Falcon and Winter Soldier - Ep. 6 - OH, NO! (Patreon)

Endings show us if you really knew where you were going.

Which is probably why a lot of endings don’t work. Because people understand what an ending should look like. We’ve all seen enough of them, right? Bad guys are gonna lose. There should be some sense of resolution. Characters should wrap up the thing they were struggling with. And it should all lead to some sort of point, of course. But unfortunately, it seems like most stories deliver their endings on instinct. They understand how they should look and feel, as if a series of postures to pose and beats to hit like they’re crossing off a checklist. Which is perhaps the reason so so many endings feel obligatory, unearned, and lacking in emotional catharsis. Because in reality? Endings have to be a pay-off to a very careful set-up. Something that creates a feeling of elation and utter transcendence for the audience. Which is part of why have to be so emotionally clear with the audience’s feelings, along with the points you are trying to make. It’s the only way to really resonate with the audience. To make your ending hit like a freaking hammer. And so, it’s not just about knowing *where* you are going…

It’s knowing how to get there in the most dramatic way possible.

And to say The Falcon and The Winter Soldier stumbled in its journey to their destination is a bit of an understatement. For even when they arrived, they were so unspecific in their dramatic aim that it can’t help but worry low little there was to begin with.

But before I jump in, I want to make it clear that I’m hesitant and only half-sure about literally everything I’m saying. Not because I’m afraid to make these points, but because of how little the ultimate messaging of the show has to do with my experience. And more importantly, how little it is “for me” in that regard. You see it all the time in criticism. Some white dude watches Crazy Rich Asians or something and says “Huh, this message for someone else didn’t resonate with me? How weird? It must be bad!” There are so many ways that stories can resonate with us and I what honor that. What I hope this does is talk about some of the possible dramatic failings of the show and see how it applies to the people’s larger responses to this show itself. Because I have concerns - and the only point is to see if or how these concerns line up with your own reactions. So let’s start with what is ostensibly supposed to be the thematic rallying point of the show…

Sam’s final speech to the Senator.

I mean, I guess what’s what the dude was supposed to be? It looked very UN-y and I was confused about who made up this group. But even as a speech, it was the kind of oration that was so rambling, disconnected, and unspecific that I had to watch it like I was a kid watching a horror movie (really, I genuinely covered my eyes and looked through my fingers as it went on and on and on). It’s not just that it’s full of awkwardly-delivered interjections from the other actors. Nor is that Sam doesn’t really have an argument. Nor the fact that it’s a didactic one-sided convo. It’s that it’s littered with all these unaddressed ironies. For one, the entire logic of the flag-smasher mission and the border camps is supposed to be a metaphor for refugee politics, right? One that could say, hold up a mirror the Syrian refugee “crisis” (which isn't a crisis) and hammer home the very notion of what being kind with your “borders” is supposed to do. But instead, it has a massively confusing framework. Which is probably why Sam’s words go full generalization, right down to the problem with labels themselves. He makes a point of not calling them terrorists, but at the same time, the narrative itself was bent on making Karli an actual terrorist who goes too far. Likewise, Sam criticizes the actions of “peace-keeping soldiers” and yet he basically did the same EXACT thing in his service in the army. It’s so ignoring the fact that Sam argues for things he so embodied the opposite of. But not even in a way where he learned from mistakes. Unlike Black Panther, there is no “I was wrong,” lesson learned by the hero from the Villain’s point (particularly because Sam has been on the sidelines of his own story). Instead, so much of what was really happening between them was only talked about and dramatically unaddressed. Even when Sam goes all in about, “we finally have common struggle” I genuinely don’t know what this means to him, or anyone else.

Which highlights the core problem with a lot of Sam’s speech: he is saying all the lessons of a story that wasn’t actually the story they showed. He tells us, “I’m a black man carrying the stars and stripes, what don’t I understand?” This moment should be so so powerful. Because it is the statement of a man who knows the heart of racism and the inherited pain of this country - and yet *still* fights because one believes in better (which many argue is also problematic, but others can write about that part better). But even if we accept this message, we are only doing it because it is something we understand as a concept about the world. But how much does this relate to HIS STORY in his journey as the new cap? There sure are moments where Sam experiences racism, like the bank loan, or the cop not recognizing him “out of uniform,” but despite the undeniable greater truth of these moments, they don’t ever seem directly effecting his story, especially with Karli or Bucky, right? It’s part of the problem of him being a passenger to so much of this narrative. Like when he says that in becoming Captain America “there are millions of people going to hate me for it.” But again, was that dramatized? Did we see the way people disregard him as new Cap? Was this the story we were told? We only see the opposite with him. The pain is with the inherited story of Isiah, which is also something that was told to us instead of on screen dramatization (imagine getting to see a flashback of him stand-off with Bucky?).

Now, to be super clear, I am not talking about fetishizing trauma and showing black pain, particularly because it is the only way white audiences are taught to “connect” and “sympathize” with the plight of many Black stories. I’m so happy that the the show is super cognizant of that, for it is something the show’s audience understands so innately. The point is that dramatization is about taking the things they’re merely referencing and directly laying them within the events that are happening on screen, and in turn, connecting them to the evolution of the character’s psychology, which then continues to impact the story. Because when you do that? The ending triumphs and words will hit so much harder.

Which is why I keep thinking how the show makes a crucial mistake from minute one with Sam giving up the shield. It understand the instinct for hesitance. But it misses the opportunity to show EVERYTHING he tells us he’s afraid of. What if he takes up the shield and then it actually SHOWS us how America is like “uhhhhh, you not one of our soldiers? Who said you could do this?” What if we actually see those who have problems with him representing “them?” What if those same forces THEN bring in Walker anyway as a THEIR Captain America? What this does is is brings the conflicts he keeps telling us exist into the CONFLICT of the actual story they are telling. It’s not an off-screen hypothetical. And even those same exact beats of racism we see hit far different when he’s taken up the stars and stripes, no? I honestly feel like its the framework the show needed for all these things to snap into place. I get the allure of waiting for episode 6 to show Sam take up the suit in fly in - but what if we instead FEEL that as an actual character catharsis and not the merely the surface-level fact of putting on a uniform? But to do so, you would need to have a really clear idea about what Sam’s catharsis really even it is…

But nowhere is the lack of clarity more crushing then with Karli. Her final words are “I’m sorry.” And I’m like, wait, are you? Why? Cause your dead now and this is the time villains usually express some kind of regret? What is difference in her psyche now? What did she actually learn just prior to now apologize? The answer is nothing. And this is what happens if you don’t really understand what your characters were about. Earlier in the episode she tells Walker, “I didn’t mean to kill your friend!” And I cannot overstate how much this is trying to have it both ways. Because of moments it makes the point SHE doesn’t care about killing innocent people when convenient, and when convenient, she switches right back. I have absolutely no idea how she actually feels about what she’s doing. So where Killmonger’s final words hit like a dagger, here is far more confused. Because everything about Sam bringing her back carrying her body in this angelic pose reeks of textural posturing. Does it really believe this moment? Did it set up? It honestly has no idea how to actually execute the “sympathetic” villain because it never actually bothered to show or understand her core motivation as a character (whereas it was Killmonger’s entire framing).

And then there’s Walker, whose ending team-up with the boys is downright offensive? After two episodes of straight of vilifying this off-his-rocker fuck-face… it was just them teaming-up like it was nothing!?!?!?! Like, they don’t even talk about things that happened. He just show ups and instead of being more conflict, the three of them going after Karli. It was outright shocking. I couldn’t believe it. “Hahahaha i murdered a school teacher and had no remorse, anyway here’s a Lincoln joke.” Blurgh. The way the MCU introduces harrowing conflict and then completely drops them the second they want things to move along just rankles. Not to mention the bizarre tone of this ending scene where he’s suddenly exhibiting very Wyatt Russell-like fun mannerisms and they’re talking about how things gonna get weird??? I had to outright ask if that was shot by someone else (because the MCU does that with a lot of their tie in shit, btw).

Of all the main characters, perhaps it’s unsurprising that Bucky’s story, being simple and self-contained, is the one that came closest to the arc of catharsis. Winty has been trying to atone for his crimes with a half measure and displacement of friendship, but really he needs to tell the old man what he did to his son (and not simply try to replace him). Though I will say, that’a a TERRIBLE way of explaining that you murdered your friend’s son (like, you might want to lead with the fact you were being mind controlled by Hydra for decades). Also, I’ve spoke at length about how much the show didn’t actually seem to understand therapy and thus the ending of beat of “thanks doc!” with a side of “I don’t need therapy anymore!” hits the wrong note for me. But perhaps we feel the best about his arc because we can’t deny Sebastian Stan’s ever so charming smile at the end while they are on the dock. Which also makes me muse about how much they’ve trapped this actor’s charisma in moping. But the musing goes one step further. Because my biggest disappointment with this project lies not in what they showed…

… But what they didn’t.

As the final conflict played out I couldn’t help but think about how little ANY OF THIS climax had to do with Sam and Bucky’s relationship. Seriously, what was Sam and Bucky’s arc together? Was it even really a part of the story? What did they learn? I’m not saying I want a “different show” from the one we got. I can’t help but want something that delivers on the promise of the premise of THIS show. Becuase these are your two main characters. And the story itself introduces this bickering, conflict-ridden dynamic in episode 2, but then those conflicts simply just wash away. Along with all the opportunities to show what a white guy doesn’t get about Sam’s experience along the the way. Sure, a few scenes of lip service, but as always it gets so disconnected from the THE STORY. So yeah, you can have all these beautiful fun images of them eating beautiful barbecued gulf shrimp by the sea. You can tell me all the words in the world. But it has to be a part of your actual story. And for a show called The Falcon and the Winter Solider…

I really wish it had one (1) story about them.

RANDOM THOUGHTS!

-Re: aesthetics - I wrote “oh no, the new suit looks bad!” I felt like the ears hit wrong, especially?

-When I saw Sam get knocking into those giant pipes and fall into the water, I was like “oh no, he’s really hurt, right?” Because the whole thing is that Sam isn’t actually a super soldier. And that would, like, basically murder him, no? My whole thing about this is not the logic, it’s the question: “what are the rules?” Because rules help create drama - and maybe it would be smart to mine some drama from the fact this human being is fighting super powered people? No?

-As I was watching the big battle of the show play out I wrote, “I wish they were fighting people i really hated, because when they fight people I more or less like, I just hate them.”

-Karli: “You of all people bought into that bullshit?” Yet another line that should hit like a hammer, either because we agree with her or because she’s wrong, and because the show is so convoluted it feels like neither.

-When Sharon Carter says “mercury vapor amongst other things” after skinning burning the dude, I’m like, oh that was fuckin’ weird, right? Not just because it was grizzly, not just because I already sensed she was the power broker, but because there’s no reaction from others to it?

Anyway, yeah she’s the power broker. The fact that it just sort of comes out at the end convo without any real DUN DUN DUNNNN feeling or even turn is a big lesson in how NOT to do a reveal. Because not only were the clues laid on thick without any misdirection, the big thing just happens and then worse, is the way it gets lost in the climax. Because the very first thing Karli should be telling Sam is “Hey, that’s the fucking power broker FYI!” But the only reason she cant is so that Sharon can have a tv show or whatever. And this is where the drama-blocking of extended universe set-up just does your own narrative SO DIRTY, blurgh.

-Yeah, the Lincoln quoting thing just hits sooooo wrong, no?

-It’s never a good sign when the great ending image of your story hits and then you glance over and realize you still have 18 minutes left (yeah most of that is credits, but a lot is extended universe set-up that just lessens the impact of your ending).

-There’s a really emblematic “back and forth but just meaning stasis” dramatic move at the end. It’s right when the remaining Supersoldiers are killed on the way to raft. I get it, we feel the first turn of “ooh they’re gonna be safe!” when the guy says one people one world or whatever, and then ooh zemo got em! But again, it comes back to those rooting mechanics. In order to really care about those back and forths, it has to mean something to us. So how does it wants me TO FEEL about this? How do I feel about any of these characters?

-There’s that moment near the end where Elijah says, “what you want, white falcon?” where I feel like, “this should feel like the bigger conflict in the show?” I don’t know. It just feels tangible and emotional and complex. But whatever I was feeling about that moment quickly subsides when they go to the museum. Chiefly, I’m hit with the logic question of, “wait, did Sam set this up without his permission?” It not only brings up all my wondering about why Isiah had to stay in hiding and what this museum move means on that account. Is everything fine now? Was it ever really a big deal? It also plays into how much we never see Sam deal with the institutions and powers that be. You know, the ones that could have been the perfect incarnation of all the conflicts and fears of racism that he has in taking up the mantle? Instead, the only source of conflict was those dang angry leftist anarchist whateverist kids! Which brings us to the final point of concern…

-What was this show actually about?

I didn’t want to spoil, even just thematically, but I almost titled this recap: “Quick, uphold the status quo!” or “Quick! We have to rally together to save these petty politicians!” It just reminds me how quickly all these MCU movies confuse the horrible dinosaur institutions of society *with* the notion of society itself. And that civilians are but pawns to be saved. Because anyone who tries to step up and create true change is a challenge to the status quo of power. And this is to be feared above all else. And it just keeps reminding me how utterly disconnected the people who run the MCU seem from the plight of everyday American life. Perhaps the most emblematic choice of the last five years being when they took Peter Parker, whose real circumstance is best embodied by one of my favorite cartoons ever…

(I can never find the original artist of that btw, if you know?) Anyway, turning Parker into a kid who inherited cool power suit from irondad and whose big high school worries are about the fact that he still has training wheels on his death suit and whether or not he is going to get an internship at the most powerful outfit in the world is the most “rich kid” narrative I’ve ever seen in my entire life (plus he learns no lessons, just doubles down on what he did from start). There’s this believe that Hollywood is “liberal” but also shows what you really think about that word. Here, the subtext of everything with the flag smashers, just ends up feeling so much like “gosh, these kids are just so angry! And absolute! They must be extremists who want me dead!” No, they just want what empowers you to change. And their response is: “Well, we’ll half honor your message by slightly guilting the existing institutions that will make some semblance of delay before we completely forget about this conflict and just go back to the status quo.” Forget people are dying. Forget people in dire straits. Those people can never become the heroes. No, in the game of gods, they are only allowed to exist as bellwethers of each god’s own moral compass. One easily wrestled with, mentioned, then forgotten.

They can’t ever really count.

<3HULK