Agent Carter Episode Recap/Review: The Blitzkrieg Button, Season 1 Episode 4

I was kind of surprised how little happened in this episode – we didn’t move far with the case, so instead a lot of time was spent on the characters, the world, and the limitations and expectations placed on them. I was a little surprised by this, with an 8-episode season, but I didn’t dislike it.

A quick recap!

When last we saw our heroes, an agent had been killed in the line of duty – along with their only lead. So they’re back to the drawing board (again) and so the captain heads to Germany to follow up on the identity of the thieves. Nothing exciting and not much learned there, except that it’s still a mystery! So that’s the case.

Also, there's a Stan Lee cameo! Found on http://www.denofgeek.com/tv/agent-carter/33853/agent-carter-episode-4-review-the-blitzkrieg-button

Also, there’s a Stan Lee cameo!
Found on denofgeek.com

Much more important is that Howard Stark is back. And with him comes all of the womanizing, the secrets, the concern about being caught. And why is he back? He’s concerned about some of his technology being in the hands of the SSR and the government. Like the titular Blitzkrieg Button, which can turn out all the lights in the city!!!! Oh wait, no, it’s a lie. He had a vial of Captain America’s blood. Which makes sense, so why did he feel he needed to lie about it?

A question like that is what leads me into the rest of my discussion about this episode – the further exploration of sexism and other problems of the era. Because Howard didn’t tell her because he was worried about her being emotional about it, with her grieving for Cap. She couldn’t handle it, he thought… really? Well, that leads into his discussion of…

The Ceiling

Howard gets into a discussion of The Ceiling, a concept which today is used generally in the term “glass ceiling,” about an upper limit on how high women can ascend in business and other fields. For Stark, the Ceiling he is thinking of is a class one. He talks about his parents having been poor, working, maybe lower-middle class. And about how generally there is an upper limit, a ceiling on how high someone born into that might climb.

So his answer is that he lies. They leave us some to imagine how he uses his lies: maybe about his background, where he comes from. He lies in his womanizing, one would imagine, and in all sorts of other ways. And his point is, he lies as a habit, as how he deals with life: so of course he lied to her about the vial of blood.

He is not the only person to confront Peggy Carter with her sex and the idea of limitations this episode. With the captain out and investigating, another agent is left in charge, who tells them all that no one is going home until they get progress in the investigation of their murdered fellow agent. Well, the male agents have to stay – the women can go home. Peggy of course takes advantage of this and is out working on things for Stark… but when she’s back at the SSR and runs into the acting captain, he asks why she’s there, and goes further. The specific quote being,

“No man will ever consider you an equal.”

Pretty much in that moment, he sums up the problems of the times, of the Ceiling, and the reason why Peggy leaves to form SHIELD. As my wife Holly pointed out immediately afterwards, he’s wrong. One man did consider her an equal, and he was ten times the man. Well, at least ten times… Captain America is pretty hard to beat. But he’s gone now, and the world is worse off for it.

There are plenty of other sexist moments in the episode, most notably at the beginning when the matron of the Griffith catches Peggy in the halls, sending up the laundry… she thinks it could be a man, and to be fair, it is – it’s Howard Stark. But to fill the uncomfortable time as they make their way up to Peggy’s room, the landlady is talking about how young women can’t control themselves, how they need someone like her looking out for them. Her whole idea of the “impenetrable” Griffith is one I will return to in a moment.

Found on http://marvelcinematicuniverse.wikia.com/wiki/Daniel_Sousa

Found on wikia.com

There’s one more aspect to the Ceiling in this episode. We spend a lot more time with Sousa in this episode, the injured veteran. He is on the right trail to break the case – the case where the correct answer is “Peggy Carter is helping Howard Stark!” so we’re kind of rooting against him. However, his fellow SSR agents are also against his work on it, against him finding a witness, against him interviewing the witness. And when his interrogation isn’t going well, the acting captain comes in, tempts the old homeless-seeming veteran witness with alcohol and food, and gets answers. And he’s down on Sousa, telling him that he’s just a veteran looking for a hug, while others have much simpler needs (booze).

They are running the story of Agent Carter, the competent female agent, parallel to the story of Agent Sousa, the competent disabled agent. They are up against very different prejudices and problems, but both are looked down on by the largely incompetent, prejudiced society represented by the rest of the agents. They both have a Ceiling over them – and I kind of hope to see both of them stepping outside the system and creating SHIELD.

Impenetrable?

Do-not-think-it-meansSuch a big deal was made about how men do not make it above the 1st floor of the Griffith, that it has been a lot of fun as a running joke to see just how inaccurate that statement and assumption is. In the last episode, my main question was whether a woman had infiltrated the Griffith – after all, it’s the easiest way to get past a no-men boundary!

They didn’t disappoint. Peggy’s new neighbor, Dottie, is a badass secret agent. But saying so is jumping to the end, so…

I mentioned that Peggy was sneaking in Howard Stark, up the laundry. The landlady talks about how she’s caught many men doing that, but she doesn’t catch Stark – he’s made his way into a lady’s room already. A lady who does not turn Stark in, nor Peggy for sneaking him in! Several other women end up seeing him and no one says anything. Before the laundry, Howard was snuck in through the sign that said Griffith, it looked like – so there’s a way in…

He’s not the only man to sneak in during the episode, either. There’s an angry, greedy smuggler, who got Stark into the country again. We spend a good amount of the episode watching him figure out where Jarvis and Peggy are, find out which room is Peggy’s… he sneaks up through the ventilation to the higher floors, where he is unceremoniously killed by Dottie for his admittedly cool automatic revolver. The bad guy Agent Carter will never even know was out to get her…

So now Dottie has the cool gun, and we as the audience know something, like GET OUT OF THERE PEGGY IT'S A TRAP!!! Found on http://gottawatchit.com/tv/television/marvels-agent-carter-1x04-the-blitzkrieg-button-fast-times-at-the-griffith/

So now Dottie has the cool gun, and we as the audience know something, like GET OUT OF THERE PEGGY IT’S A TRAP!!!
Found on gottawatchit.com

So two men and a woman, all snuck in to the higher floors of the Griffith… women who are used to men being there and don’t mind… it’s all cemented by a conversation in the dining room, as Peggy tries to sneak a bit of extra food up for Howard. All the ladies have tips and advice for her, and some even have bags and things that have hidden carrying capacity. It seems they all have ways and practice at sneaking men up into the “impenetrable” Griffith.

Maybe not a necessary part of the story, but I have to say, watching just how wrong the landlady is about the place is pretty funny.

The Questions:

Did it feel “comic book?”

Nope, not really at all. Maybe the fake doomsday device, though in our modern day an item like that seems pretty common to any sort of action or spy scenario. It’s pretty much Goldeneye.

Did it feel like you needed to have watched the other movies and shows?

I think especially for Holly’s thoughts on Captain America being the man who was good, and for the whole thing with caring about his blood – sure, again, this felt like a continuation of the Captain America: The First Avenger story. But not really any connection to anything else.

Did it matter that it was a female lead?

This is pretty much what this episode was about. It’s interesting – this seemed critical in the first two episodes, took more of a backseat in the third episode, and has come back strong here. It’s interesting to think that in some parallel world, or in another time, the TV show would have been about Sousa instead – and maybe a female Agent Carter might have been around as a secondary character leading a parallel story instead.

But really, it’s important that it’s not that hypothetical show.

Agents of SHIELD now that we’ve seen Agent Carter

Agent Carter took a week off last week, and I’m assuming it was for the State of the Union address. Since Agent Carter is running as a mid-season show for Agents of SHIELD, I thought I would take a mid-season break from the one show to talk about the other in relation to the former… well, whatever, they make sense to compare to one another, right?

There are lots of comparisons that came to mind about the content of the show in the early days, or even before Agent Carter aired. Different eras, relationships to movies, these sorts of things – and I blogged some of my thoughts on that early on. Now that there’s been a few episodes of Agent Carter, the differences seem really stark (pun intended?). So let me look at a few features that I think really stand out between the two, now that they are both officially on the air and part of the Marvel Cinematic Universe!

The Ensemble versus the Protagonist

It’s inherent in the name, I suppose, but Agents of SHIELD is not the story of one person, with no central hero. Sure, the original and ongoing draw to the show is Agent Phil Coulson, brought back from the dead to give us a known leader and a mystery plot – namely, how is he back from the dead?

But he is by no means the only character on the show, just the only known character. Around him he collected a group of agents, who fly the plane, fight the battles, solve the mysteries, hack the computers, solve the genomes (Gene’O’s?), and build the tech. It was not a small team, and they took a lot of time – as they probably needed to – introducing us to all of these agents (and new ones, over time). While Phil Coulson was ever-present, so were the rest of the team.

Agent Carter is much different from that. Sure, she’s not the only character running around, but she is the one we are focusing on. Her partner is not even a fellow agent, but a butler. And there are characters we are getting to know more about – especially Jarvis in the third episode – but not all of them.

For instance, she has some friends she has made outside of work, women who have also been neighbors or roommates. Well, one is dead and the others we might suspect of having nefarious intentions for their friendship – who can we trust? There are also her fellow SSR agents, but they exist to be contrasted with Peggy Carter, to be cliches and stereotypes and not all to be fleshed out and explored.

Sure, part of that is the 8-episode nature of the season: you can’t do it all in that time. But we have solid evidence that we aren’t going to get to know them all, as one of the agents was assassinated at the end of the third episode. That’s a number of friendlies killed in just three episodes – it’s a risky business being in that show! All we know is Agent Carter and Jarvis make it out at the end, everyone else is at risk!

The Marvel Cinematic Universe

Beyond Agent Coulson, the real draw for Agents of SHIELD is its connection to the larger Marvel Cinematic Universe. These got better over time. There was a ho-hum episode after Thor: The Dark World was out in theaters, with a vague connection to Asgard. Then there was a far better episode with the Lady Sif, and the Asgardian Lorelei. I think this sort of cameo was the sort of thing audiences may have been expecting or wanting more of in the show, and this episode at least showed that it could be done, and done well!

Then the ball dropped with Captain America: The Winter Soldier. The SHIELD focus in the movie bled into the show, and the last few episodes of the first season, airing after the movie started playing in theaters, were really incredible, giving a payoff for a lot of the ensemble-cast character development that they had spent so much time on. I think by the end pretty much all of the cast got to be heroes and found their way into our hearts – or at least, more than they had been before.

Season 2 has more seriously delved into the mystery of the Once and Future Phil Coulson, his death and return. After Guardians of the Galaxy, audiences at least knew more about the aliens of the Marvel Cinematic Universe – even if the characters don’t know. So when it starts to turn out that maybe all these mysteries are alien in nature – and we might know who these aliens are and what they might be like! – it got pretty good. The mid-season break ended in some jaw-dropping turns of events, the implications of which have us wondering just how much this will all be a set-up for some of the upcoming Marvel movies – especially The Inhumans, who may need the most setup.

But here’s the thing: with all of that, I think it’s safe to say that Agents of SHIELD is best in the way that it relates to the larger universe. The events of the mid-season-2-finale were great and all, but the implications were better. The minutes of my wife Holly and I theorizing and guessing after the episode was done were a lot of fun, and worth keeping up with the show – but you can’t really say the show and its contents alone were what made us enjoy it so much.

Okay, that’s a lot about Agents of SHIELD. So let me keep my comment on Agent Carter here brief: it hasn’t been like that at all. The connections to the wider Marvel Cinematic Universe have largely just been in the characters who come from it: Peggy Carter, Howard Stark, and Jarvis – known before just as a name and an A.I. named after him. There have been a lot of references to Captain America, largely just in the fact that Peggy and he were almost an item and now he’s gone. And that’s it – so the show is having to stand on its own, and not lean on the films for interest and intrigue.

So What Makes Good Television?

Oh man, what am I doing asking a big question like that? Well, I guess I mean that it is a show you can watch, and it’s good, and it entertains you. In and of itself. There are plenty of shows that people hang on to and watch for a variety of reasons – hoping it gets good again, wanting to know the answer to its mysteries, for love of an actor or actress or cast. If I were to try to define “good television” it would be something where it doesn’t have to rely on you “hanging on” – you just watch it and it’s good and stays there.

I think Agents of SHIELD has created a whole new category of reasons to hang on, because it really is an experiment in shared universe, between movies and film. Sure, there are shows based on movies, but generally as a re-telling – shows like Bates Motel or Fargo come to mind as recent examples. Sure, there are movies based on shows, both as re-tellings and often as end-notes, conclusions to the story or continuation. Star Trek movies seem like the best example of this. But Agents of SHIELD was a show set in the universe of the movies, not a re-telling, but a real-time continuation to keep you hyped and excited between movies.

As such, though, it does not stand on its own as “good television.” You can’t just pick up and watch an episode (or a season) of Agents of SHIELD and watch it and be like “hey that was all pretty great.” I don’t think that was ever going to be possible, but it’s an entirely new thing and as a fan, I am happy it exists and have enjoyed it thoroughly. It’s had rough patches and seemingly filler-episodes, but so have shows like Battlestar Galactica, which I followed all the way through its run.

By following an entirely different formula with Agent Carter, they have escaped that same new type of show that Agents of SHIELD belongs to. It’s a show following a movie (Captain America), but beyond that, it’s just a good, period-piece mystery show. It’s just good television. Not into comics? Not a problem, you can still get into Agent Carter. Okay, if you don’t like mystery shows or spy stuff like James Bond, maybe you won’t like Agent Carter. But no show is for everyone, right?

It’s a great mystery show so far, and if you haven’t been watching, there’s only 3 episodes to catch up on right now – out of only 8 this season! Not a lot to catch up on, so give it a chance! I’ll be back next Tuesday with my review of episode 4 – The Blitzkrieg Button!

Agent Carter Episode Review: Time and Tide, Season 1 Episode 3

Though it’s the third episode of Marvel’s Agent Carter, it’s only the second week, and as such it has to continue on the story they’ve started. It’s the week of truth: was the pilot a fluke or have they created a show with its own life that will work? Are there interesting characters we want to know more about? It doesn’t have to be a great episode on its own; but it does have to prove something.

Agent_Carter_Official_LogoAnd I was worried a bit at the beginning. They created a pretty long intro for the show, pulling scenes from the pilot episodes and with the main character narrating along. It’s a pretty good intro, but how long it was, and covering so much, made me a bit worried. However, the episode we got after that was solid – some good detective work, some good action, and some good character development. So I’ll walk through the episode to highlight these aspects, and then I’ll ask my three questions about the show to spark discussion!

The Griffith Home for Women

At the end of the premier, Peggy Carter needed a new apartment, and her female friend from her favorite diner had a recommendation: her place, a women’s boarding house. So we open there and have several scenes there. While I don’t have much to say about the scenes there, I can theorize a few things.

First is a story element. The landlady describes the home as impenetrable. This serves a couple of purposes. One is that, as Peggy Carter says, nowhere is impenetrable. This is her inspiration moment from normal life, a standard trope in mystery TV: it gives her a new way to investigate the Stark case, by wondering how they broke in to the “impenetrable” vault and stole the secrets. However, the second purpose this serves is something I can only guess at. There is a new girl who moves in, and they make a point of introducing her to Peggy. Will she turn out to be an enemy agent? Is she a fellow spy? After all, how do you break in to the impenetrable building where only women can go upstairs? As a woman.

The other theory I have is a larger one, about the structure of the show. The place gives them an opportunity to have domestic-like scenes with only women as the characters. This is a show where it matters that it’s a female hero, and the Griffith gives them a chance to have every episode pass the Bechdel test, even though when Peggy goes to work, it’s almost all men. In other words, a chance for the female characters to have more to do in life than be expressly female characters – they can just be characters.

Backstory Time! Jarvis

Found on the Mary Sue episode recap, which read very differently from my post here!

Found on the Mary Sue episode recap, which read very differently from my post here!

I made the claim that Jarvis was just a butler, but this episode gives us some background on him. Whoops! Former soldier.

We learned a lot about Jarvis in this episode. Like his weak point: his wife. His wife he met, as a soldier, in Eastern Europe. His Jewish wife, before World War II. His wife he got into a world of trouble saving – trouble he got out of because of Howard Stark.

So we learn something about Stark here, too. There’s still the selfish angle, where helping Jarvis gets him a loyal ally, sure. But it still did a lot of good to help. Oh, and the blatant disregard for the way that the rules or law works.

Feigned Incompetence

Jarvis is picked up by the SSR, as they follow up their lead of the license plate from Stark’s car. And honestly, they were pretty well right in their accusations: Jarvis was indeed the getaway driver of that very car, as the Roxxon factory exploded. Maybe not for the reasons they suspect, but they are right.

They reach a point, during a pretty solid interrogation of Jarvis, where they believe they are about to break him. He’s going to give up the secrets. And while they think the secrets are about Stark, Peggy knows the secrets are actually about her. Thinking quickly on her feet, she figures out what it is they are lying to Jarvis about, and find a moment to reveal this to Jarvis. Knowing they have nothing against him, Jarvis goes.

But Peggy can’t just go, she’s at work, her real work where she’s useless because she’s undervalued. Her real work where she had already been late that morning – because she had stopped to see Jarvis first about the real case (and had seen him arrested). So she has to go with incompetence as her explanation, that she “didn’t think what would happen” by mentioning anything.

And her boss comes down on her hard. And his point is not “it’s because you’re a woman,” but he does say that it’s stuff like this that is the reason she doesn’t get any real cases. While we might be able to say “yeah, right, or it’s because she’s a woman,” that wasn’t the focus in the scene. Instead, the focus was on what she was having to sacrifice to clear Stark’s name: her reputation, her pride.

From the Shadows

And it is to this point that the episode concludes. After concluding their business with the SSR, Jarvis and Peggy Carter are able to crack the case – following her detective’s intuition from earlier – and find the stolen Stark technology. Peggy is ready to call it in, to take credit for finding it. But Jarvis stops her.

How would she explain it? How could she? How could anyone? Working against her fellow agents, secretly working a case for a man accused of treason. As she points out, she’s potentially being treasonous herself – meaning she very clearly must trust the fact that Stark is innocent.

Jarvis says that they are going to have to clear Stark’s name from the shadows, that they can’t do it out in the open. That she can’t be the one to have the credit, to have it known she’s done it. Again, the hit to her reputation, the hit to her pride. But he’s right, and they call it in for the SSR to find… which also ends up with an agent being killed, by the mysterious figure who was watching over the stolen tech. Was this the thief? Leviathan again? Time will tell!

No one will know just how much she kicked this guy's ass. From the EW recap.

No one will ever know just how much she kicked this guy’s ass. From the EW recap.

Conclusion

So did this episode present us with a compelling ongoing world? I think it did! It presented us with some ongoing life moments. It gave us characters and their world and life. There wasn’t a big heist or a villain for the week: with a lack of these sorts of leads they had to come up with an investigative angle themselves.

What I am loving with this show is that there are two cases going on. One is the “real” case, Agent Carter working with Jarvis to clear Howard Stark’s name. This is the case that drew us in, as the audience, with the known characters.

The second case, though, is the case the SSR is working, the case against Howard Stark. And in this case, Peggy Carter isn’t the good guy in that case: she’s the perpetrator, she’s the bad guy. She’s going behind their backs, she’s completely disagreeing with them…

This all leads to the formation of SHIELD, part-founded by Peggy Carter, and built to work in the shadows. We’re definitely moving that way, even if it’s not directly related to what’s happening in the show!

Did it feel “comic book?”

This didn’t feel at all comic book – though it certainly felt like a mystery show! Really the only thing that felt like anything was what they found in the Stark tech – the Constrictor, the name of a Marvel villain. If they ever do him in the shows or movies, he’ll be using this Stark tech.

Did it feel like you needed to have watched the other movies and shows?

Nope! Didn’t even need to have seen any Captain America movies, really. In fact, with the long intro, you barely even needed to see the premier. It’s like, after good press, they were expecting a larger audience this week. This is a show we may have come to because it’s part of the Marvel Cinematic Universe – but that we stay for because it’s a genuinely good show!

Did it matter that it was a female lead?

I talked a bit about the Griffith home, and I suppose for this it mattered that Peggy was a woman. But it’s also just a case of putting the character into her historical context. And at work, with the SSR, it mattered in the premier that she was a woman. This week, that was less of a focus, and more personalized to her and the way that she bucks the system and argues with authority, and then, to all they know, acts incompetently. So my answer this week is, somewhat, but not completely.

Like the discussion at the end, with Jarvis: they have to keep what they are doing a secret not because she is a woman, but because she is working against the SSR. And it’s against the SSR not because she’s a woman and they won’t believe her that Stark is good, but more because it really does look bad for Stark. So what do you think? Let me know in the comments below, about this or any of the questions!

Now is Not the End & Bridge and Tunnel: Agent Carter Season 1, Episodes 1 & 2

Hello, and welcome to the start of my recap series for Agent Carter, season one! While I often write singular reviews of things (like I have for Agent Carter) over on Comparative Geeks, I’ve never done an episode-by-episode review before. I’m usually more one for massive posts dealing in speculation, opinion, and reactions.

But here I am, introducing this series. I didn’t watch these episodes with an intent to do a recap, I watched them with some very specific questions in mind. Then they basically went in a completely different direction and I followed right along with them.

From the Agent Carter one-shot on the Iron Man 3 disc. Found on http://marvel-movies.wikia.com/wiki/Marvel_One-Shot:_Agent_Carter

From the Agent Carter one-shot on the Iron Man 3 disc.
Found on http://marvel-movies.wikia.com/wiki/Marvel_One-Shot:_Agent_Carter

I was also amazed to find that this was, in fact, two episodes, and not just one long one. It transitioned between the two very well, without a big cliffhanger in the middle or even really much of a pause. Although looking back at it… maybe more of a break than I noticed!

The show is great, and I am really excited to bring it to you on a weekly basis. The plan is for the posts about the last episodes on Tuesdays, before the next episode airs. The other thing I plan to do is ask a few ongoing questions of the series, about whether it stands on its own, and whether it matters that it is a female-led hero show. So let me quickly recap the two episodes for you, and then on to the questions!

Now is Not the End

This is a cloak-and-dagger, undercover-agent spy episode. Howard Stark has been branded a traitor, his most powerful technology showing up in the hands of the enemies of the United States. Stark has also disappeared, which looks highly suspicious.

Despite all of this, Agent Peggy Carter, badass-treated-as-a-secretary, doesn’t believe at all that Stark is a traitor, and he apparently expects this – showing up and recruiting her to clear his name. This involves her needing to go behind the back of her fellow SSR agents, but she seems to pull this off no problem, since she is not only a better spy than they are, but they just don’t expect it of her at all.

It also helps that the one weakness that the fence selling Stark’s tech has is for blondes. Agent Carter dresses for the occasion, sneaking in to a party and getting a private audience with the fence. Her knockout lipstick works a little too well – he kisses her before she’s done interrogating him. But his safe is there in his office, and she breaks in – to find that they haven’t been selling Stark’s blueprints, but have actually been building the new technology and selling that. So there’s an implosion grenade.

Carter, with the somewhat unwanted help of Stark’s butler, Jarvis, and the hapless help of the male SSR agents, follows the trail of the implosion grenade and its manufacture to Roxxon Oil. She finds it being produced – and a milk truck full of the things. A fight, a getaway, and a mad dash to escape – as an implosion goes off and destroys Roxxon.

Bridge and Tunnel

So now, the hunt is on: there’s a truck full of unbelievably dangerous weapons out there, and a creepy guy whose voicebox has been cut out claiming to work for a mysterious Leviathan. Hydra, Mark-II? That remains to be seen!

Agent Carter now goes undercover as an inspector, using a very different skillset and attitude. She finds there’s a truck missing, and the man who drives it uses it for his commute – and is out today. Thus begins a hunt, and chase, that ends up with a car chase with a truck full of implosives. Implosives? I’m going with it.

This episode did a lot to further the relationship of Peggy Carter and Jarvis, had the SSR getting a bit closer to finding out who it is that seems to be a step ahead of them – they have pictures of a blond, and now a female footprint. Oh, and a license plate from the Roxxon implosion – from a car belonging to Howard Stark. So it’s going to look even more like Stark destroyed Roxxon, a rival. That’s not going to help things.

Since the two episodes blended together so much, I’m not sure what else stands out particularly about this episode. Their initial leads to Leviathan have both died, and the SSR is getting close to Peggy… so at this point, it’s Leviathan’s move!

Questions

Did it feel “comic book?”

I think this first question is important, because I’ve seen a lot of discussion around people talking about watching, or not watching, super-hero television. For instance, you’ve got someone like me, who would watch this just because it has “Marvel” stamped on it – but having been roped in, I’m sticking around. But were these episodes particularly “comic book” feeling? No. Okay, there’s improbable tech, with the implosion grenades, and there’s spy tech, but I could just as easily be watching a spy story as a comic book one. So is it pulp fiction? Genre fiction? Sure, but it’s meant to be. Do I feel like I’m missing some vital detail by not having read more comics? No, although I’ve never heard of Leviathan before and it sounds like they are from the comics, so we’ll see!

What do you think?

Did it feel like you needed to have watched the other movies and shows?

This one is important too. Can you just watch Agent Carter, or do you need to have watched Agents of SHIELD and all the Marvel movies? My answer here is… kind of. They give you flashes of Captain America: The First Avenger to help give you the context for where she starts the show, emotionally. But seeing that movie, in particular, would help a lot. Luckily, by not being tied up with the creation of SHIELD, or fighting Hydra, they have avoided a need to be keyed in to much else from the rest of the Marvel Cinematic Universe. We’ll see if that continues, or if they’ll start branching into the other stories more!

One other thing: they made it so that the details of what Captain America was and did don’t matter as much – instead, they gave us the radio drama, playing up Cap and his fight against the Nazis. Which they then used to offset Agent Carter kicking butt and taking names, just like Cap!

What do you think?

Did it matter that it was a female lead?

And here’s my last question I want to ask every week, because a lot of the excitement factor for this show is that it is a comic-related property with a female lead. She’s smart, she’s strong, she’s independent. I think they said it perfectly in the review on SourceFed Nerd: it doesn’t matter to her that she’s a woman, but it matters to the world around her that she is. I’m paraphrasing, but it’s a good point. She is pretty much over sexism and is off doing what needs to be done, brilliantly. The rest of the world around her is steeped in sexism. It’s oppressive and inescapable. And it means it absolutely mattered that she was a woman from a story standpoint, that the sexism and the historical moment they are exploring and all the rest of it wouldn’t matter, or resonate, or even need to be there. We wouldn’t have needed the show if she weren’t a woman.

What do you think?