Yesterday we discussed a fan-driven campaign very dear to my heart – the #SheRaMovie movement – but today we need to talk about another one: #QuakeSpinoff…and also #ChloeIsMyQuake…and just #QuakeWeek in general. There’s a lot of Quake related hashtags going around on Twitter today, and they’re all created by fans of the Agents Of S.H.I.E.L.D. TV series who fell in love with the character of Daisy Johnson, better known by her superhero nickname Quake, and who want to see her return in a big way in the Marvel Cinematic Universe. Why? Because she’s amazing, that’s why.
Agents Of S.H.I.E.L.D. was created as a Marvel Cinematic Universe spin-off, but since then it has diverged radically from the main timeline of the MCU – until the finale earlier this month, that is, which showed the team of S.H.I.E.L.D. agents apparently returning to the main timeline (or something like it, at any rate) and moving on with their lives, going their separate ways. Daisy Johnson’s storyline, which began with her as a roguish hacker trying to decipher S.H.I.E.L.D.’s secrets, ended with her furthering the organization’s mission of peace and goodwill in the depths of outer space, onboard the Zephyr Three with her sister Kora and boyfriend Daniel Sousa. Instantly, fans caught onto clues left in this very open ending: specifically, the way it seemed to link her to the S.W.O.R.D. organization, a team of space-faring agents who operate as ambassadors to alien nations while dealing with cosmic threats. S.W.O.R.D. is currently being introduced in the MCU, with former S.H.I.E.L.D. director Nick Fury organizing an entire army of new agents on a top secret space station: other members of this team are expected to appear in the WandaVision series on Disney+. For years, fans have been hoping to see the Agents of S.H.I.E.L.D. cross over into S.W.O.R.D. after the end of their own series, and the conclusion to Daisy’s story seemed to leave the door wide open for such a continuation.
Couple that with actress Chloe Bennet’s recent statements about how she doesn’t think she’s done playing Daisy, and you have yourself a fan-driven campaign. #QuakeWeek was started as an attempt to celebrate the superhero’s long and frankly fantastic character arc on Agents Of S.H.I.E.L.D., highlighting her epic seismic powers. #QuakeSpinoff demands that Daisy not just debut in the MCU, but, obviously, get her own film or Disney+ series – personally, I’d settle for a major role in a Secret Invasion or Secret Warriors series. And #ChloeIsMyQuake insists that Marvel doesn’t simply take the character of Quake and recast her; Chloe Bennet is responsible for the popularity this character has across all mediums. For instance, I highly doubt you’d see Quake showing up in the new Avengers video game if Bennet hadn’t made her a fan-favorite with her nuanced performance.
Now, there are issues involved with transitioning Quake to the MCU – obviously, otherwise this probably would have been a done deal ages ago. Marvel Studios and Marvel TV started out with the intention of having a mostly symbiotic relationship, with the events in the movies impacting the TV shows and vice versa: but that hopeful dream was crushed fairly quickly, even though the few crossovers between the two led to some extremely memorable events on Agents Of S.H.I.E.L.D. and also the opening sequence of Avengers: Age Of Ultron. Since the latter event, there’s been a huge rift between the two divisions, which has only finally been healed now that the TV division has been folded under Kevin Feige’s management. The concern is that Feige has no interest in the entire TV division and wants to throw it all out: he hasn’t ever specifically said that, but he has his own clear vision of the future and it’s unclear what he wants to do with this remnant of Marvel’s past. Reassuringly, it was stated earlier this year that Feige has had talks with ABC, the network on which S.H.I.E.L.D. aired, about future collaborations: there’s no hint of what that might entail, but it’s comforting to know that he cares enough about the work that was done on ABC with S.H.I.E.L.D. to want to expand on that.
At the very least, it’s not implausible that Daisy Johnson could transfer over to the MCU. She’s an extremely popular character, and she has ties to several other major characters and plotpoints soon to be introduced in the MCU, such as the Inhumans, Kamala Khan, and S.W.O.R.D. Most importantly, she and the rest of the S.H.I.E.L.D. team are about as close to the MCU as they can be after the events of the series finale. It’s been confirmed that, at the very least, they now exist somewhere in the same multiverse – a multiverse that, need I remind you, will be explored in depth in the upcoming Doctor Strange sequel. And while it’s hard to say what’s canon to the movies anymore, the movies have subtly hinted that there’s still a connection: Captain Marvel was the most recent Marvel film to reference a S.H.I.E.L.D. character.
And as for why Quake should cross over, well, here’s the thing: she’s not quite the first superheroine in the MCU (and environs), but she’s one of the most consistently well-written ones they’ve ever had. In fact, all the women of S.H.I.E.L.D. are. Daisy Johnson, Yo-Yo Rodriguez, Melinda May, Jemma Simmons…these women have been given the blessing of having hours upon hours of screentime in which to develop their strengths, their flaws, and their messy, complex personalities: this isn’t at all meant to diminish the onscreen achievements of heroines like Peggy Carter, Natasha Romanoff, Gamora, Hope Van Dyne, Okoye, Shuri, or Carol Danvers, but it is noteworthy that Agents Of S.H.I.E.L.D. has had not one but two heroines of Asian descent throughout its entire run (one of them being Daisy herself), and since season three has featured a prominent Latina heroine – something the show never gets enough credit for, in my opinion. These are groundbreaking advances that can’t be undermined or ignored: representation matters. Daisy Johnson matters.
And that’s why I’m lending my voice to the growing movement of passionate Quake fans, and calling on Kevin Feige and the folks at Marvel to make Quake canon. Bring her into the MCU. Have her enlist at S.W.O.R.D. Even if it’s just for a glorified cameo, make sure this character continues to matter for future audiences.
How would you feel if Quake entered the MCU? Delighted, right? Right? Share your own thoughts, theories and opinions in the comments below!
After seven years, the end has finally come for Agents Of S.H.I.E.L.D., and I’m pleased to report it’s a glorious one. In so many ways, it’s the end of an era – for us, as the devoted fandom who stuck with the Agents Of S.H.I.E.L.D. team even when others claimed it wasn’t worth it because it would never be Marvel canon; for the cast and crew, obviously, since they’ve put so much hard work into making this show everything that it has become; and for an epic chapter of television history; Agents Of S.H.I.E.L.D. brought us seven seasons worth of brilliant, albeit absolutely bizarre, storylines spanning the entire Marvel Universe (and occasionally breaking out from its confines). And best of all…it’s a happy ending, the kind where all our major characters get to go out on a high note and nobody gets killed off just to make the plot more dramatic: in fact, precisely zero of our protagonists died on last night’s two-hour long finale event. On the flip-side, I think I can safely say that we, the audience, all died just a little as we had to grapple with the realization that this is…really it. It’s over. It’s done.
Though, if anyone is wondering – and be warned, you will be hearing about this a lot from me in the near future – there’s still plenty of ways in which Marvel could continue the story of certain S.H.I.E.L.D. team members, particularly Daisy Johnson (Chloe Bennet) and Yo-Yo Rodriguez (Natalia Cordova-Buckley), both of whom I still firmly believe can and should join the MCU proper.
The finale, which is actually two back-to-back episodes, gave us a lot to muse on: from Avengers: Endgame tie-ins and references, to cinematic visual effects, to the individual endings for each and every character’s arcs. Because this show has always centered around its amazing characters, we’re going to break down all of those endings one by one: yes, even the villains because villains deserve satisfying endings too.
Well, except for Chronicoms. And speaking of Chronicoms, let’s talk about them first and foremost because these folks (a race of emotionless cyborgs with the ability to steal human faces and wear them as their own) have been a mixed bag since they first showed up in any large capacity. When it was just Enoch (Joel Stoffer) back in season five, they did seem kind of interesting – but ironically, that was because Enoch turned out to be a rogue Chronicom who had actually developed emotions during his long sojourn on Earth. Particularly in this final season, the Chronicoms have felt very one-dimensional, with only their leader Sybil the Predictor (Tamara Taylor) having much personality. And that doesn’t really change much in the finale. The Chronicoms are extremely threatening, which helps, but they still don’t rank high on the list of Agents Of S.H.I.E.L.D. villains, with their vague motivations and bland character designs. In the opening minutes of the finale’s first half, they capture Daisy, Al “Mack” Mackenzie (Henry Simmons) and Daniel Sousa (Enver Gjokaj) as the trio of S.H.I.E.L.D. agents tries to launch a daring raid on the Zephyr One, where their friend Jemma Simmons (Elizabeth Henstridge) is being held prisoner. But apart from Sybil, the Chronicoms don’t actually come out in full force until the last half of the finale, when their entire army heads to the Lighthouse S.H.I.E.L.D. base in a last-ditch effort to stop their arch-nemesis Leopold Fitz (Iain De Caestecker), only to find themselves defeated by a very unlikely threat from above: Melinda May (Ming-Na Wen), who, after incapacitating Sybil with a kick to the face, uses her newfound empathetic powers to give the entire Chronicom army emotions. It’s a good idea in theory and it underscores the point that Agents Of S.H.I.E.L.D. has always been about compassion and unconditional love, but it’s definitely a concept that needed more set-up: and the way the Chronicoms simply drop their weapons, declare themselves to be friends, and then disappear completely from the story afterwards is…well, not exactly underwhelming because I didn’t expect much from the Chronicoms, but just a little anti-climactic.
But that’s okay, because they were never the real big bad anyway. This whole time, that’s been Nathaniel Malick (Thomas E. Sullivan), the son of HYDRA royalty, who was supposed to die young in 1970 but, due to timeline meddling, ended up surviving all the way into the present day, stealing some of Daisy Johnson’s seismic superpowers and becoming the finale’s main antagonist. I didn’t have a problem with this: Malick, despite his questionable fashion statements and anarchistic tendencies, is a lot more compelling than any Chronicom – and the duel between the two Quakes is every bit as epic as was promised. Malick’s goal by this point in the episode is to kill Daisy and use the remaining half of the Chronicom fleet that’s still descending through the earth’s atmosphere to wipe out S.H.I.E.L.D., and he figures that Daisy won’t be able to stop him because the only way she can feasibly kill him is by killing herself in the process. “That’s the idea”, Daisy responds – and she explodes. In the biggest display of her powers ever, she sends shockwaves tearing through space, ripping the entire Chronicom fleet to pieces: taking Sybil and Nathaniel Malick with it. But Daisy, at the eye of the hurricane so to speak, unintentionally survives the blast and her drifting body is picked up by Phil Coulson (Clark Gregg) in the Zephyr One just in time for her sister, Kora (Dianne Doan), to come in and revive her using her own healing powers.
Kora, the final season’s third major villain, has an awkward redemption arc at the last moment. She comes to her senses after a confrontation with Daisy, tries unsuccessfully to convince Malick that Daisy is actually a good person, gets shot for her efforts, and then uses her powers to assist Melinda May in the final battle. Fitz describes Kora as the key to ensuring the survival of the world and that’s great and all, but…what exactly did she do? Her powers get upgraded so quickly it’s hard to tell what her limits are anymore: first it was just glowing punches, then it was somehow related to electricity, then she could heal people, now all of a sudden she can shoot laser beams through space. But while I might have to rewatch the episode to clarify certain details, I’m still a little confused as to why her power was so vital. She saved Daisy, so I’m eternally grateful for that, but Daisy had already defeated the Chronicoms – her survival wasn’t necessary, except to fans. And the laser she shot at the Lighthouse achieved…what, exactly? In hindsight, I wish she had been introduced earlier in the season if only so we could have gotten a better idea of what she wanted and what she could do. But of course, that wouldn’t have worked because of the way the time jumps were going, so…
Speaking of time jumps. The emotional core of the entire finale is the FitzSimmons duo, who, as it turns out, have been orchestrating most of the events of seasons six and seven with masterful intricacy and a lot of help from time travel. As is explained in flashback, they both took off at the end of the season six finale and spent years perfecting a time machine design so they could eventually come back and save their friends. Fitz, whom we’ve been waiting for ages to show up again, finally reappears at the crucial midpoint of the finale and confirms that Agents Of S.H.I.E.L.D. is actually utilizing the same time travel logic from Avengers: Endgame – which states that going into the past creates divergent timelines, rather than changing the future. Amazingly, the Endgame tie-ins don’t end there. Not only does Fitz reference how time travel makes use of the subatomic Quantum Realm and explain that he’s been traveling the Realm all the time he’s been gone, examining different timelines to see which ones work in S.H.I.E.L.D.’s favor, but he actually takes the S.H.I.E.L.D. team through the Quantum Realm, along with the entire Chronicom fleet. This is all to make sure that the Agents get back to their original timeline and leave the other timelines mostly unscathed, but it has the added benefit of bringing the show closer to the MCU than it’s been in years.
Unfortunately, escaping the alternate timeline to return to the original one comes with consequences: one member of the S.H.I.E.L.D. team has to stay behind in the past to work the time machine apparatus, and that member is the rascally Deke Shaw (Jeff Ward), who offers himself up voluntarily. Deke has spent his entire time on the show trying to fit in, and he’s never truly belonged anywhere but the 1980’s. And, as he explains to the team, he’s kind of a rock and roll superstar in this alternate timeline. But that’s not his only task: with all of 80’s S.H.I.E.L.D. in chaos, Deke promises to step up to the challenge of becoming the organization’s new director, a title that definitely should not suit him as well as it does. Thankfully for him, he’ll get to work with a couple of agents who escaped the Chronicom attack on last week’s episode – including a younger but still instantly recognizable Victoria Hand (Saffron Burrows), who gets her long-overdue justice on her killer John Garrett (James Paxton) by shooting his younger version in the forehead.
Returning to the day of the season six finale and what should be the proper timeline, the Agents of S.H.I.E.L.D. are able to overcome both Chronicoms and Malick. This requires a slight detour to the ancient Mesoamerican temple where the season six finale took place, where we reunite with Piper (Brianna Venskus) and the Inhuman Flint (Coy Stewart), both of whom have hilarious interactions with the time-traveling FitzSimmons as they try to make sense of what’s going on – one of the funniest moments is when Piper, for whom only a few minutes have passed, asks whether or not all the commotion is being caused by the death goddess Izel (the season six big bad), and Simmons has to wrack her brain just to try and remember who that is. But Piper and Flint aren’t just there for laughs, being asked by Simmons to stand guard over a mysterious chamber while she and Fitz manage the whole time travel business. As we discover near the end of the episode, that chamber contains something incredibly precious to FitzSimmons: their daughter, Alya, named after the star system in which they hid for years, lived their lives and designed their time machine. Alya, who speaks with a Scottish accent clearly inherited from her father, is the reason why the fight is so personal for FitzSimmons, and she’s the perfect culmination of their incredible love story.
And on that point…culminations. The end for so many characters we’ve grown to love over the past several years. FitzSimmons, luckily, are the first ones to get their happy ending, and they even get to enjoy it twice – since by finale’s end, they’ve settled down in the current timeline, on Earth. The last scene of the finale follows the entire S.H.I.E.L.D. team reuniting via hologram message at Enoch’s old hideout, the Swordfish bar, discussing old times, playfully teasing each other, and promising to stay in touch, with each eventually disconnecting and giving us a little glimpse into their new lives. FitzSimmons and little Alya are enjoying a picnic when we last see them, and they’ve never looked so happy. Their romance, which one seemed like a curse, has blossomed into something beautiful.
Mack and Yo Yo had the least to do in the finale overall, with Yo Yo only getting a couple of action scenes (standouts, nonetheless: that’s just how awesome she is), but their lives in the present day look fascinating. Mack is still director of S.H.I.E.L.D., and he’s sporting a very Nick Fury-like coat as he strides about the deck of his helicarrier. Yo Yo, meanwhile, is on assignment with her own team, which includes Piper and Davis (Maximilian Osinski), who has been resurrected as an LMD. Yo Yo has one last incredible moment as she jumps out of the team’s car and speeds off down the road, her upgraded Inhuman powers giving her the ability to go wherever she wants and never have to “bounce back” any longer.
For Melinda May, her future involves a lot of hard work – but no longer as “The Cavalry” (a nickname she finally embraces near the end, putting aside the trauma she had formally attached to it). Instead, she now works as a teacher at the S.H.I.E.L.D. Academy, which has been renamed the Coulson Academy and also seems to sport a daisy in its new logo. Flint is amongst her students, and May seems genuinely happy helping the next generation begin their training as agents. Some fans of the Philinda romantic coupling are upset that she and Coulson didn’t head off into the sunset together, and I get that, but I also feel like May’s new empathetic powers lend themselves well to the role of a teacher (besides which, her and Coulson are still giving each other meaningful looks in the closing minutes so maybe there’s still a spark between them?)
Eventually the series brings us back down to where it all began, with Coulson and Daisy. Their relationship is the real core of the whole story: it’s fitting that they get the last word. For Daisy, her future includes a journey into the depths of space alongside Daniel Sousa (they end up together, which is…fine, I guess), and Kora, with the intention of reaching out to alien races across the galaxy – almost like they’re Agents of S.W.O.R.D. or something. Those of us who still want Daisy Johnson in the MCU will continue to push for an Agents Of S.W.O.R.D. series that includes her in some capacity, and the Agents Of S.H.I.E.L.D. finale has given us a tantalizing hint of how awesome it could be.
And as for LMD Coulson…who did NOT decide to power down or turn off completely, the future is looking bright. He’s taking some time to himself, traveling the world without any urgent plans, and he’s got a “cool” (the very last word spoken in the entire series) new flying Corvette modeled after his original car, Lola. A gift of Mack’s, the sci-fi vehicle allows Coulson to go out in an appropriately epic style, soaring over the streets of Washington D.C. and zipping away to destinations unknown. I was certain that Coulson would die this season, completing his cycle of death and rebirth, but this is a much more fitting end: after all, this whole series was started partly because of how much fans rallied behind the hashtag #CoulsonLives, after it seemed we had lost him forever in The Avengers. Coulson is, indeed, living his best life now.
And that’s the true beauty of this show. It’s always been about the fans. We’re not the biggest subsection of the Marvel fandom, but we’re passionate, we’re persistent, and we made it so much farther than anyone could have ever guessed. And in the end, I hope we’ll all keep in touch, just like the Agents Of S.H.I.E.L.D. – raise a toast to a spy’s goodbye for now, but somewhere down the line we might cross paths again. Maybe in the MCU, even, if we pressure Kevin Feige enough…
Thanks to Hurricane Isaias and a poorly-timed power outage, this review is several days late – but still just in time to get out before the Agents Of S.H.I.E.L.D. finale this Wednesday: a hotly-anticipated two-hour long farewell event that will bring seven seasons worth of intricate storytelling to a close…and hopefully tease further adventures with certain characters in the Marvel Cinematic Universe down the line. Fingers crossed.
But before we start looking ahead, let’s break down everything that went on last Wednesday, in the penultimate episode of Agents Of S.H.I.E.L.D. – the episode serves mostly as finale set-up, moving characters into place like chess-pieces ready for battle, but it still manages to get a lot done: particularly when it comes to strengthening the relationship dynamics between our main cast. Daisy Johnson (Chloe Bennet) and Daniel Sousa (Enver Gjokaj) have a chance to clumsily – but adorably – rekindle the romance they started during the turbulent time-loops a week or two ago, while Daisy’s long-lost evil sister Kora (Dianne Loan) establishes a fragile bond with both Daisy and Melinda May (Ming-Na Wen), which quickly breaks down after she learns of the death of her mother, Jiaying – an atrocious act committed by Kora’s partner-in-crime, Nathaniel Malick (Thomas E. Sullivan), which she nonetheless blames on S.H.I.E.L.D. because Malick is apparently so precious to her that by the end of the episode they’re locked in a passionate embrace, kissing while Chronicom warships blow S.H.I.E.L.D. bases to smithereens from space. There’s a lot to unpack here.
Obviously the most urgent issue at hand is the captive state of Jemma Simmons (Elizabeth Henstridge), whom Nathaniel Malick and his crew of mercenaries snatched away from S.H.I.E.L.D. headquarters week before last, with the intention of probing her memories and discovering the location of Malick and the Chronicoms’ arch-nemesis, Leopold Fitz (Iain De Caestecker, appearing only in flashback sequences). By the end of the episode, despite Malick doing everything in his power to ransack Simmons’ mind and emotionally torture her, Fitz’s locations remains a mystery. Add onto that the fact that Simmons apparently doesn’t even remember who Fitz is anymore, and we have ourselves a big problem: the Fitzsimmons ship, which I listed as the most romantic coupling in the Marvel universe, is in real danger of not becoming endgame. Fitzsimmons is known for the emotional trauma it inflicts on all of us, but this episode really outdid itself – through flashbacks, we bore witness to the moment Simmons had to say goodbye to Fitz, screaming through her tears that she didn’t want to forget him or the life they had together. Would it be possible for her to share her memory-suppression technology with the rest of us, so we too can forget that painful scene ever happened?
Then there’s the question of how to rescue Simmons from the Zephyr One, which Malick hijacked and flew straight into the cold void of outer space. Deke Shaw (Jeff Ward) makes a half-hearted attempt that goes wrong very quickly, and gets tortured by Malick alongside Simmons. The last we saw of him, he was alive, but bruised, bloodied, and very confused. Thankfully, Daisy, Daniel Sousa and S.H.I.E.L.D. director Al “Mack” Mackenzie (Henry Simmons) are on their way to the Zephyr One‘s coordinates in their own spacecraft, and they share the most memorable scenes in the episode: Mack tries to play matchmaker for the awkward couple (I wasn’t too fond of them before, but Mack’s teasing – paired with his very serious warning that if Sousa does anything to hurt Daisy, he will face the wrath of the entire S.H.I.E.L.D. team – did a lot to warm me up to the unconventional pairing), and Daniel just can’t get over the fact that Daisy’s superhero nickname is “Quake”, a moniker he finds laughably ridiculous. Personally, I’ve always found “Quake” to be a very cool and fitting name, and I wish Daisy used it more often, but I will admit that Daniel’s suggestion to Daisy that she get a giant “Q” stamped on her utility belt (poor Daniel, with his outdated notions of superhero costuming!) was extremely funny.
On the ground, Kora spends most of the time locked away in a S.H.I.E.L.D. holding cell at the Lighthouse, until a confrontation with Melinda May leads to her unleashing her…weird golden glowing fist-punch thing…instantly knocking out all the electricity at the base (too soon, Marvel, too soon), including the computer system’s firewalls – in turn allowing the disembodied Chronicom Sibyl to creep into the Lighthouse’s computer systems, where she starts wreaking havoc immediately. Luckily, Phil Coulson (Clark Gregg) is himself mostly robotic at this point, and spent a good deal of time trapped inside a computer in the 1980’s, giving him an acute knowledge of coding that keeps him…well, not exactly one step ahead of Sibyl, but maybe, like, just one or two steps behind her? He doesn’t manage to stop her from turning every other S.H.I.E.L.D. base around the globe into a heap of burning rubble, but at least he was able to figure out her evil plan a few seconds before she actually went through with it. That’s got to count for something…right?
With the power out, Kora also obtains her freedom. Despite Melinda May’s best efforts to turn the homicidal Inhuman into a force for good, Kora simply doesn’t want to change. She does genuinely offer her services to the S.H.I.E.L.D. team, but her offer involves murdering a baby (though, that baby is the future Grant Ward, which doesn’t make it right but also doesn’t make it entirely bad), so Coulson turns it down. Enraged, Kora escapes back to Malick, and that’s where we get the whole kissing-while-the-world-burns nonsense. Honestly, it’s hard to visualize an outcome where Kora is redeemed by the end of this: her treachery hasn’t earned her any love from the Agents Of S.H.I.E.L.D., and Daisy is already hell-bent on erasing her from history. But, according to Kora, the Agents Of S.H.I.E.L.D. are already living in an alternate timeline and the only way to make things right is to start killing off the people who shouldn’t be alive in the present day – cut to the time-displaced Daniel Sousa, who is definitely treading on very thin ice heading into the finale. Will he, like most of Daisy’s previous love interests, meet a horrible fate, or could he be the lucky one that gets away?
Heading into the finale, the world is currently under attack from the Chronicoms, who have an entire fleet of warships that are just occupying the earth’s atmosphere; Daisy, Mack and Daniel are about to collide violently with said fleet; Nathaniel Malick is no longer interested in finding Fitz, and has instead generously offered Simmons and Deke first-row seats to the end of the world; Kora is on her own, having alienated everyone who tried to care about her; Coulson, May and “Yo-Yo” Rodriguez (Natalia Cordova-Buckley) are stuck at the Lighthouse, which is probably going to be the Chronicoms’ next target; and Jiaying is still dead, which is a disappointment.
I have no idea what’s coming next. There are hints and rumors going around that some kind of MCU crossover will happen in the finale, with the Agents Of S.H.I.E.L.D. possibly setting the timeline right only to get snapped out of existence by Thanos, and it’s entirely possible there are still some major cameos planned for this last episode. Fitz is going to turn up somewhere, somehow – I’m hoping and praying he’s actually on Nick Fury’s secret S.W.O.R.D. base from the Spider-Man: Far From Home post-credits scene, but I’m not betting on it.
It’s been a wild ride, and I can’t wait to reach the end of the road. I’m also extremely grateful that my power was restored so I’ll be able to watch the finale and not wait almost a week to review it. Sorry about the delay, dear readers.
The final season of Agents Of S.H.I.E.L.D. has had a villain problem since its premiere – namely, there’s a whole bunch of villains, and none of them have gotten enough screentime or character development to make any of them particularly interesting. Most of them are brand new, and some have only been introduced in the last few episodes. More were brought onboard on last night’s episode. But at last, even though I still wish this season could have focused on just one established antagonist (preferably HYDRA), I’m beginning to see the appeal of having so many villains unifying across the Marvel universe with the intention of wiping S.H.I.E.L.D. out of existence.
I say this because last night’s episode was very villain-centric, giving us slightly more insight into the minds and motives of characters like the anarachistic Nathaniel Malick (Thomas E. Sullivan), youngest scion of the royal family of HYDRA and so far the best new character to come out of season seven; Kora (Dianne Loan), an Inhuman who now serves Malick, surgically separating her brethren from their own superpowers and giving them out to Malick’s other henchmen; and even a young, hotheaded John Garrett (James Paxton, the son of original John Garrett actor Bill Paxton), who apparently was always a narcissistic idiot even before he joined HYDRA. The episode does spare plenty of time for the other characters, in particular Daisy Johnson (Chloe Bennet), but much of it revolves around Malick and Kora as they go about their business reinventing the Inhuman refuge of Afterlife as a nightmarish prison for their test subjects. And it gives me a little hope that we’re not walking into a disappointing finale (which, in case you’ve forgotten, is now just two episodes away): Malick and Kora are both truly wicked, terribly effective at what they do, and at this point very nearly irredeemable – certainly Malick is, at any rate. There may be hope left for Kora, especially since the episode ends with her landing in S.H.I.E.L.D. custody.
The big question, of course, is how Kora and Daisy Johnson will react to each other, since both characters now know they are sisters. Daisy hops on a wild emotional rollercoaster this week, first learning about her secret sibling from her friends (who neglected to tell her about that little tidbit of information when they actually found about it), then being reluctantly reunited with a younger version of her mother Jiaying (Dichen Lachman), who, for context, tried to murder Daisy in season two. This leads to a brilliantly written conversation between the two as Daisy tries to skirt around the whole issue and Daniel Sousa (Enver Gjokaj) acts as an unwanted mediator of sorts, but it still ends up with Jiaying dead – though not before she has a chance to make up for her future version’s horrible misdeeds by actively stepping in to save Daisy’s life when Nathaniel Malick attacks, using her own powers to weaken him long enough for Daisy to recuperate from her injuries. It would be an understatement to say that Jiaying’s death is a disappointment: she’s always been a complicated character, but a fascinating one as well, and her relationship with Daisy was just getting scarily good. I’m going to miss her – again.
The worst part is that Nathaniel Malick’s encounter with Daisy and Jiaying didn’t need to happen: Malick’s attack on The Lighthouse and the Agents of S.H.I.E.L.D. wasn’t because he was after Daisy or the recently upgraded Inhuman speedster Yo-Yo (Natalia Cordova-Buckley), but because he was looking for Jemma Simmons (Elizabeth Henstridge). Simmons has been holding back some pretty important secrets all season long, and it looks like she’ll finally be made to reveal where Leopold Fitz is. Then again, it was hinted at the beginning of the episode that Simmons has reason to believe that Fitz is dead already, so…I guess we’ll see what happens? No matter what, Malick isn’t going to let her go easily: to paraphrase his words, every possible scenario in which he loses involves Leopold Fitz being the one to defeat him.
Also Deke Shaw (Jeff Ward) is a prisoner of Malick and young Garrett, even though neither Malick nor Garrett actually realizes that yet. Leave it to Deke to be so busy listening to classic tunes (he really is Agents Of S.H.I.E.L.D.‘s Star-Lord) that he ends up unintentionally being kidnapped. I hope he musters enough courage to try and rescue Simmons on next week’s episode.
Speaking of where we go next from here…well, the Zephyr One and its time machine are now in the hands of Malick, which means I suspect we’ll continue to be trapped in the 1980’s alongside the Agents of S.H.I.E.L.D. throughout most of next week’s episode. At this point, I have doubts we’ll even catch up to the present day before the finale. This is a problem for me for several reasons, one of which is that I desperately wanted a tie-in to Avengers: Endgame, and another of which is that I’m not too crazy about Agents Of S.H.I.E.L.D.‘s take on the 1980’s – it was fun for a moment there, but it’s simply less interesting than the other time periods to which they’ve traveled, and I’d rather we say goodbye to this era in favor of sometime a little more relevant to the S.H.I.E.L.D. team’s history.