The Secret Land
あらすじ
No synopsis available.
作品考察・見どころ
スタッフ・制作会社
音楽: Bronislau Kaper
制作会社: Metro-Goldwyn-Mayer
No synopsis available.
音楽: Bronislau Kaper
制作会社: Metro-Goldwyn-Mayer
I like it, rooting for the young queen to win...I love the Chicago feel.
I might do a "review" for this after the final three episodes release. Right now it's a 7/10 for me but I'm giving it a 10/10 to offset the obvious review bombing. Y'all ain't serious with those 1/10 ratings. It is at least a 5/10 right now. The complaints I've read around the block literally amount to: 1. The comic was bad! 2. She disrespected Iron-Man! 3. She's just an Iron-Man replacement! 4. She sold finished school projects! Tony never did that!!! In other words, it's embarrassing.
Three episodes into Ironheart, and I’m left with that all-too-familiar Marvel sensation: there’s *something* interesting buried in here, but it’s surrounded by noise, tropes, and characters I’m apparently supposed to care about before they’ve earned it. Let’s start with the good. The AI storyline—easily the most compelling part of the show—is handled with more nuance than I expected. Riri’s deceased friend Natalie, now an experimental consciousness preserved via brain scan, is the closest this show gets to grappling with real questions: what are the limits of memory, identity, and emotional continuity? Is this really Natalie, or just a ghost built out of familiarity and grief? It’s heady stuff, and the show mostly lets those questions breathe without smothering them in exposition. That alone gives Ironheart more thematic meat than half the Phase 4 slate. The inclusion of Ezekiel Stane was also a fun surprise. Obadiah’s son is the kind of deep-cut Marvel lore that works—he’s just eccentric and morally gray enough to keep things unpredictable. And Matthew Elam makes a strong impression. Alongside Alden Ehrenreich (who finally seems to be having fun again), they add some much-needed energy to a cast that otherwise feels like it was assembled via template. Speaking of which… most of the characters here are, unfortunately, archetypes wearing slightly different hoodies. There’s potential in the ensemble, but right now it feels like we're being asked to feel things about this crew of criminals without having been given a reason to. They’re tragic! They’re rough around the edges! They love each other, maybe? I don’t know. The emotional investment is being requested on credit, and I’m not sure the show’s earned that kind of trust. And we haven't even touched on the portrayal of Black culture, which, to its credit, the show is trying to celebrate. But it leans a little too hard into a surface-level "vibe." (Some of the moments are painful to watch.) That said, the show *does* avoid falling into some of the more egregious traps. Halfway in, Ironheart has glimmers of something thoughtful (especially around AI and identity) but it has grown bogged down by safe and boring storytelling, undercooked character arcs, sterotypes, and a reliance on Marvel formula. Still, if the show leans further into the weirdness of grief-as-AI, it might find some... heart. Until then, it’s fine. But just fine.
It is very clear that they held back in the final two episodes for some bigger story in the future, but this kinda hurt my overall enjoyment, dropping it from a 7 (and possible 8) to a 6. Yes, don't reveal everything right away if the story isn't finished, but there should've been way more destruction from the fights. And the “heart” part of Ironheart ended up being only a sob story (which a teared up for very briefly). But when do we get to love the hero for her current actions rather than her past? Based on the ending, never. Also, the reveal of the main villain was meh. Someone like him should really send chills down your spine, both in excitement and for fear of what's to come for MCU heroes. But just like the protagonist, I felt nothing. Maybe that's the point? Deception? Anyway, I hope this means more X-Men. Haven't checked out the MCU Phase list since Phase 2, so I genuinely don't know what's to come.
I didn't expect much from this show in the first place because these days, writers are terrible. The so-called progressives in Hollywood are so convinced of their white superiority that they confidently wrote a story where a girl genius can only be a criminal because of the color of her skin-the hard bigotry of low expectations. Only an actual racist can think they have it better than someone due to the color of their skin. Liberals are the actual racists on the planet because they actually believe they're inherently better. These actors deserve better representation. Unfortunately, this is how Hollywood sees them.
