Secret Invasion: Home

 "That's real one-term president stuff!"

So I gather this finale is widely disliked. Well, I loved it. And I think the issue here is that I see Secret Invasion, and I know I keen banging on about this, as Marvel doing John Le Carre style spy stuff- which is very different from James Bond spy stuff. John Le Carre's spies are not glamorousalpha males; they are tired, aging men who have lived too much of their long lives in a world of grubby deceit.

That's what we have here, and why this is such a briulliant little character study of old spy Nick Fury, whose deceptive career has bled into, and interrupted his home life. The moment where he kisses Priscilla wearing her Skrull face is a deep and very much foreshadowed moment between the two of them, yes: but it's also symbolic of Fury's yearning towards truth and reality.

This is a superb finale. Throughout we are given constant misdirection as to where Fury is and where Sonya is. Sonya gets to be the cool one- as I've said before, she's from the Ian Fleming school of spying, gurest starring in a John Le Carre novel.

We get an awesome set piece fight between two Skrulls. We get a bigoted US president outlawing all aliens, a contemptible act, and very Trumpian. Yet we get Sonya establishing an understanding with Gi-ah and the Skrulls. A lot may be being set up here. And Fury, of course, will return in The Marvels.

Don't be put off by the naysayers, I implore you, Think John Le Carre, and watch this.

Secret Invasion: Beloved

 "You are delusional!"

Yes, I know. I'm breaking my rules here, blogging the same series consecutively to catch up. But things have clicked and I'm in love with a show which I believe is misunderstood- it's Marvel does John Le Carre and a tour de force from Samuel L Jackson, an actor of the very first class, in that context. People who don't get it need to see the BBC's Tinker, Tailor, Soldier, Spy and imagine that Karla is a green alien with pointy ears with a comic book history embracing cows and speakeasies. Anyway...

This is superb, spellbinding telly. We begin with Fury learning, through a carefully planted bug (on his own wife!) that Priscilla is in league with Rhodey… and (quite the bombshell, although something like this was coming) Rhodey is a Skrull, and the mole on the inside who is integral to Gravik’s plot to assassinate the President and blame it on the Russians. Suddenly it makes sense why Rhodey is acting as he is.

The scenes between Fury and Priscilla are exquisite, with Jackson giving us an acting tour de force as he confronts her. There are layers to their conversation, harking back to the flashback earlier. Suddenly, they both shoot, in the world’s most romantic shootout… and both deliberately miss. Ah!

We end with the big set piece as Gravik’s plans are carried out and the President saved. It’s sad to see Talos die, but at least he never knows the heartbreak of knowing Gi’ah is gone. Was he right? Will humanity justify his faith? We shall see.

This continues to be superb, underrated telly.

Secret Invasion: Promises

 "I'm Nick Fury. Even when I'm out, I'm in."

This isn't really a Nick Fury show, but more of an ensemble. The different factions of Skrulls get a lot of screen time, with Emilia Clarke excelling as pressured double agent G'iah and Kingsley Ben-Adir as Gravik. Olivia Colman sparkles as Sonya who, it's now clear, is basically a female James Bond. This episode is pretty damn good, more so than the first.

But there's a lot of Fury, the once-lregendary old man who may have lost his mojo, as everyone keeps musing. There's some great character stuff for him, performed to excellence by Samuel L Jackson, an actor of the very first class. We learn that there are a million Skrulls on Earth(!) via his reminiscences of Jim Crow era Alabama. The scene with hiom and Rhodey is superb. There's a lot of fascinating musing, echoing The Falcon and the Winter Soldier, on what it means to be Black in America.

The Skrull plot deepens. The council of Skrulls seems to fall in behind Gravik... and the British Prime Minister, among others, is a Skrull! This is cool. If only people could tell screenwriters across the pond that prime ministers are addressed as just "prime minister". No "Mr" or "Madam". 

There's little else to whinge about, though. I'm enjoying the wit and intrigue. Even the torture scene was amusing. And, so far, the potentially dodgy premise of refugees as baddies hasn't crossed any blatantly unfortunate lines. Here's hoping the quality continues.

Secret Invasion: Resurrection

 "Take his face. Now take his mind."

So it begins, a one-off mini-series for which I'm thoroughly unspoiled: I'm fairly familiar with Marvil comics up to about 1993-94, hardly at all after that. I'm aware of the general premise of the storyline- Invasion pf the Body Snatchers, but worldwide, with Skrulls- but no more than that.

So Talos, mourning his wife, is still on the side of the humans, but younger Skrulls, led by young hothead Gravik, seek to take over the Earth- naturally- by seemingly causing a nuclear apocalypse that will destroy all human life but which they can survive. Gulp. And they certainly succeed in detonating a dirty bomb in Moscow.

This is what brings Nick Fury literally down to Earth, but as we're told by several of his old friends- Maria Hill, his old friend Sonya of MI6, an awesomely charismatic performance from the wonderful Olivia Colman- he's seen to have lodst his mojo after Thanos' snap, no longer the Fury who was always three steps ahead. It's a great little character stufdy, and a superb performance from Samuel L. Jackson as a septuagenarian Fury, still the witty spy of old but with a newfound vulnerability.

There's a superbly generated sense of uncertainty and paranoia throughout: trust no one. Talos' daughter Gi'ah has divided loyalties, and my gut reaction is she's likely to die Everett Ross is a Skrull... for how lomg, I wonder? Shockingly, though, Fury kills Maria Hill, deciding she's a Skrull... and she isn't. ouch. It's a moment that packs a punch.

I'm not sure this is quite first rank stuff yet, but I'm enjoying it. Interesting to set something like this in Russia these days, mind, even if it was filmed in Czechia..

What If... Killmonger Rescued Tony Stark?

 "You believe the cure for human suffering is more suffering?"

This is a fascinating episode. Killmonger saves Tony Stark... so he remains a playboy and never becomes Iron Man, leading to so much stuff not happening. For much of the episode we have basically decent but still very playboy Tony Stark.

But that's not what this episode is about.

It's about Erik Killmonger, and his lifelong concealed rage. Rage against racism. Rage against colonial exploitation. A rage that leads him to use Ulysses Klaw while he remains useful but kills him as soon as he slips into very Sith Efrican casual racism redolent of those days, within living memory, when South Africa was not so civilised. 

Stark still tries to be a hero in the end, but Killmonger is a fascinating and complex character amongst many in a nuanced and highyly satisfactory episode that packs so much into half an hour.

It's great to hear the voice of Chadwick Boseman. He's in this a lot, and he must have been dying. Was he too sick to appear on film but determined to make as much of a mark as he could in the time he had left? A sad thought.

The Falcon and the Winter Soldier: New World Order

 "Every time something gets better for one group, it gets bad for another."

This may not be as high concept as Wandaision and, I'm guessing, won't have been as popular. From this first episode is looks like fairly standard Marvel superheroics fearuring several Captain America supporting characters in Stee's absence with a few nice fan touches- it's nice to see Georges Batroc, although sadly there's neither any leaping nor any facial hair on this upper lip. We'll have to satisfy ourselves with the outrageous accent.

I haven't read a Captain America comic since 1994, so there may be allusions to more recent runs that go above my head, but so far it looks as though there's going to be an exciting amount of linkage with the late Mark Gruenwald's seminal yet underappreciated run on Captain America from 1985 to '94. We have Flag Smasher, presumably (so far shown as a group, although perhaps with a super strong leader) and we end with a new Captain America- presumably John Walker?

This is a good first episode, though, giving us a lot of introductory exposition and showing us Sam (with his nifty robotic Redwing) and a pardoned Bucky in a world six months after the "blip". Sam is clearly the star, bequested the shield by Steve: we begin the episode (after an awesome Falcon action set piece) with his declining to be Cap and returning the shield to the US government- only for th episode to end with someone ese being appointed Cap. But we also get to see his family, and his sister's financial struggles, as well as facing both the question of just how Avengers support themselves and what dying in the "blip" does to one's credit rating.

For Bucky we get both his coming to terms with his past actions and the weirdness of living in the present day at the age of 106 with a young body: his only apparent friend is a man close to his own generation, and he struggles with both relationships and friendships. But Sam is very much the focus.

It's a promising start, although this was pretty much a busy first episode full of exposition. But I bet the series ends with John Walker anding over the shield to Sam after failing in a similar way to Cap #350?

Avengers: Endgame (2019)

“Go to sleep or I’ll sell all your toys!

I don’t care if I’m skipping a couple of recent films for this one; I’ve never been strictly chronological with the Marvel films in a pinch and I won’t start now. The months of spoiler-dodging stop now.

So... wow. A big, blockbuster geeky film that’s three hours long yet doesn’t feature a single Hobbit. And it had me in equal measures gripped, laughing and trying not to cry. This film is indeed as good as everyone says it is.

It also subverts expectations in an awfully clever way. In showing us the true horror of Thanos’ click via Hawkeye and his vanished family, it shows us a Thanos who has forever destroyed all the Infinity Stones and retired- so the Avengers visit him and Thor kills him in a massive anticlimax. Fast forward five years. That certainly wasn’t the obvious thing to do.

Cue the return of Ant-Man eventually prompting Tony Stark, now a husband and father, to invent time travel, and lots of highly entertaining dialogue about how the butterfly effect, and hence every time trace movie ever, doesn’t imply in the Marvel Universe. Time travel doesn’t work as in Back to the Future, says the now-smart Hulk, yet the solution to Thanos’ click is to travel back into the recent past and do a Back to the Future II, which is both clever and hilarious.

And so we get a coda where the Hulk’s click brings the dead back- but the Thanos of 2014 has found out the truth from the future Nebula and has time travelled back to kill them all. It’s good to see Karen Gillan with such a prominent role here, but her story is so very timey-wimey. And it seems to explain why Thanos originally had Nebula tied up, yet history is changed here and the 2014 Thanos has events play out differently. The dynamic between the two very different Nebulas, and Gamora, is wonderful, but this film doesn’t let its big, epic nature get in the way of character, pathos or humour. So Black Widow’s death has meaning. Tony Stark’s final, fatal click, saying “I am Iron Man”, May save the army if goodies from Thanos but gives him a meaningful death, dwelt on properly as it should be; if any character can be said to be the main star of the Marvel Cinematic Universe, it’s him.

Cap, too, gets a suitable exit, spending the rest of his days with Peggy in a beautiful coda.

There’s so much more, though. Fat Thor. Tony Stark meeting his dad in 1970, with a cameo from Jarvis whom we’ve only seen in Agent Carter- at least one of the MCU TV series is sort of recognised as canon. There’s “Scott, I get emails from a raccoon”. Thor getting a pep talk from his mother. It’s wonderful that the film has so much heart, and all its characters are properly used.

A wonderful film, and a fitting end to an age. Let’s hope the future is just as bright.

Iron Man 3 (2013)

“Gods, aliens, other dimensions- I’m just a man in a can.”

 I rather liked this film the first time I saw it. And this time around it still struck me as well-directed, very much so in fact, well acted and characterised with Downey and Paltrow as superb as ever. And perhaps this time around the identity of the “Mandarin” was less of a surprise. But the film seems to be lacking something.

Perhaps it’s the lack of a real supervillain. Perhaps it’s the deliberately small scale of the film (compared to Tony’s last outing, at least) with his anxiety attacks in the wake of the events of The Avengers- which is actually a good character point, Tony Stark bring the kind of rich, powerful, arrogant type who needs vulnerabilities to remain sympathetic, although Downey’s huge charisma does a huge job on its own. But ultimately the film feels entertaining but, well, insubstantial by MCU standards. And it never quite convinces how he gives up all the armour at the end.

There are some very good bits. The twist with the Mandarin is brilliant, and Ben Kingsley gives us a superb comic turn, and the Mandarin videos themselves are a superb visual riff on the iconography if the “War on Terror” which feels oddly retro six years later. Guy Pearce is ok as Killian, although his accent slips in places. Don Cheadle further cements himself as a mainstay. And there’s a lot of fun with armour, and various bits of it. But this film is unexpectedly inconsequential. Even the post-credits sequence is a bit of a damp squib.

Iron Man 2 (2010)

"If there's one thing I've proven, it's that you can count on me to pleasure myself."

I loved the first film. I love this one too. Not as much as the first film, but a lot.

Yes, the plot may meander a bit, and contain a predictable bit where the hero hits rock bottom, but it works. Robert Downey Jr is still born to play Tony Stark. Gwyneth Paltrow is a fine Pepper, yet again, and still has great charisma with Downey. And Don Cheadle is much better as Rhodey. We also get loads and loads and loads of Tony being charismatic and Iron Man action sequences. That gets us halfway there already. And then there’s the Elon Musk cameo...

The conceit works- Tony is dying from the very thing that keeps him alive, and so needs to develop things from his father’s past while Justin Hammer acts as antagonist and this time the baddie is a rather different variation on Whiplash. Plus we get a splendid big set piece at the Monaco Grand Prix, and a lot of world building; there’s a lot about Nick Fury’s Avengers Initiative, we meet Black Widow and discover a familiar-looking old shield. And the post-credits points it all toward to Thor. It’s positively nostalgic seeing all these early MCU films. But the film works on its own terms, carried along by strong characters and a superb cast even if the plot, while perfectly decent, doesn’t quite have the narrative flow if the first film. Three films in and the MCU is going strong.