Matthew Fox:
Welcome back to the Marvel Movie Minute, a weekly podcast in which we assemble to explore the films of the Marvel Cinematic Universe five minutes at a time. In this, our ninth season, we’re looking at Captain America: The Winter Soldier. I’m Matthew, here to make sure my co-hosts keep their feet off the dash.
Pete Wright:
And I’m Pete Wright with his feet on the dash.
Kyle Olson:
And I’m Kyle Olson, just happy to have been invited along.
Matthew Fox:
And today we’re talking about minutes 56 through 60, which begins with unsavory people getting out of a car and ends with Steve Rogers having fond memories of Sleepaway Camp. Friends, did either of you go to sleepaway camp?
Kyle Olson:
Once, and that was enough.
Pete Wright:
Seriously? Oh, you weren’t a fan of it? I went on Sleepaway Horse Camp.
Kyle Olson:
No. Wow.
Pete Wright:
It was a seven-week engagement where I just rode horses and camped. It was awesome. I hated every bit of it.
Matthew Fox:
Now, do you think if you went back to the campsite and there was a new building in a different place, would you recognize it?
Pete Wright:
No, I would not recognize it. One of the great moments of this thing — to be a thousand years old and recognize the buildings and the distances from things. Thanks, Cap.
Matthew Fox:
We start with a couple of unsavory characters getting out of the car. And I think these are new people, right? We’ve not seen either of these two particular individuals.
Kyle Olson:
I think they’re part of Crossbones’ sort of extended SHIELD strike team, but I haven’t been paying as much attention to the third guy on the right, so we might have seen them in the earlier stuff.
Matthew Fox:
It sort of makes sense that we see some of the B team now, because I do think most of the A team is currently in the hospital. A discussion we will get to in a few moments. But so we do that and then we jump to the Apple store scene.
Kyle Olson:
Yeah.
Matthew Fox:
I want to start with a question. So we’re plugging this thing into the Apple Store computer. And then Natasha runs a trace program. I don’t think that trace program exists on the Apple. It definitely doesn’t exist on the disk itself or the USB thing. So is this downloadable from the cloud?
Kyle Olson:
That was my thought — that somehow she did a remote connection into a SHIELD server and they got that piece of software to run on this. Because they are getting to the internet, since they’re looking through all the things and pulling up the maps and stuff. So that was how I interpreted it.
Matthew Fox:
Okay.
Pete Wright:
I’m surprised you guys didn’t know that you guys didn’t have that app. It’s standard on my setup. Always standard.
Matthew Fox:
I have tried to download things onto computers that were not my own, such as in hotels and the like, and that is not an easy process. So this has got some super getting-past-security things.
Kyle Olson:
No, it just shows how open Apple is, that you can just come into their stores, work on their computers, download anything you want, and they’re like, “No, it’s fine, as long as you’re using a Mac, we’re happy.”
Pete Wright:
You know, for a long time it was exactly like that. They didn’t have demo mode. I mean, you could just go — and people were notorious for running their cars through the plate glass front doors and stealing stuff, because you really could do whatever you wanted. That’s been fixed.
Matthew Fox:
Well, and we know now that you can’t just get away with anything, because people like Aaron — or at least the person who was Aaron — are gonna be there and are gonna be on the case. And I want to take a diversion here for a minute, because Aaron is played by DC Pierson. Was DC Pierson someone who popped up on either of your radar screens?
Kyle Olson:
Yes. DC Pierson — he is from Phoenix, Arizona, where I currently reside. He has 82 credits on IMDB. The reason he is here is because he is part of Derrick Comedy, which is a group, I don’t think they do much anymore, with Mr. Donald Glover. So through that, he got a role on Community.
Matthew Fox:
Community.
Pete Wright:
There we go.
Kyle Olson:
And thus we have another Community connection. So the Russos are showing their roots and bringing more people from Community over into the MCU.
Matthew Fox:
And for those who are wondering where they saw him on Community, he had much shorter hair, but he played a character named Mark Millett. You only saw him from one of these in particular. One: he was a journalist at the Greendale Gazette that Jeff Winger took over for a short period of time. I don’t know why, but I’m guessing to impress some woman. But probably more memorably, he was a member of the Greendale Gaffas, the group that Pierce hired to help him write jokes that he would use at Abed’s movie night. So DC Pierson, we salute you for your contribution to this movie.
Kyle Olson:
And for getting out of Phoenix as the weather’s going up. He’s currently residing in Brooklyn, according to his website. So, also, like our own Pete D. Wright, he is a published author.
Pete Wright:
What?
Kyle Olson:
It’s true.
Pete Wright:
What has he written?
Kyle Olson:
He’s written a couple of young adult novels.
Pete Wright:
Okay, links in the show notes, everybody.
Kyle Olson:
Links in the show notes.
Matthew Fox:
We’ll get those links somehow.
Kyle Olson:
And also, check out Mystery Team, which is a movie that he made with Donald Glover and the third member of Derrick Comedy, who I forgot to write down the name of. It’s a very funny adult spoof of Scooby-Doo and the teen detectives — what happens when they get into their mid-20s and don’t really know how to function.
Matthew Fox:
That sounds worth seeing. So here, among other things, we introduce what is going to be a running gag for these five minutes — Steve and Natasha hiding in plain sight by pretending to be a couple.
Kyle Olson:
The Marvel disguise.
Matthew Fox:
The Marvel disguise. New Jersey is clearly not a honeymoon destination, but Aaron — I think Aaron has probably enjoyed some herbal relaxation to help him with his work at the Apple store. But then we see Rumlow’s new team. And we do see Rumlow. And at first I was gonna say, why is it that no one on Rumlow’s team has a scratch on them? And I realized that was incorrect — Rumlow has a little bruise over one eye, and at least one of the team members with him has a scrape on the side of his face. Let me remind you, Steve had knocked all of them unconscious, or at least into painful writhing on the floor, less than three hours ago. Why are these people all concussed? Is SHIELD worse than the NFL?
Pete Wright:
It is a movie concussion.
Matthew Fox:
Like, why are they not all in the hospital with broken limbs?
Pete Wright:
Right.
Kyle Olson:
Yeah.
Matthew Fox:
We saw how violent that elevator got. How is this team perfectly fine?
Kyle Olson:
Yeah. They put on that thing that Hollywood has — they put the little bandage over the forehead, and after a couple hours then they’re totally fine. They’re healed up and ready to go.
Pete Wright:
Yeah, movie time, movie injury.
Matthew Fox:
Okay, fair enough.
Kyle Olson:
That’s right. No bullets, so therefore you can just shrug it off, right?
Matthew Fox:
I once again — I’m always gonna personally be like, wait a minute, there’s some more serious injuries and possibly death. We didn’t even talk about, like, if there were any potential deaths in that elevator, but we’ll —
Pete Wright:
Matthew, I need to ask, just to you — given your affinity for the East Coast, specifically you as a New Yorker, I notice you haven’t made any New Jersey jokes yet. And it seems like the movie wants to make New Jersey jokes.
Matthew Fox:
New Jersey is a joke. What joke is there to make about it?
Pete Wright:
Okay, there we are.
Kyle Olson:
Hey, there it is.
Pete Wright:
It’s out.
Kyle Olson:
We gotta get one in here, right?
Pete Wright:
Yep. Okay.
Matthew Fox:
Look, New York and Philadelphia would fight, so they sat some bullshit in the middle of it. It’s pretty simple. Anyway, so they start walking through — I mean, Princeton is nice.
Kyle Olson:
Let them fight.
Pete Wright:
Yeah.
Kyle Olson:
So this is also some interesting traveling here, because as they’re at the Apple store, they are in the Topanga Plaza in Topanga, California. But when they step out, they are in the Tower City Center Mall in Cleveland. So they travel that entire distance just by walking through that doorway. Movie magic.
Matthew Fox:
Cleveland, city of lights, city of magic.
Kyle Olson:
That’s right. Cleveland Rocks.
Matthew Fox:
It does. All right. So they start walking through the mall and Steve has this moment where he identifies the ambush tactics being used. And he talks about, all right, there’s a team of two that, etc. Is that believable from a soldier?
Pete Wright:
That is, I think, a really good question, because the last couple of episodes we’ve been talking about where Steve’s strengths lie, and one of them being that he’s not the spy has been kind of the anchor we’ve been tied to. And here he is — why is he the one discovering the positions?
Kyle Olson:
I think it goes along with — first of all, he has a tactical mind, so he can see that. But also, these are literally the people he’s been working with. He has been working with SHIELD, and Rumlow specifically, for whatever — x amount of time, the year, whatever. He probably has been trained on standard SHIELD methods for going through stuff, which Cap knows. So Rumlow seems to be following the exact pattern that they had all been taught, which goes to show more how Rumlow’s kind of a lunkhead.
Pete Wright:
Yeah, shake it up, man.
Kyle Olson:
Like, why would you do the same thing? Try something different.
Matthew Fox:
Okay, that’s fair. And I do really like that in the next couple lines we see that, again, Natasha is the better spy — because his reaction is still, “Let’s fight it out.” And she’s like, “No, no, we can hide. We can hide in plain sight by using human psychology, people not wanting to look at PDAs,” and stuff like that.
Pete Wright:
Well, I actually love that this is specifically bouncing off of the fact that they’ve all been trained on the two-by-two standard snake the upper level blah blah blah. But no one’s been told, “Hey, your targets might kiss.”
Kyle Olson:
And be wearing glasses.
Pete Wright:
Right. And be wearing glasses. That is the tropiest of tropes. Now, here’s why they get away with it: because it’s Natasha and Steve. We, as the audience, are being played by our own emotional sensibilities of just kind of loving the fan fiction for two minutes of what it would be like for Natasha and Steve to make it. That’s all it is. It is as tropey as it can be. But they do it. It’s good.
Kyle Olson:
I think it just leans into their strengths, though. As Cap is running and even planning where their attack is gonna be, he’s literally telling her, “We’re going to converge at this location.” But she has a completely different set of skills, and she puts them to use. She takes the lead, and Cap is smart enough to follow.
Pete Wright:
Yeah.
Matthew Fox:
Yeah. He’s pretty confused, but he at least is willing to go along with it. And it was funny — I don’t know if you guys remember this, but I saw a lot of the ads for this movie. And this kiss was featured in a lot of those ads.
Pete Wright:
Prominence, yes.
Matthew Fox:
And I remember thinking going into it, like, are they really going to give us a romance between these two characters? That doesn’t feel right.
Kyle Olson:
Yeah.
Matthew Fox:
And so when I saw, oh, okay, the teaser was literally a teaser, you set that up, and then actually the kiss is not a genuine kiss — I definitely had kind of an eye roll, like, okay, so you did that for the trailer. Got it. Fair enough. Move on.
Pete Wright:
Because it works. There’s nothing about it that doesn’t work. I’m in. I’m a sucker.
Kyle Olson:
It’s interesting. I love the exchange between them. She says, “Are you still uncomfortable?” And he says, “That’s not the word I would use.”
Pete Wright:
Yeah, it’s just a lovely — there’s a flirt hole they’re digging, and at some point they have to stop flirting because it’s just getting more serious.
Kyle Olson:
Love that. I assume on the run there they will have to stop in a hotel and there’ll only be one bed.
Pete Wright:
Yeah.
Matthew Fox:
Well, I think it’s also just one more great illustration of how different their comfort levels are with this — because the implication is, Steve was just told, “This is a fake-out specifically for this reason. I’m not kissing you for the reasons why pretty girls normally kiss pretty boys.” But still, he has the reaction of being kissed by a very attractive woman. Whereas she clearly is just like, “This was business. This is why I did this.” She doesn’t have that reaction.
Pete Wright:
You don’t think she had a little of that?
Matthew Fox:
And I think it was such a good way of —
Pete Wright:
You don’t think she was a little bit — I mean, she was in control, definitely, but —
Kyle Olson:
Actually, I do want to talk more about their relationship as we get into the truck, because that’s where things get much more intimate. Go right from there — now they’re in the truck. And it’s an odd transition shot too. That’s one of the weird things. You see the “Welcome to New Jersey” sign, and then you see a truck with two cars on the flatbed, and my assumption was they were gonna be in one of the cars. That’s a — you know, that’s like night and day in the movie. It’s an easy way to transport because you’re in the car but you’re not driving. And then it goes away and we see a truck, and then we follow the truck back and we end back on the sign. I don’t understand what the point of that was. Why didn’t we start on the road with the truck and then see the sign and then cut to — I don’t know why we needed the swish pan.
Pete Wright:
Yeah, it’s not like they needed to pad the movie. It was a really weird pan.
Kyle Olson:
Right. Because we know we’re gonna talk about scenes that should not have been deleted that were deleted further on down the line.
Matthew Fox:
And just to your question, Pete — I guess I did take it as, she doesn’t have any interest in him, or at least certainly not in that moment, because we know all the stuff that will later be established in her movie. We know that she went to some kind of a Sparrow school. We know that she’s specifically been trained — one of the specific spy techniques she was trained in is how to seduce men in order to get information from them. So to me, I take that as, she’s just very used to, “I’m gonna kiss someone for a reason that has nothing to do with my own interests or attractiveness,” and that’s very different than the longing looks she’s gonna give Bruce at one point and all the others.
Kyle Olson:
Hmm.
Pete Wright:
Yeah. There is just something about the fire and ice of their relationship that I find intriguing — again, from a fan fiction perspective, I guess. I sort of want her to get just a little bit titillated from the act of kissing Captain America. Like, she gets to have that. I’m pro-titillation. I guess I’m Team Titillation.
Matthew Fox:
Well, here I guess I’m the prude, because I feel like male-female friendships where there isn’t attraction is so rare that I’ve just been so on that side and so happy that they’ve been building it up that —
Pete Wright:
Right.
Matthew Fox:
In my head, she never has a smidgen of interest in him at all.
Kyle Olson:
Okay, so all three of us have different perspectives on this, because I think when they get into — I think the whole kiss and the arm around thing was not, “Oh, this is a way to get Steve to kiss me,” it was literally tradecraft. This is the job. But when they’re in the truck and they have this conversation — “The truth is a matter of circumstance. It’s not all things to all people all the time, and neither am I.” And then he says — and her sole thing is, “Oh, it’s a good way not to die.” And then she looks at him and says, “Who do you want me to be?” I feel like that is the moment — shipper’s delight. That is the point where she was actually like, “You know, if this was gonna happen, this would be the time.” I really think that was as close as it ever came to, “What are we about, or what are we going to be?” So I feel like that moment is the will-they-won’t-they. And then Steve says, “A friend.” And then she sort of plays it off as, “Oh, well, you’re in the wrong business.” And from then on it’s business. I’m fully on board with the Nat-Steve platonic, work-colleague kind of thing. But I think right there it could have easily gone the other way. They could have actually made something happen.
Pete Wright:
Because there’s something so satisfying about how they dodged a bullet, right? They didn’t become, and that’s awesome, but they got to just sort of taste of the forbidden fruit.
Kyle Olson:
Yes. Exactly. It was just sort of like that wink-pass of, “Yeah,” and then just, “Okay, all right.”
Pete Wright:
Yeah.
Matthew Fox:
See, and that’s so interesting, and I think this is the quality of the movie.
Kyle Olson:
And we move on.
Matthew Fox:
I saw that the exact opposite way. Because what I saw is that she is so used — she has all these different personas. And the “Who do you want me to be?” — that to me sounds like, “I’m not gonna show you the real me. You tell me — do you want me to be sultry and seductive? Do you want me to be badass? What do you want me to be?” As the defense of, “I don’t want you to see the vulnerable side.” But yeah, your view of it makes total sense to me. I do also just want to focus on the second half of the exchange you quoted. I love when she’s talking about the truth and the way she lives, and he says, “It’s a tough way to live.” And she says in response, “It’s a good way not to die, though.” Because I also think that’s a great way of the fire and ice that you’re talking about. He’s figuring out how best to live, she’s figuring out — it’s the yin and yang of, “I want to live, she wants to not die.”
Kyle Olson:
Yeah, and as we’ve seen for what she’s been through, you kind of get it.
Pete Wright:
The entire drive sequence — I know we have collective problems with feet on the dash. I was triggered. I do not care for it.
Kyle Olson:
I got a message from Quentin Tarantino that he was a big fan, but there’s one change he would have made.
Matthew Fox:
I did like the idea, though, that he’s not stealing this car, he’s borrowing it.
Pete Wright:
Yeah.
Kyle Olson:
Yes. He’ll probably get it washed and then leave twenty dollars for the gas that he spent.
Matthew Fox:
Well, doesn’t it probably get wrecked by the missile that’s incoming? We’ll get to that later, but let’s bookmark what happens to this car.
Pete Wright:
How many cars did we see Steve hijack in Nazi Germany? I think the count is zero. I don’t think I actually saw them, but —
Kyle Olson:
That was off-screen. We don’t want to see our hero stealing cars.
Pete Wright:
We don’t need that, no.
Kyle Olson:
We don’t see him steal this one. For all we know, it’s like, “Hey, would you mind if I borrowed this for a minute?”
Matthew Fox:
Mostly because if we saw that, we’d be remembering that German cars in Nazi Germany were BMWs.
Kyle Olson:
Yeah. Vastly different than —
Matthew Fox:
Well, no, I’m saying made by the company that we like to buy now.
Pete Wright:
Yes, right.
Kyle Olson:
Oh yes, that’s true, yeah.
Pete Wright:
They can’t show us that.
Matthew Fox:
So we get to the camp. What’s up with this moment of him remembering training and the young Rogers looking at him? That felt to me kind of like, “Hey, audience, do you remember they were at this camp? Remember, remember, remember?” It felt a little unnecessary in a movie that’s mostly subtle. Was there something else missing?
Pete Wright:
I think I probably could have pegged that you wouldn’t have cared for that. I don’t necessarily know why, but maybe it’s related to why you don’t — you’re not a fan of the titillation. I actually thought it was a nice way to remind us that we’ve been there before. We’ve been there in The First Avenger. We were not just at the camp, we were in that place watching the people run by. And I thought it was actually kind of an elegant way to demonstrate that, and to bring back Skinny Steve as kind of an avatar and give him a chance to sort of linger in that space for a very brief moment. It’s not like it’s a long lingering sort of fan service. It’s putting us in a place and a time, and I actually was fond of it.
Kyle Olson:
Yeah, it literally happens in a minute. It’s like the —
Matthew Fox:
Oh, it felt so long to me. I agree with you, Pete — I think that’s exactly what it’s doing. And I felt almost like, come on, we know that. It’s not like the first movie was 30 years ago. He has said this is where he’s from. You don’t need to keep hitting us over the head with that. Him having that one moment of remembering Rogers run or whatever is fine. But then to have the drill sergeant, to show young Steve staring — I was just like, come on. We’re not that stupid of an audience.
Kyle Olson:
See, now I think, first of all, this is Captain America 2. So having that to directly make the point, “Hey, by the way, this is the sequel — I know there’s been other movies and there’s been Avengers and all of that, but this is part two.” So having Skinny Steve come back, and that thing to be like, “This is the exact place where all of that stuff happened,” to connect the two movies, I think is good. Plus seeing the flag pole and stuff, and then having it be — I know we just saw Captain America take out a bunch of dudes in an elevator and then take out a jet all by himself, but also he’s still that kid.
Pete Wright:
Yeah.
Kyle Olson:
He’s still in his twenties. He looks 95, but he’s not.
Pete Wright:
Yeah, right. Well, lest we forget —
Matthew Fox:
Right.
Kyle Olson:
Because he skipped all that part.
Pete Wright:
Right. He skipped so many years. Lest we forget, Captain America: The First Avenger was not the most popular Avengers movie to date at this point. It is a very Doylist assumption to say that maybe they want to tell you where this guy came from as efficiently as they can, because this might be your first way into a Captain America movie. So there is some utility to including this beat to connect to his history.
Matthew Fox:
But he says it in the store, and he says it when they get there. It just feels like this is the fourth — I totally agree with you that reminding us of that, but it just felt to me like this was the fourth or fifth time we were doing that.
Kyle Olson:
But I think it also ties into what comes next, because we’re about to go do a huge flashback and then find out that what we believed is not true. So reminding us, “This all connects back to something that happened 75 years ago,” is keeping that top of mind, so that when all this stuff happens, it doesn’t come out completely like — yes, this is a techno-thriller set in 2014, but there’s also this other thing that’s been going on that we haven’t been telling you.
Matthew Fox:
Okay, that makes sense.
Pete Wright:
And we don’t, unfortunately, get much in this. We do get the awareness that this is SHIELD. And it’s a weird cut between five minutes — we’ll have to figure out what comes next when it comes next.
Kyle Olson:
Yeah, exactly. And the fact that Steve reads the manuals comes into play here, too, because he realizes that the building is in the wrong place. You don’t store munitions that close to the barracks, because in an attack, if it goes boom, you don’t want all the sleeping people to be taken out too.
Matthew Fox:
That did feel like a very Steve moment — that he would know the manuals that well.
Pete Wright:
Yeah, I thought that was funny.
Kyle Olson:
As we come down to the basement, we see a big sign on there with the SHIELD symbol on it. And they say, “Oh, this is SHIELD.” Maybe this is where SHIELD started.
Pete Wright:
Yeah.
Kyle Olson:
And that is where the minute ends. I think this area actually was used in some of the Agent Carter series too. They recreated it to be like, this was where the OSS, I guess, transitioned over to become SHIELD.
Pete Wright:
Yeah, that’s the minute. What are the big beats? Anything you feel like we’ve missed?
Matthew Fox:
It’s funny because often we’ll have these fight minutes that we can go on for an hour about, and then we’re like, “Oh yeah, but we’re just talking about the fight scenes.” Like with the Hawking — that’s where the real depth is. Now we’re at thirty minutes, we’re done.
Pete Wright:
Yeah, right. And I think even cinematically, this one is just shot right across the bow. The cutting patterns — after we get through the mall, we get in the car. We’re in the car-as-confession-booth kind of moment. The takes get longer, much fewer — many fewer setups than we normally would expect.
Kyle Olson:
Yes. Oh yeah, that’s true.
Pete Wright:
It’s earning a little bit of quiet.
Kyle Olson:
Well, there’s obviously sexual tension — not just in this podcast, but in the movie as well. So obviously, I think we’re all fans of Steve and Peggy as the couple. We want them, even though circumstances have kept them apart. But what are your feelings about Natasha? Now obviously Natasha is an independent woman, she don’t need no man. But if you were shipping, who do you put Natasha with in the MCU proper? I had a friend who was a diehard believer in Natasha and Hawkeye.
Pete Wright:
That was me, yeah.
Kyle Olson:
All the way. And then the sudden betrayal — the many betrayals of Age of Ultron.
Pete Wright:
Yeah, no, right. So here’s the biggest problem that has been resolved for me. I was big into Natasha-Hawkeye until I met Linda Cardellini as Hawkeye’s wife. And then I started watching DTF St. Louis, and I no longer have a problem with that, because she’s wicked twisted and Hawkeye needs a break, is all I’m saying. So my fan fiction has collided. And now I can say confidently, I’m back to Hawkeye and Natasha.
Matthew Fox:
Well, apparently I need to watch what’s happening in DTF St. Louis, then, because I’ve been curious about that show. To me, it’s even more why I wish they didn’t do the titillation, because — I always thought, again, Natasha and Hawkeye, from the beginning there was never anything there. It was very clearly supposed to be, “These are platonic friends. These are like soulmates in some ways, in a friend, because of how much they’ve been important to each other’s lives.” And I remember reading about how part of why they gave Hawkeye a wife was because a lot of people were shipping them. They’re like, “No, that’s not what we’re gonna do here.” To me, Natasha and Bruce are the couple. And I always thought — I mean, that was kind of pretty established for a while.
Kyle Olson:
Really?
Pete Wright:
Oh wow.
Kyle Olson:
Really? Wow.
Matthew Fox:
Until they kind of went away from it with her non-consensually forcing him back into being the Hulk and stuff like that. But they definitely set up that flirtation pretty hard.
Kyle Olson:
Oh, they set it up, yeah, but they absolutely set it up.
Matthew Fox:
And I thought it worked.
Kyle Olson:
That was Joss. That was his idea. That is not canon. That is not part of any of the comics. That was him just purely going, “I want these two to smooch.”
Matthew Fox:
To me, they’re another fire-and-ice thing, because he’s not a man out of time the way that Steve is, but he’s someone who’s trying so hard to be cold and calculating and avoid passion and avoid impulse — because that’s what leads to the Hulk. And she’s the exact opposite. I feel like they always brought it — the fact that she had that ability to care for him and help bring him back. Yeah, into all the nonsense about, “I’m a monster too because I can’t have children.” That was horrific.
Pete Wright:
Yeah.
Kyle Olson:
Yes.
Pete Wright:
Yes.
Matthew Fox:
But I love them as a potential couple.
Pete Wright:
I love that. That’s awesome. Okay, Kyle, who’s yours?
Kyle Olson:
Bucky. It’s Natasha-Bucky all the way.
Pete Wright:
Wow. Is it weird that I never in a million years would have considered that? And I can see it. That never occurred to me.
Kyle Olson:
Yeah, and they had a relationship in the comics and stuff too. Not like currently, not like Winter Soldier Bucky. But Falcon and the Winter Soldier Bucky. Yeah, absolutely.
Matthew Fox:
You think Steve’s open to an open relationship?
Kyle Olson:
Yes.
Pete Wright:
Steve’s already looking for a third.
Kyle Olson:
I think, just like Wolverine-Cyclops-Jean Grey, if that triangle can work, then this one can too.
Pete Wright:
Truly. But yeah, that was a bumpy ride.
Matthew Fox:
Yeah, I wouldn’t hold them up as the positive representation of polyamorous love triangles.
Pete Wright:
Okay, that was definitely non-canon part of our conversation.
Kyle Olson:
Maybe we need to go on to AO3 and find out what the numbers are. What are the people —
Pete Wright:
Man, I feel like my pick was so prudish. Both of you guys have much better ones. Mine is just like, “Oh, everybody thinks that.” Well, I need to be more creative. Nick Fury. It’s definitely Nick Fury and Maria Hill.
Kyle Olson:
Now, Maria Hill — I can see that.
Pete Wright:
Yeah. Now it’s all I can see.
Kyle Olson:
Yeah, I would write that. I would write that story.
Pete Wright:
Okay, are we done? Is that it?
Matthew Fox:
We’ve been done for a while.
Pete Wright:
This was 56-60. Next week, 61-65, and we’re gonna stay in the bunker for a little bit. We’ve already teased some things that are happening from minutes ago. We’re about to see what happens with the AI that rewrites itself.
Matthew Fox:
Please let us know, fans, which one of the four of us do you think will do the worst German accent in trying to quote lines that we’re about to see.
Pete Wright:
Confirmed. Thank you all for hanging out with us. You can find information about the show at MarvelMovieMinute.com. And you can subscribe to the show. You can become a member and support the ongoing work. There are so many Marvel movies ahead of us, and we’d love your support to keep the lights on. You can get early access to the member-only versions of the show as they release, ad-free. Thank you for your support. On behalf of Kyle Olson and Matthew Fox, I’m Pete Wright, and we’ll see you next time right here on Marvel Movie Minute.
Matthew Fox:
Let’s go, let’s go, Mets.
Kyle Olson:
Enough said.
