Madame Hydra Archives - The Wide Screen

April 17, 2021

Who Is Contessa Valentina Allegra de Fontaine?

**SPOILERS FOR THE FALCON AND THE WINTER SOLDIER AHEAD!**

Ralph Bohner walked, so Contessa Valentina Allegra de Fontaine could…also walk, but in really fancy high-heeled boots that even she admitted were incredibly uncomfortable.

There was a time, at the height of WandaVision‘s popularity, that it didn’t seem so inconceivable that any number of celebrity cameos might populate the series’ later episodes, giving rise to countless theories each more outlandish than the last. First it was Evan Peters as Peter Maximoff, then suddenly the entire X-Men universe was going to spill over into Westview by means of the Multiverse, including Ian McKellen as Magneto, Patrick Stewart as Professor X, and Hugh Jackman as Wolverine. Then it was Tobey Maguire as Spider-Man, for reasons still unbeknownst to me. Somewhere along the line, fans decided a throwaway reference to an “aerospace engineer” was actually a nod to Mr. Fantastic or Blue Marvel. Al Pacino as Mephisto was a topic of serious debate.

And in the end, the big cameos that WandaVision teased turned out to either be misdirects or literal pranks by the cast. Evan Peters wasn’t even playing Peter Maximoff: he was just a random guy named Ralph Bohner, and the fact that he played the X-Men universe’s version of the character whose personality he assumed in Westview was a coincidence. But therein lies the danger of theorizing – it’s incredibly fun, particularly in comic-book franchises where there are no shortage of rabbit holes to dive down, but you shouldn’t let it interfere with your ability to enjoy a story that turns out to be doing something completely different than what you theorized.

At the same time, I do think filmmakers and showrunners could perhaps refrain from overhyping literally every reveal, as seemed to sometimes be the case with WandaVision, if only to protect their own projects from inevitable fan backlash. But caving in to the most absurd fan theories is also a bad idea: how much further afield would The Falcon And The Winter Soldier have drifted in its middle section if it had had to stop and introduce Wolverine in Madripoor?

All of that is to say: Julia Louis-Dreyfus popping up in The Falcon And The Winter Soldier as an iconic character from Marvel Comics was the perfect kind of surprise, because, while it’s quite a brief cameo, and doesn’t distract a bit from the main narrative, it’s also fun, unpredictable (while still making sense in hindsight, like any good twist), and allows us to do some rabbit-hole diving right now, as we discuss the past, present, and future, of Contessa Valentina Allegra de Fontaine (no, I will not abbreviate it to Val: Contessa Valentina Allegra de Fontaine literally says in the episode never to do that, and my SEO optimization says to pad my posts with at least 600 words).

Formally known as La Contessa Valentina Allegra de la Fontaine, the character first appeared in the Nick Fury: Agent Of S.H.I.E.L.D. comics in the late 1960’s, with her backstory mostly shrouded in mystery, but generally giving the impression that she was a fabulously wealthy Italian heiress until her parents were killed, at which point her skills as a hand-to-hand fighter and sharpshooter caught the eye of S.H.I.E.L.D., and she was recruited into the organization as Agent 14. Appointed leader of the all-women S.H.I.E.L.D. team “Femme Force”, Contessa Valentina Allegra de Fontaine’s working relationship with Nick Fury quickly became a romantic one – so romantic, in fact, the Comics Code Authority intervened.

More recently, La Contessa has played a major role in the Secret Invasion storyline, being the victim of a Skrull impersonator. While laying low in Britain, she worked alongside Lance Hunter, who has already appeared in the MCU-adjacent Agents Of S.H.I.E.L.D. TV series. And then her entire backstory was retconned, and she was revealed to be a Russian sleeper agent working with the organization known as Leviathan to infiltrate HYDRA, leading to her taking over the title of Madame Hydra.

In the MCU, all we know about her comes from her exceedingly brief interaction with John Walker, during which she tells him to keep in touch with her as he might prove “very, very valuable to certain people”. Although she never states her true purpose, her knowledge of classified state secrets suggests a connection to either S.H.I.E.L.D. or HYDRA – and her threatening aura (plus the villainous purple highlights in her hair, an upgrade from her Bride of Frankenstein-esque white streak in the comics) makes the latter more likely. We also know from Vanity Fair that Julia Louis-Dreyfus was originally supposed to debut in Black Widow, most likely in a post-credits scene.

That, coupled with the handful of hints she drops, have led many to believe she’ll be assembling the MCU’s Thunderbolts (a team of reformed villains from the comics) or Dark Avengers (a team of evil doppelgangers of the original Avengers), jumping from films to Disney+ shows and back to recruit all the best baddies onto her team before they can be killed or imprisoned. She just missed her opportunity to accost Baron Zemo (the original founder of the Thunderbolts in the comics), but the fact that he’s currently on his way to The Raft rather than Wakanda makes it easier for La Contessa to potentially break him out. And if she does appear in Black Widow, that’ll probably be where she picks up Natasha Romanoff’s younger sister, Yelena Belova.

Since she’s clearly being set up as a puppet-master of sorts, she may also be tied to the Power-Broker of Madripoor – and there’s a possibility they’re one and the same. That honestly makes more sense than Sharon Carter being the Power-Broker herself, since she doesn’t seem to have much motive to design an army of Super-Soldiers. But Carter could be working for La Contessa, something that would parallel the characters’ dynamic in the comics, where Carter was a Femme Force member and the two were rivals for the team’s leadership position.

It’s also important to note that even if Contessa Valentina Allegra de Fontaine is affiliated with HYDRA, and even if she does call herself Madame Hydra, that doesn’t somehow retcon Agents Of S.H.I.E.L.D.‘s version of Madame Hydra out of existence, as some people are claiming. S.H.I.E.L.D.‘s Madame Hydra is a character from the HYDRA-operated Framework simulation, not even a real person, and her character design was lifted from Ophelia Sarkissian, another woman who wears the title in the comics. Haters love to claim Agents Of S.H.I.E.L.D. isn’t MCU canon, but it still lives rent-free in their heads.

There also remains the slight chance that La Contessa isn’t a straight-up villain. A lot of S.H.I.E.L.D. agents are just…kind of shady, particularly those in Nick Fury’s inner circle. I think this is least likely out of all the options, but if it means we get to see Samuel L. Jackson and Julia Louis-Dreyfus flirting all the way through the Secret Invasion series, I’d be okay with keeping her on S.H.I.E.L.D.’s side for a little while. Though it would be even more entertaining if they’re bitter exes on opposite sides of a conflict between their teams, whose romantic history allows them to predict their insignificant other’s next moves.

So what do you think Contessa Valentina Allegra de Fontaine is plotting? Which team of villains should she be assembling, and why? Share your own thoughts, theories, and opinions, in the comments below!

April 16, 2021

“The Falcon And The Winter Soldier” Episode 5 Review!

**SPOILERS FOR THE FALCON AND THE WINTER SOLDIER AHEAD!**

Billed by the series’ producers as the single best episode of The Falcon And The Winter Soldier from a thematic standpoint, and highly-anticipated in the fandom due to its rumored inclusion of an epic Marvel Comics cameo, episode five – which bears the simple yet potent subtitle, “Truth” – delivers overwhelmingly on both fronts, diving into a timely discussion about Black identity in America while precisely utilizing the incomparable Julia Louis-Dreyfus to plant seeds for MCU storylines in the near future. After drifting slightly off-course in episode four, the series has regained its footing and the focus is back where it belongs, on Sam Wilson (Anthony Mackie)’s journey of reconciliation.

Louis-Dreyfus’ unexpected cameo as Marvel’s famous Contessa Valentina Allegra de Fontaine is a big deal for comic-book fans, probably deserving of its own breakdown, but The Falcon And The Winter Soldier very wisely doesn’t belabor the point, slipping the charismatic Contessa into just a single early scene before having her exit just as mysteriously as she arrived, leaving a blank business card and a promise to “keep in touch” in her wake. It hasn’t been confirmed if she’ll show up again in The Falcon And The Winter Soldier‘s upcoming finale, but there’s no question we’ll be seeing more of Louis-Dreyfus in the MCU soon, as her character’s sprawling comics history gives her plenty of potential story directions from which to choose.

But all the Easter eggs in the Marvel Multiverse (and there are thousands) can only go so far when it comes to crafting a truly meaningful story. Thankfully, that’s why The Falcon And The Winter Soldier is blessed to have a head writer like Malcolm Spellman, who uses the series’ penultimate episode to develop a profound commentary on the sacrifices Black people in America are expected to make every day for a country built by and for white supremacy…and how Sam Wilson’s fight to protect what he sees as the legacy of Captain America isn’t anywhere near as simple as it would be for a white man.

That’s something even Bucky Barnes (Sebastian Stan) comes to acknowledge later in the episode, apologizing to Sam for all the times he questioned his decision to give up Captain America’s shield, and specifically for never once considering how Sam’s identity as a Black man factored into that controversial decision. It’s a powerful moment that recognizes Sam’s Blackness as a crucial element of his character in-universe that can’t and shouldn’t be ignored or downplayed, even when that makes white characters and viewers uncomfortable; especially when that necessitates reevaluating Hollywood’s so-called “colorblind” strategy of treating characters as paper dolls, and racial and cultural identities as interchangeable outfits.

But that’s a moment. And in too many cases, The Falcon And The Winter Soldier‘s best scenes have been mere moments – due to occasionally poor pacing and the nearly consistent issue of time constraints. The latter is at least not a problem in today’s hour-long episode, which makes room for one extended dramatic sequence that I suspect will still be hailed as the series’ thematic high-point even after next week’s finale. In a story that revolves around Black identity, it’s no surprise that this incredible sequence is focused exclusively on two Black men – Sam Wilson and Isaiah Bradley (Carl Lumbly), who meet up at Isaiah’s house on the outskirts of Baltimore, with Sam initially intending to give the old man a chance to see Captain America’s shield.

And as Sam approaches the house, with the shield wrapped up in brown paper, it’s easy to envision how that hypothetical could have played out with a different screenwriter; all tears of joy and feel-good vibes. But Isaiah stops him in his tracks, recognizing the shield before Sam ever gets a chance to unwrap it. “Leave it covered,” he tells Sam bluntly. “Them stars and stripes don’t mean nothin’ good to me.”

At last, Isaiah finally gets a chance to tell his story. It’s not a comfortable one, particularly for anyone who recognizes the intentional parallels between his account and the history of the real-life Tuskegee Syphilis Study conducted on Black men between 1932 and 1972. Isaiah describes how he and the other men in his facility were told they were being treated for tetanus, though in reality their bodies were being used by the US Government as expendable vessels on which to test out experimental versions of the Super-Soldier Serum – all part of a race to recreate what Isaiah describes as the “great white hope” of Steve Rogers; the same race being run by John Walker (Wyatt Russell), a living still-frame of whiteness in action.

Lumbly’s performance throughout the sequence is so vividly and excruciatingly present, there’s no need for dramatized flashbacks even as Isaiah tells of his escape-attempt, and the thirty years he spent in prison on charges of treason while the experiments continued, and he was slowly drained of his superhuman blood, his resolve to live, and his sense of self. He was mutilated, erased from history, and, upon being released, forced into hiding. The fact that his blood now flows in John Walker’s veins backs up his pessimistic worldview: his entire life was reduced to the parts of him that could be mined to create more juiced-up white guys.

But it’s what Isaiah has to say about Sam that cuts most deeply: like an emotional gut-punch on par with, if not far exceeding, Vision’s profound analysis of grief in WandaVision. “They will never let a Black man be Captain America. And even if they did, no self-respecting Black man would ever wanna be.” It’s probably one of the most powerful lines ever spoken in the MCU, so quietly paradigm-altering that it demands a response from Sam – but since we don’t get to hear one because the scene ends there, we’ll have to see his response instead, through his actions. I don’t trust Disney to make the right call here, but it would be incredibly empowering to see Sam come out of this unaffiliated with the American government in any way.

To be honest, I don’t see another option that makes sense given how far Sam has progressed. He’s already shed his identity as the Falcon, symbolically passing his wings along to Joaquin Torres (Danny Ramirez); who, if the comics are to be trusted, will get plenty of use out of them. And while he could still use the Captain America moniker, he’s clearly sympathetic to the motives, though not the methods, of the anarchist Flag-Smashers – which probably wouldn’t make him too popular with any government, least of all the United States’.

The Flag-Smashers are an example of a subplot that has been meandering so long it feels pointless, only barely being kept afloat by Erin Kellyman’s performance as Karli Morgenthau. The group is apparently being secretly assisted by Sharon Carter (Emily VanCamp), who breaks Georges Batroc (Georges St-Pierre) out of jail and sends him along to New York City to help the Flag-Smashers orchestrate a hostage crisis that will shape next week’s finale – though the nighttime setting gives me concern that we won’t be able to fully appreciate the splendor of Sam Wilson’s new set of wings, which I believe to be the unspecified Wakandan-designed gift left behind at Sam’s house after Bucky stops by to help him fix up his family’s old fishing-trawler.

Separate from Sam, Bucky’s journey also starts strolling off on its own, leading him to the memorial in Sokovia namedropped two weeks ago by Baron Zemo (Daniel Brühl), whom Bucky finds there. In a slightly strange turn of events, Bucky aims a gun at Zemo’s head and pulls the trigger, only to then reveal that he removed the bullets…some emotionally manipulative payback for all of Zemo’s own manipulations. The Dora Milaje arrive to escort Zemo to The Raft, the high-security underwater prison seen in Civil War that is totally a great place to be holding one of the most dangerous criminals in the world.

Obviously he won’t be there for long, but I have a feeling his time on The Falcon And The Winter Soldier may have come to an end. With a mid-credits scene revealing that John Walker is hard at work on his own handcrafted replica of Captain America’s shield (is anyone gonna tell him it needs vibranium to actually be effective, or…no? Okay), all our focus in next week’s finale will have to be on the action-packed showdown between Walker, Morgenthau, Barnes, Wilson…and Julia Louis-Dreyfus, which is a bizarre yet wonderful twist of fate that I can’t wait to watch spiral out across the MCU.

Episode Rating: 9/10

August 20, 2020

“Spider Woman” Moves Forward With Olivia Wilde Likely To Direct!

Spider-Woman, one of Marvel Comics’ myriad of web-slinging superheroes, is set to join either the Sony Universe of Marvel Characters or the Marvel Cinematic Universe (or both) at some point in the next few years, but first she needs an origin film: and thankfully, Sony has landed Olivia Wilde to do the job. Or at least, so it is being widely reported – technically, Wilde is developing a secret, female-centric Marvel movie for Sony, but the options for what that could be are fairly limited. It’s almost certain that this movie will follow the beginnings of Spider-Woman’s story.

The question of which Spider-Woman, and which cinematic universe she’ll feature in, has yet to be answered. Wilde’s pitch for the film is said to have “completely revamped” the title character, which makes sense but also gives us no clear indication of what we might be getting into: will this new version of Spider-Woman still go by the name of Jessica Drew, or will she be someone else entirely? Will she join Tom Holland’s Spider-Man over in the MCU, or will she be wholly separate?

These questions need answers quickly, and I’m sure we’ll have more information soon because everyone who knows their Marvel Comics knows what this could mean for the MCU if (and that’s a big if) this take on Spider-Woman does in fact come under the Disney/Marvel umbrella, and if she is directly inspired by Jessica Drew: the Secret Invasion storylines begin to write themselves. In the comics, Jessica Drew is a major player in the takeover of Earth by hostile Skrull aliens, who have already been introduced in the MCU as mostly benevolent figures. Drew is impersonated by the Skrull queen Veranke, who uses her disguise to infiltrate organizations such as S.H.I.E.L.D. and the New Avengers. While there hasn’t yet been any explicit hint of an upcoming Secret Invasion story in the MCU, the groundwork is being laid, and a series is rumored to be in development that will follow the story’s events: already, Skrulls have been shown impersonating Nick Fury and Maria Hill in Spider-Man: Far From Home, under his orders, and Fury is working with an entire army of Skrulls at an in-orbit space base believed to be the headquarters of his new covert organization, S.W.O.R.D. – an organization where, in the comics, Jessica Drew herself sometimes works.

But all that is wild speculation, and for now we only have to wonder how much of Drew’s backstory will be adapted into Olivia Wilde’s origin film for the character. Drew’s powers (superhuman strength, bioelectric energy blasts, etc) derive from radiation, of course, but her story begins with her living in the Balkan nation of Transia as a child before being adopted by HYDRA and given the fitting codename of Arachne. As a HYDRA agent, she traveled the world, killing and causing chaos in a super-cool outfit equipped with wings, until she was able to break free from her brainwashing with the help of Nick Fury – not unlike the MCU’s Black Widow. Since then, she’s proven to be a dependable ally of the Avengers and other forces of good, and has also worked with Madame Web, an unconventional antiheroine who is also getting her own solo movie. Her own villain roster includes Viper (otherwise known as Madame Hydra), who has previously appeared on Agents Of S.H.I.E.L.D. I wouldn’t be surprised if Wilde picks Viper as the first film’s big bad: in the comics, Viper and Jessica Drew form a complicated relationship with Viper actually helping Drew on several occasions and even pretending to be her mother, and Wilde enjoys telling stories that center female relationships.

Wilde’s own previous directorial credits include the popular breakout hit Booksmart, a witty coming-of-age comedy. She is one of a steadily growing number of women joining the Marvel and Marvel-adjacent universes as directors, and she is definitely well aware of that fact: it was reported that she had a chance to pass on this project several times, but couldn’t resist the opportunity to “launch her own female superhero” and accompany other groundbreaking women like Chloe Zhao, Cate Shortland and Nia DaCosta into the superhero genre. I can’t wait to see what she can do with Spider-Woman’s character, and I’m excited to see how/if it ties into the MCU.

So what are your feelings on a Spider-Woman movie? How should the character’s backstory be adapted? Who should be cast in the lead role? Share your own thoughts, theories and opinions in the comments below!