“The Past Is The Past” Subverts Superhero Stories
“The Past is The Past” is both an ending I’d want from a show, and way off from what I expected for this show specifically. Or any Marvel show, really. My general impression of the “origin series,” as I think of them, is to take a character that we either haven’t met yet, or only had hints of, and give us the story of them coming into their new status quo. They defeat their mini-villain(s). They get good at their powers. They have their team, sidekicks, or gimmick all set up. That way, invested fans can enjoy knowing the backstory of a new character when they show up in an Avengers movie. Basically, the movie version of stand-alone comic books preceding crossover storylines.
And, like, I guess that’s what happened here—we do know Riri’s backstory and abilities—but unless we’re getting a season two, “The Past is The Past” leaves far too many open-ended plotlines to just drop Ironheart into another narrative—unless it’s Doctor Strange, I suppose. None of the villains were permanently defeated—though the fight scenes were a lot of fun. Riri has still not completed the arc I expected from the season—and doesn’t seem like she’d work with other superheroes, anyway. And there’s even now a much bigger threat to worry about, while still not being destructive enough to spill over into something that would justify a crossover.
“The Past Is The Past” Doesn’t End The Full Story
But I like that I didn’t see this direction coming. I like that it’s not the same tropes as before. If you go back and read my reviews for Ironheart, you’ll notice me harping on how Riri keeps making amoral or just selfish decisions. That complaint was partially because I had—very incorrectly—assumed that she would completely reverse her ways and become a generically good hero, kind of like Ant-Man, toward the end of the season, right around when she faced Parker. A very “I need to make this right” decision.
But nope. Not really. It’s playing a metanarrative game with its audience. Ironheart knows what it’s doing with this character, and whether you like that or not, it’s got a vision and an intention. And I am disappointed in myself for not realizing it sooner. It’s not like it was subtle. Like right up to and including the scene before she goes and fights Parker, Riri keeps making impulsive decisions. In “Karma’s a Glitch,” N.A.T.A.L.I.E. dies because Riri decides to just go for it with the magic, and then—moments later—decides she’s going to go and fight without testing her suit any further. Sure, she wins both fights, but she then lets the villains go. I actually love—though you could easily nitpick it to shreds—how she tries to ask Stane if they can be friends again, and he responds with basically, “uh, no?” She betrayed him, and he’s turned himself into a weapon out of revenge. You don’t just be friends after that. And that’s such a potent subversion.
The Characters Progress In Very Unexpected Ways
And then there’s that final scene. I absolutely love this performance of Maphesto. He’s such a fun Satan character, and also doesn’t follow exactly the rules you’d expect. I don’t think he takes souls, possibly only someone’s empathy, but it’s hard to tell exactly what his game plan is. For sure, he gives people opportunities, but also seemingly knows human nature enough to know how they’ll likely fail. And considering this entire season is about selfish choices and rapid consequences, I’m sure Riri will experience some brutal complication of her wish in some other media—possibly season two. Which, yes, might actually be when she completes her arc and turns into a generic Marvel character, but having the twist be she signs a deal with the devil before getting there is a wild and exciting decision. I have absolutely no clue how the MCU will handle having Maphesto around—I don’t see there being a big event film for some battle against him—but I hope he spills out into other heroes’ stories.
“The Past Is The Past” Has Great Villain Monologs
So, yeah, “The Past Is the Past” is a trick of a title, because the past is totally haunting people, and the main cast has not fully let go. And yet that lack of closure only makes the story more interesting, if feeling a little unfinished. I don’t know whether to call this season/series a tragedy or simply a drama with a lot of irony, but it plays out like both, and the only real victory to be had is that Riri, her friends, and her family are not actively in danger of being murdered. It’s the interesting character dynamics, solid acting, and several very fun scenes that made it work as an isolated product, and I hope that its introduction of so many concepts—and characters—spills out into the MCU in ways that offer other series and seasons chances to do something this subversive.
Possibly Related Posts: