On Marvel’s Agent Carter, the villain is sexism.
When last we saw Peggy Carter in the second Captain America movie, she was an ailing lady in her 90s processing the fact that the love of her life, Steve Rogers, had not only survived a 70-year deep freeze, but was physically still in his 30s. Such are the problems of having a thing with Captain America, not least of which is that you will wrinkle and sag, but he will always look like Chris Evans.
The miniseries Marvel’s Agent Carter, which recently concluded its eight-episode run on ABC, is set immediately after the events of the first Captain America movie. There’s something to be said for miniseries—with less time for pointless fillers, we get to the good parts immediately. Granted, this is an action-adventure series with the blunt force trauma approach of comics, and not Breaking Bad, the gold standard in character development. It is 1946, World War II is over, and Peggy Carter is working in New York for the Strategic Scientific Reserve (SSR). The war had upended the social order: with the men fighting in Europe and the Pacific, women had taken over jobs traditionally held by males in factories and offices. Now that the men have returned, women are once more relegated to support staff in the workforce.
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