Unlike ABC’s final Marvel spinoff, this uncover knows what it is from a beginning, and that’s a good start.
The initial goal of Marvel’s Agents of SHIELD was to figure out why, exactly, a agents of SHIELD had their possess show. By a second season, it’s done swell in that investigation, though it was severe going. The problem wasn’t that a array lacked superheroes; it was that it lacked apparent purpose. It insincere we’d adore a brand, and in time we’d learn to adore a characters and a story, once it figured them out.
Marvel’s Agent Carter (ABC, Tuesdays) has things in common with a large sib (the film antecedents, that clunky “Marvel’s“), though it has an advantage off a bat. It has a protagonist–Peggy Carter (Hayley Atwell) of a Captain America films–with voice, personality, conflicts and a mission. And it turns out that, not an inaccessible shield, is all we need to make a fun hour of TV.
You don’t need to have seen a cinema to follow Agent Carter; a professional trailer during a commencement of a commander takes caring of that. But to reveal you: after her comrade/lover a Cap’n crashed into a Arctic in The First Avenger, a British representative finds herself in reduced circumstances. It’s 1946, WWII is over and–like women in offices and factories opposite a U.S.–she finds herself demoted in preference of returning GIs, pulling papers for pompous masculine agents during a Strategic Scientific Reserve. But she ends adult behind in a field, surreptitiously, after aged co-worker munitions builder Howard Stark (Dominic Cooper) finds his deadliest weapons branch adult in a hands of bad guys.
That’s it. No grand mythology. No tie-ins to a film release. Just one goal that will expostulate a show’s eight-episode season–and one focal character, whom Atwell brings electrically alive. Like a ’40s film idol, Atwell’s Carter is some-more lady than girl, in her bearing, story and confidence. She’s as convincing wielding a frail insult as an makeshift blade, conveying a control and adroitness Carter requires to run a growth operation underneath a condescending gawk of her defective superiors in a SSR boys’ club. (The second part creates a devious criticism on how women like Carter were created out of fight history, as she listens to a “Captain America Adventure Hour” radio sequence that recasts her as a Betty-Boop-voiced nurse: “You lousy Krauts are in large difficulty once Captain America gets here!”)
The singular story arc gives a initial dual episodes time to concentration on character, and it helps that Carter has impression conflicts to deposit in–not only workplace sexism, though traffic with her personal detriment and anticipating a postwar clarity of purpose. (And a show’s superhero-less universe requires no cessation of disbelief, given a Captain is on ice for a decades until a present-day of The Winter Soldier.)
Agent Carter‘s essay early on isn’t during a turn of a best Marvel films, or even The CW’s new The Flash–too many cartoon-bubble lines like, “It’s record that could give a A-bomb a run for a money!” But Atwell and a producers (including Michele Fazekas and Tara Butters of a late, crafty Reaper) have done something interesting and enchanting adequate that we don’t skip a superpowers and spandex. Their Agent Carter doesn’t need to be super to be a heroine.