Great characters, great plot, acting ranges from good to unnervingly perfect. Suspense is always present, humor is sharp, clever, and offers welcome relief. The time period is pictured realistically, with all its glamor, its suffering, its Unfortunate Implications and its ideals.
Nothing and no one is useless.
Peggy Carter is brave, sensible and devastating as a Blood Knight with a thirst for approval and justice, who must nonetheless lie and manipulate the people with whom she wishes to belong if she wants to do the right thing.
Her friends and allies are wonderful too. Edmund Jarvis is snarky, competent and oh-so-proper, and Angie Martinelli is succesively warm, hot blooded, petty and heartbreaking. Both show flashes of heroism and vulnerability that remind the audience of the normal yet exceptionnal civilians Peggy is fighting for, while they're trying their hardest to survive the era and bring something to the world. In a similar vein, Dottie Underwood deserves special mention as an agreeable surprise. There's so much beneath the picture of that enjoyably camp Ingenue, I don't even know where to begin.
Agents Dooley and Thompson are so much more than the condescending, entitled sexist and the petty, envious careerist they first appear to be.
Similarly, Agent Sousa is more ambiguous than the empathetic Woobie in desperate need to feel useful again, which ends up making him much more engaging and watchable.
Doctor Ivchenko, the Russian psychologist who has a few heartfelt discussions with the cast, not only about Russia, but about their daily life and anxieties, helps revealing the tragedy of a war-torn world where too much is changing and few can remain humans.
Wonderfully clever
Great characters, great plot, acting ranges from good to unnervingly perfect. Suspense is always present, humor is sharp, clever, and offers welcome relief. The time period is pictured realistically, with all its glamor, its suffering, its Unfortunate Implications and its ideals.
Nothing and no one is useless. Peggy Carter is brave, sensible and devastating as a Blood Knight with a thirst for approval and justice, who must nonetheless lie and manipulate the people with whom she wishes to belong if she wants to do the right thing. Her friends and allies are wonderful too. Edmund Jarvis is snarky, competent and oh-so-proper, and Angie Martinelli is succesively warm, hot blooded, petty and heartbreaking. Both show flashes of heroism and vulnerability that remind the audience of the normal yet exceptionnal civilians Peggy is fighting for, while they're trying their hardest to survive the era and bring something to the world. In a similar vein, Dottie Underwood deserves special mention as an agreeable surprise. There's so much beneath the picture of that enjoyably camp Ingenue, I don't even know where to begin. Agents Dooley and Thompson are so much more than the condescending, entitled sexist and the petty, envious careerist they first appear to be. Similarly, Agent Sousa is more ambiguous than the empathetic Woobie in desperate need to feel useful again, which ends up making him much more engaging and watchable. Doctor Ivchenko, the Russian psychologist who has a few heartfelt discussions with the cast, not only about Russia, but about their daily life and anxieties, helps revealing the tragedy of a war-torn world where too much is changing and few can remain humans.