MCU Retrospective: Spider-Man: Homecoming

Written by Anna Harrison

In these retrospectives, Anna will be looking back on the Marvel Cinematic Universe, providing context around the films, criticizing them, pointing out their groundwork for the future, and telling everyone her favorite scene, because her opinion is always correct and therefore her favorite scene should be everyone’s favorite scene. Are we sure this isn’t a John Hughes movie? (Yes, we are.)

80/100

Spider-Man: Homecoming is the sixth live-action Spider-Man movie to be produced since 2002. A decade after the original Sam Raimi Spider-Man, and only five years since Spider-Man 3, Marc Webb directed The Amazing Spider-Man, closely followed by The Amazing Spider-Man 2, which performed well below expectations and quickly tanked the burgeoning Sony Spider-Man universe. (For a refresher on Spider-Man rights and Sony, click here.) So, finally, we wind up here: Spider-Man: Homecoming, directed by Jon Watts and starring Tom Holland as the titular web-slinger, finally a member of the MCU. It really did feel like a homecoming, and to have Spidey folded into the MCU proper seemed a much better use of his character than Sony’s floundering attempts to make their own universe (though Marvel being forced to rely on their lesser-known characters such as Iron Man to kick things off certainly helped keep them on their toes as they started this endeavor). But how to differentiate this Peter Parker from Tobey Maguire and Andrew Garfield?

The first answer: ditch the origin story. Have Peter’s parents and his uncle Ben be long dead. There’s no “with great power comes great responsibility”—we got our version of that in Civil War, but from Peter himself: “When you can do the things that I can, but you don’t, and then the bad things happen, they happen because of you.” Everyone had been inundated with Spider-Man origin stories for a decade-and-a-half. Everyone knew Peter Parker’s parents died in a plane crash, and that Uncle Ben bit the bullet afterwards. By respecting the intelligence of his audience, Jon Watts trimmed any excess fat so we could jump right in with Peter (of course, Peter’s appearance in Captain America: Civil War helped, making doubly pre-established by both pop culture at large and the MCU). 

Who is our Peter, though? His origin story might be cut, but is he just going to go through the same plot beats as his predecessors? And so we arrive at the second answer: have this Peter actually act like a 15-year-old. Tobey Maguire and Andrew Garfield were 26 and 27, respectively, when they first played their Spider-Man, and by their later entries they were 30 and older. Tom Holland was 19 when he was first cast in Civil War, and his small stature and bit of a baby face let him pass as a high schooler much more easily than Maguire or Garfield. But it’s not just his appearance that makes MCU Peter seem so much younger than his counterparts: it’s him getting excited over a LEGO Death Star, jumping on the bed, awkwardly trying to impress the girl he likes, struggling to look intimidating to criminals, walking down the halls and seeing excruciatingly awkward student news, making a jumprope out of web when he gets bored.

He even starts the film by making a vlog about his time in Germany during Civil War, and if his overeager, fast-talking nature doesn’t immediately win you over, then I don’t know what to tell you. Bright-eyed and bushy-tailed, Peter jumps at the chance to be an Avenger, and even after months of no contact from either Tony Stark (Robert Downey Jr.) or Tony’s head of security, Happy Hogan (Jon Favreau), he still bolts to get into his suit after the last bell rings and leaves long voicemails for Happy detailing the bicycle thefts he stopped that day. The realization that he’s just a kid is almost overwhelming, especially when he’s silhouetted against the enormous backdrop of New York City.

His interactions with Tony and Happy provide the third answer on how the MCU sets their Peter apart: have him immediately connected to the universe at large. This is a solo movie, but it’s one that never lets you forget you’re watching an interconnected world, as Peter spends so much of his time trying to live up to Tony Stark (Robert Downey Jr.). Grappling with the expectations of the adults in his life not only gives Peter a good arc and characters to butt heads with, but also reminds everyone that there is a world outside. (Chris Evans also makes a cameo in his ridiculous, ear-less suit from The Avengers that perhaps eclipses even his Loki impersonation in Thor: The Dark World.)

Read More of Anna’s Ongoing Marvel Retrospective Series Here

Peter has been spending a bit too much time thinking about the world outside, though, to the point where he even quits his last remaining extracurricular, the academic decathlon, much to the chagrin of his friend, Ned (Jacob Batalon), and the team captain, Liz (Laura Harrier), whom Peter has a raging crush on. Luckily, the MCU has never been one for secret identities and the long, drawn-out dramatics they entail, and so Ned finds out very quickly about Peter’s double life, though it’s still hidden from Peter’s aunt May (Marisa Tomei) and the rest of his classmates, including bully Flash Thompson (Tony Revolori) and loner Michelle Jones (Zendaya). 

Despite Tony’s advice to be a “friendly neighborhood Spider-Man,” we can’t watch Peter eat churros on rooftops all day, and so Peter soon stumbles upon a weapons deal between Jackson Brice (Logan Marshall-Green), Herman Schultz (Bokeem Woodbine), and Aaron Davis (Donald Glover); however, these weapons are no ordinary guns. Peter confronts Brice and Schultz after they pull their weapons on Davis, and a merry chase ensues that lovingly rips off Ferris Bueller’s Day Off

Soon, however, a Vulture sweeps down from the sky, and Peter gets introduced to the film’s villain, Adrian Toomes (Michael Keaton, who loves playing his bird-inspired roles). Toomes, as with so many Marvel villains, owes his origin story to Tony Stark: he and his salvage company were hired to clean up New York after the events of The Avengers, but when Tony partnered with the U.S. government to assist the efforts, the Department of Damage Control came in and seized Toomes’ job, leaving him high and dry. Toomes managed to steal some Chitauri technology and create weapons with it, and soon found himself wealthy, with high-powered weapons and a big bone to pick.

Peter only makes it out of this confrontation alive because Tony sends one of his suits to help, but he insists on taking down Toomes himself to prove his worth as an Avenger; after various fun sequences, including a delightful montage of Peter discovering all the high-tech things the suit that Tony gave him can do, he follows Toomes to a weapon deal on the Staten Island Ferry. His overeagerness proves his undoing, however, and in his rush to stop Toomes, he foils an FBI raid (one called by Tony) and fails to stop a weapon from slicing the Staten Island Ferry in half, yet again needing to be saved by Iron Man.

The ensuing verbal beatdown between the two is a fantastic little scene, with Downey making the most of his very limited (and very expensive) screentime. When Tony calls Peter 14 and he weakly protests, “I’m fifteen,” he absolutely feels 15 in a way that no other onscreen Spider-Man has. He feels very, very small. “This is where you zip it, alright? The adult is talking,” Tony snaps. 

Much of Homecoming’s strength lies in its willingness to not only be a superhero film, but a coming-of-age dramedy; Watts does a tremendous job integrating the life-or-death stakes of Spider-Man’s world with the high school drama of Peter’s world (after all, high school certainly feels life-or-death at the time), and the resulting balance is by and large superb. The MCU is at its best and most creative when it stretches the superhero genre and fits it into new shapes, such as Winter Soldier’s political thriller and here, where Homecoming takes a cue from John Hughes. While the other Spider-Man movies were set in high school, they seem only to acknowledge the fact obliquely; here, Watts neatly marries Peter’s coming to terms with his newfound power with his coming-of-age, making them one and the same. They don’t just happen to coincide, they’re entangled with each other, and it makes for a well-structured, more engaging story. (One that even gives Tony some more depth, too: Peter says, “I just wanted to be like you,” and Tony replies, “And I wanted you to be better.” Tony, go to therapy, buddy.)

And so Tony scolds Peter like the child he is and takes away Peter’s suit. Peter, with nothing else to do, begins to pay more attention to his high school life—he even works up the nerve to ask Liz to the homecoming dance, and she accepts. Things seem to be looking up, if not looking as exciting, for our hero. Until, that is, he goes to pick up Liz for the dance and discovers that her father is none other than one Adrian Toomes, a twist that blindsides both the viewers and Peter himself.

The resulting car ride to the dance, as Peter tries to keep his cool and figure out how much Toomes knows, and as Toomes slowly begins to realize that his daughter’s date isn’t just a nervous 15-year-old, is among one of the tensest scenes in the MCU. Keaton is fantastic, and cements himself among the best Marvel villains (the bar is middling, but still): he easily switches from loving father to merciless killer in seconds, and the flicker in his eyes as he realizes Peter’s true identity—and the stoplight changes from red to green—is eerie. He gives Peter one last chance, though, and offers to let him go if he promises to leave Toomes alone. But with great power comes great responsibility, and so Peter ditches the homecoming dance and goes after his date’s father. (We have pretty firmly left John Hughes territory at this point.)

Vulture, like Michael B. Jordan’s Killmonger in Black Panther, is one of those Marvel villains whom the movie has to go out of its way to establish as a murderous bad guy, because otherwise we would sympathize with them too much. When Peter points out that “selling weapons to criminals is wrong,” Toomes retorts, “How do you think your buddy Stark paid for that tower, or any of his little toys? Those people, Pete, the rich and the powerful, they do whatever they want. Guys like us, like you and me… they don’t care about us. We build their roads and we fight their wars and everything… We have to pick up after them. We have to eat their table scraps.”

Everything Vulture says is true. Were he not been attempting to kill a 15-year-old kid, he would be quite reasonable; in fact, he might even be likeable. Yet the validity of his points goes undiscussed—at least in Black Panther, Wakanda found a way to help execute Killmonger’s dream, just in a different way (though the effectiveness of that way—through United Nations bureaucracy—could certainly be questioned, and how exactly they plan to eliminate oppression remains vague and politically formless); here, neither Tony nor Peter acknowledge the root of Toomes’ grievances. They make him a compelling villain, but it would make for a more compelling film if Toomes’ motivations had any effect on Peter. As it happens, they glance off Peter even though they should force him to do some serious self-reflecting on his mentor, especially as Peter himself comes from a lower socioeconomic background, something which typically informs much of his character. But the MCU version of Peter Parker, helped by wealthy benefactors, largely skates around this issue and never disrectly addresses his financial state; in fact, Civil War does a better job at this than Spider-Man’s titular movie, so what could and should cause inner conflict for Peter only serves to make Toomes a more interesting antagonist, doing nothing for his heroic counterpart.

Even if this dynamic gets underexplored (a frustratingly common theme with Marvel films and their villains, but alas), the mano-a-mano beatdown between Spider-Man and Vulture is exhilarating and anxiety-inducing—perhaps even tear-inducing as Peter, having been buried under piles of rubble by Toomes, cries out for help, and we are once again reminded of just how young he is. If Tom Holland was superb at playing the comedy towards the beginning of the movie, he’s even better here: Peter hyping himself up to push away the rubble by yelling, “Come on, Spider-Man!” is not only a reference to this comic scene, it’s a beautiful encapsulation of his character arc in this movie. Even without his fancy suit, even in glorified pajamas and buried under a mountain of concrete with blood caked everywhere, Peter is a superhero. “If you’re nothing without the suit, then you shouldn’t have it,” Tony tells him earlier in this movie. Well, he certainly isn’t nothing, not anymore. (And yes, it’s very interesting that Tony, who relies so heavily on his suit, is pushing his protégé to be more than one. “And I wanted you to be better” indeed…)

Though charged with the unenviable task of reinventing Spider-Man for the third time within 15 years, Spider-Man: Homecoming rises to the occasion with aplomb, bolstered by a damn good performance from Tom Holland—though the franchise and character comes with a hell of a lot of baggage and expectations, Homecoming meets all of them beautifully, smoothly introducing Spider-Man to a new generation of moviegoers while simultaneously setting itself apart enough to appease older fans wary of another rehash. It’s a Marvel movie comfortable enough in its own Marvel-y skin (and free enough of behind-the-scenes drama) to tinker with the formula a bit, and the result is a joyous romp through adolescence with the added bonus of superpowers. What’s not to love?

Groundwork and stray observations: Marvel has no big master plan; rather, they plant seeds wherever they can in the hopes that some of them might one day germinate. None of these were planned from day one, lest the whole ship sink, but the seeds germinated nonetheless:

  • The “8 Years Later” title card at the beginning of the movie caused a lot of head-scratching when it first came out. Adrian Toomes was cleaning up after the events of The Avengers, which was in 2012, and so eight years later would mean Homecoming takes place in 2020, which makes zero sense as it’s supposed to pick up right after Civil War, which came out in and was set in 2016. It was only years later that this was rectified (sort of), and even then… why don’t you just retroactively change the title card to “4 Years Later”? Is it that hard? How did this happen when you have so much money? I could have fixed it, if only Kevin Feige would hire me! I am available, Kevin!
  • The principal of Peter’s high school, Principal Morita, is the grandson of Howling Commando Jim Morita from Captain America: The First Avenger, whose picture is on the wall in the principal’s office; both are played by Kenneth Choi.
  • A painting of Howard Stark (the John Slattery version, not Dominic Cooper) is seen in a mural at Peter’s high school, and a picture of Mark Ruffalo’s Bruce Banner hangs in his science classroom.
  • The guy (Zach Cherry) who yells at Spider-Man to “do a flip” appears in Shang-Chi during the bus fight and busies himself with livestreaming the fight around him.
  • Aaron Davis is known as the villain Prowler in the comics and is the uncle of future Spider-Man, Miles Morales. (Donald Glover’s appearance is likely a nod to his campaign to become Spider-Man in The Amazing Spider-Man and his voice role as Morales in the animated Ultimate Spider-Man TV series. Here’s hoping the MCU Spider-Man movies bring him back and don’t let Donald Glover go to waste.)
  • Jennifer Connelly voices Karen, Peter’s “Suit Lady,” and is married to Paul Bettany, who of course got his MCU start by voicing J.A.R.V.I.S., Tony Stark’s “Suit Man.”
  • Martin Starr plays Peter’s teacher Mr. Harrington, who apparently went to Culver University in The Incredible Hulk. (This is definitely just one of those coincidences that the Marvel heads just kind of rolled with and said that Starr’s character in The Incredible Hulk was just a young Mr. Harrington, just like how Marvel said that of course that kid in Iron Man 2 was Peter Parker all along. Sure, why not?)
  • Michael Mando’s Mac Gargan, known as Scorpion in the comics, has a rather sinister (ha ha ha) post-credits scene, but nothing’s come of that (yet).
  • Angourie Rice plays Betty Brant, though I don’t believe Betty’s name is ever said in the movie, but she’s important in the comics.
  • My friend Hannah is clearly visible as an extra in the gym and homecoming scenes. She probably won’t ever read this and will never know I name-dropped her, but I did.

Anna’s Favorite Scene: I’m cheating and saying three: the Tony and Peter confrontation after the Staten Island Ferry incident (“Oh my god, it’s Robert Downey Jr.!”), Vulture driving Peter to Homecoming, and the “Come on, Spider-Man” scene.

MCU Ranking: 1. Captain America: The Winter Soldier, 2. Captain America: Civil War, 3. Guardians of the Galaxy Vol. 2, 4. Guardians of the Galaxy, 5. The Avengers, 6. Spider-Man: Homecoming, 7. Captain America: The First Avenger, 8. Iron Man 3, 9. Iron Man, 10. Doctor Strange, 11. Ant-Man, 12. Thor, 13. Avengers: Age of Ultron, 14. Thor: The Dark World, 15. Iron Man 2, 16. The Incredible Hulk

Spider-Man: Homecoming Trailer

Spider-Man: Homecoming is currently available to rent or purchase on most major VOD platforms.

You can follow more of Anna’s work on LetterboxdTwitterInstagram, and her website.

MCU Retrospective: Captain America: The First Avenger

Written by Anna Harrison

In these retrospectives, Anna will be looking back on the Marvel Cinematic Universe, providing context around the films, criticizing them, pointing out their groundwork for the future, and telling everyone her favorite scene, because her opinion is always correct and therefore her favorite scene should be everyone’s favorite scene. Time to punch some Nazis!

75/100

Captain America has recently come under fire for a new comic from Ta-Nehisi Coates featuring the star-spangled man with a plan that criticizes the American Dream, with superhero actors Dean Cain and Kevin Sorbo accusing Marvel of politicizing Captain America. (This also comes after the villainous Red Skull was depicted with similarities to Jordan Peterson.) Yet, no matter where you stand on the controversies that have followed the Cap comics, from his conception Captain America has been a political construct: Joe Simon and Jack Kirby created Cap and had him punching Nazis in the face even before America had entered World War II. Pointedly, Cap has always tried to stand for what America should be, not what it is or has been (except for that arc where a Cap imposter was a Nazi, which caused no drama whatsoever). 

In the MCU, the movies have had to refrain from anything other than sweeping statements like, “Nazis bad,” or “government surveillance bad,” as they cater to a larger audience than the comics, but the spirit of Steve Rogers’ comic origins are still visible enough throughout his cinematic tenure, starting with the pleasantly old-fashioned Captain America: The First Avenger. (It’s also a lot easier to avoid issues of overly aggressive American exceptionalism when your bad guys are literal Nazis.) 

Part of its winsome charm comes from the 1940s setting, making The First Avenger Marvel’s first period piece—though don’t conflate it with the high-falutin dramas that usually populate the genre; it’s still first and foremost a superhero movie. Director Joe Johnston had already balanced these genres in The Rocketeer, so he seemed a natural fit for this MCU entry, and proves himself more than up to the job of balancing the time period with superheroics. It’s all very Indiana Jones. (While Johnston would only direct this film, screenwriters Christopher Markus and Stephen McFeely would become mainstays of the MCU.)

America has entered World War II, and Chris Evans’ Steve Rogers is raring to go fight the good fight but is hampered by his small frame (Leander Deeny acted as Evans’ body double for the first part of the movie, and the head grafting usually looks decent) and litany of health issues. His childhood friend Bucky Barnes (Sebastian Stan) has already been drafted, and Steve’s frustration has grown to where he has begun to lie on his enlistment forms in an effort to somehow join up. His determination to help in any way he can attracts the attention of Dr. Erskine (Stanley Tucci), a German scientist helping the Allies’ war effort by providing them with a serum to create a super soldier. 

Steve gets whisked away to Camp Lehigh in New Jersey, where he meets the prickly colonel Chester Phillips (Tommy Lee Jones) and the no-nonsense Agent Peggy Carter (Hayley Atwell). Marvel often casts unknowns in leading roles, or, if not unknowns, at least someone unexpected; in this case, Chris Evans was mostly known for romcoms and non-MCU Marvel’s Fantastic Four duds. To compensate for their lesser-known leads, the MCU will populate the roles around their heroes with big names: Jeff Bridges in Iron Man, Anthony Hopkins and Rene Russo in Thor, and, in The First Avenger, Tommy Lee Jones and Stanely Tucci.

These casting choices generally pay off, giving the audience someone new to fawn over while the veterans keep the performance quality high. Here, Tucci and Jones give some of the most memorable one-off Marvel performances; Erskine in particular, while only appearing in the first third of the movie, has stayed fresh in the minds of audiences: he is, after all, the one who lays down the ethos of Captain America: “Not a perfect soldier, but a good man.”

This isn’t to say that The First Avenger’s leading man falls short—not by any means. Chris Evans, in addition to being ridiculously good looking, is ridiculously charming; it’s hard to imagine anyone else in the role, though he initially turned down the role. Evans’ Steve is someone we all want to root for, representing that ideal American gumption and gusto without any of the country’s baggage. Yet while it could be easy to paint Steve Rogers as a goody two-shoes, as someone with a stick up his ass who probably goes to church each Sunday and buttons up his shirt all the way, the character we are presented in the MCU, and the one we are shown by Evans, is much more interesting than that (though Joss Whedon will fall slightly into caricature in The Avengers, unfortunately): the first thing Steve does in The First Avenger is lie. He lies on an enlistment form to boost his chances of helping the war effort, so the lie isn’t a nefarious one, but Steve still consistently bends or outright breaks the rules to follow his own largely unfailing moral compass; he has never been one to simply follow orders and do things by the book. He’s smart, too, and not just some tail-wagging Golden Retriever. If not quite as complex as Tony Stark or Loki, Steve still—to quote a certain green ogre—has plenty of layers. Good is not dumb, nor is it boring.

While Steve fails to impress physically, he proves himself worthy of the super soldier serum when he jumps on a grenade (unaware that it’s a dummy) to absorb its explosion while everyone else runs away, convincing even Colonel Phillips that he can handle the responsibility of Erskine’s super soldier serum. Howard Stark (Dominic Cooper) arrives to assist, a mirror image of his son: smart, suave, self-important, though with less of the guilt and self-loathing. 

Steve Rogers then gets really, absurdly ripped. If Peggy has already been attracted to his innate goodness, this surely helps that attraction along. 

Unfortunately (though maybe fortunately, so America wouldn’t have a race of blonde-haired, blue-eyed super soldiers…), any chance of recreating this effect is dashed when an agent of Hydra (Richard Armitage, who definitely should get brought back for a bigger MCU role), an offshoot of the Nazis, kills Erskine. Steve, instead of getting to sock Nazis in the jaw on the front lines, is then used as a tool of the government to get more war bonds; his tenure as the government’s dancing monkey gives us a great musical number and a chance to lampoon the government: they stifle the real spirit of America, instead packaging some propagandic patriotic prattle in song and dance and costumes. (Again, this “real spirit of America” is much easier to portray during World War II, with clear-cut bad guys. Later on, it gets a little bit more complicated.)

Only with Peggy’s encouragement does he break out and begin to actually do something with his power. Arnim Zola (Toby Jones) and Johann Schmidt (Hugo Weaving), aka the Red Skull, have been up to no good, capturing Allied forces—including Bucky Barnes—as part of their nefarious work for Hydra, so Steve ditches his role as senator attaché and goes to save his comrades. 

Where Marvel typically tries to tone down some of its comic book origins in order to make the movies more palatable, Red Skull’s design is ripped straight from the comic pages in all its campy, pulpy glory. The preceding MCU movies have all tried to ground themselves even as their subject matter gets more and more outlandish, resulting in something like Thor, which fails to commit fully to its otherworldly premise. The First Avenger marks the first time that Marvel fully embraces its source material: it’s good vs. evil, superhuman vs. superhuman, good old American boy vs. Nazi with a red skull. It throws any pretension away and basks in its absurd comic book glory, a much better movie for it.

To even out the absurdity, we have the very real relationships between the characters. Steve’s close connections with Bucky and the Howling Commandos (Neal McDonough as Dum Dum Dugan, Derek Luke as Gabe Jones, Kenneth Choi as Jim Morita, Bruno Ricci as Jacques Dernier, and JJ Feild as James Falsworth aka the superhero Union Jack, though only a normal guy in the films) give him an anchor; his relationship with Bucky in particular will remain important in the MCU and spark the imaginations of thousands of Tumblr and Twitter users, though it’s not given quite enough heft here.

The real heart of the movie, however, is Steve’s relationship with Peggy. Despite only being developed for one film, this relationship has proved to be one of the strongest in the MCU (perhaps too strong, but more on that with Captain America: The Winter Soldier and Avengers: Endgame), and due to Hayley Atwell’s vibrant portrayal, Peggy received her own spinoff show, Agent Carter, and appears in Winter Soldier, Avengers: Age of Ultron, Ant-Man, Avengers: Endgame, and two episodes of Agents of S.H.I.E.L.D. Peggy and Steve serve as the film’s beating heart, giving the ending a gut punch and real emotional heft that the MCU films have largely lacked so far. It’s a testament to the depth of these characters that they can carry such weight in a movie where the main villain looks like this.

Upon revisiting The First Avenger, it’s remarkable how well the film has aged; while Iron Man deserves props (or boos, depending on your view of the MCU as an entity) for kickstarting the MCU, it feels largely rote when compared against the slew of other films that come after. The First Avenger, on the other hand, has a unique setting, and while it still lays the foundation for future entries, the film is still largely self-contained. Reverberations from its events can be found all over the MCU, but it’s less concerned with setup for the future and more so with payoff for the now, making it a satisfying entry on its own. It can get a little too silly at times, but it’s always fun and upbeat, a reminder of what Captain America can look like without the 21st century cynicism he becomes riddled with in later entries. Looking back after ten years, this may hold up better than Iron Man—this is a spicy and hot take, I know—and certainly helped reset the trajectory of the MCU after some more lackluster entries, setting them on firm ground before they take a big risk with The Avengers.

Groundwork: Marvel has no big master plan; rather, they plant seeds wherever they can in the hopes that some of them might one day germinate. None of these were planned from day one, lest the whole ship sink, but the seeds germinated nonetheless:

  • Hey, it’s the Tesseract with an Infinity Stone inside. Wonder if that will be important later.
  • Hey, the Red Skull used aforementioned Infinity Stone and got sucked up into space. Wonder if he will show up later. (He will, but not as Hugo Weaving, who has been open about the pay disputes with Marvel that led to Ross Marquand appearing as Red Skull in Avengers: Infinity War and Endgame.)
  • Hey, no more super soldier serum exists. Wonder if anyone will make knockoffs and that will be important later.
  • Before the Hydra base is blown up, Zola rescues some blueprints for what looks like a robot, a nod to his comic look; in Winter Soldier, they will adapt this so that Zola lives through a computer program as a head on a screen.
  • Boy, sure hope hiring Zola and other Hydra members to help the United States doesn’t bite anyone in the ass.
  • There’s a common saying that “the only people who stay dead in comics are Bucky, Jason Todd, and Uncle Ben.” That has now been whittled down to only Uncle Ben, as Bucky gets revived as the Winter Soldier by Ed Brubaker, a fate that will befall our filmic Bucky as well (and Jason Todd is also alive now, coming back as the Red Hood in DC comics). No one knew at the time if The First Avenger would get a sequel or if it would even adapt the Winter Soldier arc, so they filmed two versions of Bucky’s fall: one where Sebastian Stan had a green screen sleeve on his arm, and one without. Though they ended up using the latter, Bucky will still appear sans an arm in Captain America: The Winter Soldier.
  • Howard and the Howling Commandos show up in Agent Carter, and some Howling Commandos show up in Agents of S.H.I.E.L.D. with Peggy. Will I be able to bring up S.H.I.E.L.D. in every retrospective? Stay tuned!
  • Kenneth Choi, who played Howling Commando Jim Morita, shows up in Spider-Man: Homecoming as Mortia’s grandson.

Anna’s Favorite Scene: Dr. Erskine and Steve have a chat before the procedure, producing that classic MCU line: “Not a perfect soldier, but a good man.”

MCU Ranking: 1. Captain America: The First Avenger (I welcome your Twitter arguments), 2. Iron Man, 3. Thor, 4. Iron Man 2, 5. The Incredible Hulk

Captain America: The First Avenger Trailer

Captain America: The First Avenger is currently available to rent and purchase on most digital storefronts, and is streamable on Disney+.

You can follow more of Anna’s work on LetterboxdTwitterInstagram, and her website.