Episode 5 of Marvel’s ‘Hawkeye’ has already arrived at Disney + and its recipe for intrigue and discreet action has not changed too much. ‘Ronin’, places the heroes in the position of pawns of a game of strategies much bigger than they intuited, but the revelations are not too surprising and the set continues to project a campaign series feel, with many elements assembled to justify a final content for 2021 on the platform.
After harshly criticizing ‘Falcon and the Winter Soldier’ at the end of the year, the series seems like an elegant and well-shot epilogy of the ‘Captain America’ trilogy with many integers on top of ‘Loki’ and ‘Hawkeye’, the definitive sign that Marvel television fiction has been in decline, closing in on itself and yielding more and more interest in the crossover trump card.
SPOILERS DEL EPISODIO EN ADELANTE
Burning ships at cruising speed
The interconnection of characters and the use of a shared universe has always been the magic of Marvel cinema, the post-credit scenes played with that expectation of those who follow all films, giving the feeling of coherence and harmony in a group of films and series that have caught many fans. But over time, Marvel has come to rely on that cameo factor as a dependency that, more than a brand name it is a cane to hold products that you don’t seem to fully trust and that each time it has less effect.
Probably the first great moment of the MCU in which it seemed that they did not quite bet on their own character was ‘Spider-Man: Homecoming’, a return in which they hid behind Tony Stark to reintroduce a character very burned by others recent adaptations. The case of ‘Eye of the Hawk’ explains an X-ray of the current situation, introducing a character who appeared only a few months before. Marvel knows that Yelena Belova was the steal of scenes from the passable ‘Black Widow’, but in this case it seems that the stake has more to do with the popularity of Florence Pugh.
So, ‘Ronin’ takes time to fill in some gaps From ‘Black Widow’, we go back in time to 2018 and join Yelena’s ongoing mission to free other widows around the world and show us what happens when Thanos’ snap robs her of five years and when he comes back Natasha is dead with what follows the plot of Kate trying to put a seed of doubt in Yelena’s mind about Clint’s guilt in death, to avoid revenge for her sister’s death.
Taking back the Netflix universe
Kate’s meeting with Yelena It is interesting to see two talented actresses like Florence Pugh and Hailee Steinfeld together which gives clues to the intention of putting seeds of some ‘Young Avengers’ that create new possibilities of spin offs for Disney +, but in fact, its ineraction is lengthened and does not have the dramatic weight of the previous one to the end of seasons, while Clint Barton’s plot circulates seeking to give Ronin’s path a weight that the series has not earned.
The idea that Ronin is a part of Clint that he can never kill connects with Black Widow’s idea that mercenaries are manipulated weapons creates a plot with a low-key action scene. Another not-too-surprising detail is Eleanor’s betrayal, which reveals another crossover connection to be in cahoots with Wilson Fisk, Kingpin, who had been on the lips of fans since Chapter 3, a concession for fans of Netflix’s ‘Daredevil’ that rescues Vincent D’Onofrio, probably the only salvageable thing about it.
Meanwhile, more and more conversations that make us long for the scenes of the ‘Falcon’ ship and an incubated tension that creates more frustration than emotion, which leaves us another week is waiting for the confrontation between Clint, Kate, Echo, Yelena, Eleanor, Kazi, the Mafia of the suits, and possibly Fisk, in a climax that is expected to be explosive, and probably very expensive and full of action, despite the fact that the set has never managed to convince us of its history and characters and shows an MCU too dependent on the trump card of the ephemeral emotion of cameos surprising that have already ceased to amaze a long time ago.