This may be my favourite MCU show and in my top three post Endgame things. I loved how commited it was to the bit: a teen comedy that tackles specific themes from beginning to end, even when it has to show more superhero stuff (which is perfectly integrated in the general tone). So it's not the usual "let's promise something that will be there for 20 minutes and we will then spend three hours doing crossovers with other stuff. Which also means that when the crossovers come they work better because they don't feel out of place (and even when they are kinda out of place they are not annoying, because it's just a small homage, a dialogue in the final minutes, that kind of stuff). It's not perfect but it's really good and it's really good at doing the thing it's trying to do. It's not like Hawkeye, which felt like an A.I. was desperatyely trying to write a Shane Black script. The visual style, the directing, everything works and feels contextualized. Iman Vellani is so charming and the whole cast is really lovely. Generally speaking, it maybe doesn't reach the highs of Wandavision (but it also doesn't plummet to its lows) and it's not as consistent as Loki, but I really really liked it, I had fun, it even genuinely moved me here and there.
Ahsoka reminded me that I can still fave fun with classic Star Wars and I can still enjoy a full (mini)series that wants to do that. Considering I’ve been watching recent “classic Star Wars” shows only because I felt I had to do it and I watched them while hanging clothes as a survival technique, I’d say it’s an upgrade. Apparently, I don’t need every Star Wars show to be written by Tony Gilroy. To be fair, I think I prefer Andor, but it’s good to know I still like big space adventures, crazy costumes, Jedis acting cool, well choreographed fights, good actors that manage to not be ridiculous while saying ridiculous stuff, epic and touching scenes scored with those three or four themes that I’ve been loving since I was a kid. Also, I admire how they unabashedly decided to create a direct sequel to something that a huge chunk of their current audience probably never watched, but also the smart way in which it’s full of small details that make sense and tell you an interesting, different story depending on if you watched the animated shows, the movies, The Mandalorian, this or that. It’s not perfect, it could easily have been a shorter and leaner thing, maybe even a two hour movie, but when it works it’s quite good and there’s a couple of fights that really made me excited in a way that hasn’t happened since that thing with the red dudes in The Last Jedi. So, I liked it.
Watching Obi-Wan Kenobi after seeing everybody get angry about it for weeks, I kinda expected it would rob my house and harass my family. In the end, i found it less boring than The Book of Boba-Fett. Now, "less boring than The Book of Boba-Fett" is not a great compliment but, I mean, this is the usual Disney+ mediocre shit that's got a few really good ideas but lets them go to waste because it doesn't want/doesn't know how to develop them and it dilutes in six hours of TV a story that (maybe) didn't deserve more than a two hours movie. Also, I'm not sure about which creative decision I find more astonishing between (1) "let's throw away the script about Obi-Wan protecting Luke because it's too much like The Mandalorian and use a script about Obi-Wan protecting Leia instead" and (2) "finding narrative tension in a story about a protagonist and an antagonist who aren't really in danger is hard, so let's focus on putting in danger a third character who also cannot really be in danger and having a fourth character who only wants to kill one of those three characters (who cannot die)". And let's shoot ourselves in the foot, while we're at it. Then of course, even starting from that, you still can do good stuff if you can write in a way that creates narrative tension based on deep characterization, relationships, character's journey, developing those ideas that, I repeat, are there but, as usual, don't have any depth. Or maybe you can save the show with a spectacular visual approach, great action, those kinds of things. And sure, there are some good moments but mostly this is a show with amazing production values wasted on a visual and narrative approach that feels twenty years old. Which also makes me think that these shows are starting to really feel very flat and samey in terms of looks and I'm wondering if the celebrated StageCraft is the guilty party in that.
All that being said, I didn't find it particularly worse than the usual mediocre silly pop stuff that we get on Disney+. You know what didn't help? It being released while Stranger Things, Ms. Marvel and The Boys were reminding us that you can do silly pop stuff that is not even remotely perfect but has got so much more personality and/or ideas and/or interesting visual stuff.
Once again, waiting to have all the episodes was the good choice, not only because I prefer to watch stuff at my own rhythm, not only because if there’s a bad episode I didn’t wait a week for it and I don’t have to wait a week for the next one, but also because, after reading people’s hate on it for a month and a half, the expectations are so low that I end up having fun. Also, in this specific case, there’s the fact that in the meantime I watched Barbie, so every time I saw the bad guy (who, to be fair, gives a decent performance) I thought of the dumb Ken from the movie. Anyway, Secret Invasion is another case of wasted potential: there’s a great bunch of actors, the premise was solid and it could have been Marvel’s Andor. But if you wanna make Andor, you need to write and direct the shit out of it and here those duties were clearly given to a bunch of Ikea cupboards. That being said, I kind of enjoyed it, because actors manage to squeeze some fun from it (Olivia Colman is the queen of the world, Ben Mendelsohn is her vice), because seeing the Super Skrull was entertaining, because - as is par for the course with Marvel - there’s a couple of very good scenes you can hang on to tell yourself you didn’t waste five hours of your life. Which in this case are the conversation between Jackson and Mendelsohn on the train, all of Colman’s scenes and the whole conjugal Fury stuff (the best episode is centered on that).
