across the MCU.

Episode Rating: 9/10

April 9, 2021

“The Falcon And The Winter Soldier” Episode 4 Review!

SPOILERS FOR THE FALCON AND THE WINTER SOLDIER AHEAD!

At last I’m beginning to understand why The Falcon And The Winter Soldier waited so long to give us any insight into the series’ main villains, the Flag-Smashers, and their sympathetic ideologies. It’s apparent now that the writers felt they had to wait until just after the end of episode three, when the Flag-Smashers commit one completely uncharacteristic, irredeemably brutal act of violence, bombing a storehouse full of innocent people. Up until that point, they had only occasionally had to resort to violence, always against corporations rather than humans: in fact, their mission to smuggle vaccines, food, and other resources into refugee camps around Europe seemed fairly noble, and was just getting really interesting.

And then comes that one act of horrible violence: all it takes to permanently stamp the Flag-Smashers with the “villain” label and cast their nobility into question. Only three people die in the ensuing cataclysm (a number I actually find shockingly low, given how much of the building was on flames last we saw it), but it’s three too many. And, given how the series only now allows the Flag-Smashers a chance to tell their side of the story, it was clearly taken as a preventive measure by the writers to make sure they can’t fully win our empathy, much less our trust, and so by extension neither can their message…which, incidentally, is fervently anti-capitalist and anti-nationalist.

The Falcon And The Winter Soldier reduces what could have been a significantly more complex conversation between a genuinely empathetic Sam Wilson (Anthony Mackie) and a status-quo-upending Karli Morgenthau (Erin Kellyman) into a clear-cut moral debate about violence that side-skirts (and distracts from) any meaningful discussion about the Flag-Smashers’ agenda entirely, where Sam can only go so far as to say “I agree with your fight. I just can’t get with the way you’re fightin’ it,” because that’s as far as he can go without endorsing the murder of innocent civilians. The Flag-Smashers could have presented the writers an opportunity to tackle a sensitive but timely topic, but they shied away from the conversation instead.

It doesn’t even feel authentic for Sam’s character, who deserved the emotional growth that could have come from having the chance to feel more morally conflicted about the Flag-Smashers’ war on injustices much like the ones Sam and his sister Sarah (Adepero Oduye) have been fighting for a long time on the show. But with the Flag-Smashers now murdering people left and right, and “Captain America” himself, John Walker (Wyatt Russell) also a very high-profile murderer after the events of this episode, it looks like Sam is being positioned to rise like a falcon between the two opposing forces and their ideologies by the end of the series…which makes me fear the ultimate moral of the story will be to meet your enemies half-way and compromise.

All that being said, the eventual meeting between Sam and Karli is still a powerful scene, taking place at a gloomy funeral service in Riga, Latvia, for Mama Donya, Karli’s mother-figure and the matriarch of her community. There’s a subtle yet impactful beat as the scene opens, where Karli, delivering a speech to the onlookers with a small child nestled in the crook of her arm, suddenly catches sight of Sam watching from the mezzanine – and immediately passes the child in her arms to another character, the implication being that she fears she’s about to be shot dead by a sniper’s bullet, and won’t use the infant as a human shield.

If The Falcon And The Winter Soldier won’t make her truly sympathetic, it would at least be worthwhile to examine this aspect of the character, her surprising duality, in greater depth: if for no other reason than that Kellyman is a brilliant actress, and it’s frankly a little insulting that her character keeps being called “a kid” in the show, as if Kellyman’s not in her early twenties, and Karli Morgenthau is somehow not responsible for her own actions. I hate having to classify her as a villain, but I’m not gonna sit here and deny that she was the one who planted the car-bomb. What makes her so interesting is her ability to switch from gentle to fearsome in an instant, and the responsibility she takes for that, much like another character on this show.

But Bucky Barnes (Sebastian Stan) actually keeps his cool this week, being content to lean back and enjoy the show as Ayo (Florence Kasumba) and her small team of Dora Milaje warriors from Wakanda arrive looking for Baron Zemo (Daniel Brühl, a fan-favorite thanks to his awkward dance on last week’s episode). After giving Bucky eight hours to hand over Zemo, the Dora Milaje go for the kill: taking on everybody at once in a melee battle, including John Walker and his partner, Lemar Hoskins (Cle Bennett). The result is the best action sequence not just in this episode, but in the series thus far, although I feel like budgetary constraints probably prevented the Dora Milaje from using their electric spears the way they were intended.

Even apart from their fighting skills, the Dora Milaje are developed as characters, with Ayo and Bucky sharing an intense flashback scene set six years prior to the events of The Falcon And The Winter Soldier, while Bucky was living in Wakanda – though, again, budget constraints necessitate that the scene be set somewhere in the forest surrounding Wakanda. Technically, there’s a good reason for this: Ayo is testing Bucky’s resistance to his HYDRA programming, and wants him as far from the city and its people as possible. Bucky is ultimately able to suppress the Winter Soldier programming, but we later learn that Shuri designed his new vibranium arm to be much easier to remove in battle, leaving Bucky bewildered when Ayo does just that.

John Walker, on the other hand, escapes with all his limbs intact but one seriously bruised ego – lamenting to Hoskins that he can’t keep up with any of his enemies physically…which probably explains why he, unlike Steve Rogers, carries a handgun as part of his gear. Walker isn’t the Cap that America needs, but his weapon of choice makes him the Cap that America would predictably end up being saddled with anyway: a vainglorious, gun-toting, white guy who publicly murders an unarmed Flag-Smasher at the end of the episode, quite likely beheading the man based on the way the shot is framed, and then having the audacity to lift the blood-stained shield and stare unapologetically into the cameras capturing every moment of his rampage. Yikes.

And by that point in the episode, John Walker has also finally recovered one of the vials of Super-Soldier Serum stolen by Karli Morgenthau from Madripoor, and used it to juice himself up with a physical boost that puts him on par with the Flag-Smashers. This is a John Walker who’s at the peak of his career and celebrity, who should and very easily could have left the Flag-Smashers alone at that point and gone his own way. Instead, he recklessly attacks Morgenthau’s hide-out, and she, presuming both him and Lamar Hoskins to have used the Serum, throws Hoskins into a stone pillar, breaking his back and killing him instantly. It’s shockingly graphic, but what comes next, with Walker using the shield as a murder weapon, is just as horrific.

The episode leaves on a weird kind of cliffhanger: John Walker’s next move is obviously going to be extremely important, but Sam and Bucky don’t really have a clear objective now – they’ve been reluctant to confront Walker, but now might be the moment things change, and they’re forced to do so to save not only the world, but Steve Rogers’ legacy. Meanwhile, Zemo has completely disappeared, after evading capture by the Dora Milaje and pursuing Morgenthau himself, leading to a gunfight which breaks off when Zemo discovers several vials of Morgenthau’s Serum and crushes them one-by-one under his heel, in an attempt to end the line of Super-Soldiers permanently. Say what you will about him, but at least he’s consistent in his motives.

And then there’s Sharon Carter (Emily VanCamp), who, in just a few scenes, is looking more and more like the Power Broker behind the creation of the new strain of Serum. She somehow has access to satellites that are able to pinpoint John Walker (who had just taken the Serum, perhaps suggesting that Sharon’s tech is able to detect the chemical compound), and these satellites act as her “eyes in the sky” – wording eerily similar to the tagline “The Power Broker Is Watching” that we see graffitied on buildings in Madripoor and in the closing credits. My only question is what Sharon would be doing with the Serum, since she doesn’t seem to have a clear motive just yet: stealing valuable art is risky, but does it require an army of superhuman warriors?

I do feel as though the biggest enemy to The Falcon And The Winter Soldier is, unfortunately, a lack of time to properly explore all of its many subplots and storylines, but we have two episodes left in which the series can hopefully regain some footing, while remaining entertaining and action-packed. Right now, it’s just downsized its powerful thematic punch to a light swat, a result of too many different ideas pulling focus from Sam Wilson’s mission to regain the shield and become Captain America…which should be the central thrust of the narrative, and right now feels like it’s going to have to be forced into the finale as an afterthought.

Episode Rating: 6.5/10