This post contains spoilers for Hawkeye.
Without saying a word, Yelena Belova made her intentions against Clint Barton clear at the end of Hawkeye’s fourth episode. She is uncharacteristically stoic after her mask is removed and all she offers is a shake of the head toward the arrow Kate Bishop is pointing at her head. Florence Pugh’s arrival is not unexpected as the Black Widow end credit sequence puts Yelena on a collision path with the man she believes is responsible for her sister’s death. But a lot has changed since we last saw her, and Yelena’s deadpan delivery doesn’t make an appearance until she sits down for an all-American dinner with the young woman who could’ve taken the shot. The shared macaroni meal in Hawkeye Episode 5 highlights Pugh and Hailee Steinfeld’s ability to sell the humor and hit the emotional beats. Watch out, Marvel has a new potentially unstoppable duo.
For Kate, Hawkeye is a symbol of hope and heroism that provided solace after the death of her father. Learning to be like him was a coping mechanism, which also gave her a semblance of control. On the other end of the spectrum, Yelena’s fury has been weaponized and purposefully directed at Clint. Valentina puts a target on his back in the Black Widow end credit scene and “Ronin” reveals that Kingpin and Kate’s mother are pulling the strings. At least this is what Yelena believes to be the source of her mission. Boxed macaroni is a comfort food binding force that draws out the comedy and tragedy enveloping both characters — despite their opposing positions
It's clear we are in for a good time when Yelena lets out an enthusiastic “Hi!” after Kate throws a bottle of hot sauce at the intruder’s face. This initial back and forth in the burned-out shell of Kate’s apartment reinforces Yelena’s lack of boundaries. She doesn’t see anything weird about cooking this snack (or entering uninvited) and offers a look of mock horror when Kate points out that she tried to kill her. Not only does she defend herself against this charge, but she also has some observations of her own. She doesn’t have an issue with the charred decor, however, she is aghast that Kate only has one fork and quips “this is not cutlery” about her takeout utensils. “You’re so hostile. I’m not going to hurt you. I promise,” she reassures before quickly realizing her fists are full of dangerous objects — not to mention her other accessories. Nothing is as convincing to Kate as the simple fact that she would be dead already if Yelena intended on killing her.
After this initial macaroni banter and a quick check-in with Clint, directors Bert and Bertie wisely spend the next seven uninterrupted minutes showcasing how deftly Pugh and Steinfeld can switch between the inherent comedy of this scene and the emotional reservoir that fuels both characters. Between mouthfuls of cheesy pasta, Yelena excitedly points out it is her first time in New York, and her time is limited due to the business nature of this trip. She wants to tick the landmark boxes like the Empire State Building, the “new and improves Statue of Liberty,” and the Rockefeller Center. Kate doesn’t know how to take Yelena’s enthusiasm, which she reads as insincere at first but Yelena loves American Christmases — she did live here as a child after all. In Black Widow she espoused the benefits of a multi-pocketed jacket and here she delivers the same level of passion for Manhattan’s best-known spots.
Yelena’s desire to hit these famous sights also speaks to the opening flashback scene, in which her plan to free the many Widows from mind control will culminate in a trip to the Big Apple to see her big sister. “You and Natasha will be reunited and go live your Sex and the City fantasy in New York,” Sonya lightly teases Yelena but this pop-culture-fueled comment speaks volumes. Within minutes of Yelena’s vacation plans being spoken out loud, five years have passed in the blink of an eye and her sister is dead. Cosmopolitans, Magnolia Bakery, and going for brunch in Manhattan is a wish that can never be fulfilled. While Carrie Bradshaw doesn’t eat mac and cheese straight from the pot, this is the closest to a girls’ night that Yelena has experienced in the city, and this gratitude she shows Kate for it is sincere. Wanda Maximoff took refuge in American sitcoms and Yelena is drawn to another cultural TV touchstone.
It takes a few beats before the Clint-shaped elephant in the room comes up. Kate’s discomfort is palpable and offers sightseeing recommendations that might not mesh well for a “blood-thirsty vigilante type.” Yelena is tickled by this description before the tone shifts toward the sinister as Yelena lists off everything she knows about her. The assassin has done her research and is confused by Kate’s desire to protect the man who killed her sister. This family tree revelation is met with genuine shock, and while Yelena punctuates the conversation with laughter, she is deadly serious when the idea of collateral damage is broached.
As far as two-handers go, this one is sublime. It taps into the visceral emotions while also pointing to the larger mystery of who hired Yelena and turned her grief into a weapon. Kate’s visible cuts and bruises, and her wide glassy eyes point to her naivety but she does raise a valid point about the motives of those who want Clint dead. Later, when Yelena tracks down the person behind the order, Kate is once again in for a rude awakening as her mother Eleanor is meeting none other than Kingpin.
In some respects, Yelena is now in the older sister position with the dynamic presented during the macaroni scene. Pugh and Steinfeld skillfully walk the line between comedy and tragedy — they are both Oscar nominees after all — adding weight and effortless charm to the material. While they are on opposite ends of the Clint spectrum it appears they are being manipulated by the same hand. Yelena’s actions are anchored by the snap and what she lost, whereas Kate’s experience dates back to the 2012 attack and the death of her father. A loss that could be less to do with the aliens and more to do with her mother’s business relationship with the nefarious Kingpin. Unanswered questions are stacking up before next week’s finale, but it is clear that Kate and Yelena are partner material even if they come from two different worlds.
For more, read how Hawkeye is finally giving Black Widow the eulogy she deserves, and stay tuned weekly for our Hawkeye reviews.
Continue reading...
Without saying a word, Yelena Belova made her intentions against Clint Barton clear at the end of Hawkeye’s fourth episode. She is uncharacteristically stoic after her mask is removed and all she offers is a shake of the head toward the arrow Kate Bishop is pointing at her head. Florence Pugh’s arrival is not unexpected as the Black Widow end credit sequence puts Yelena on a collision path with the man she believes is responsible for her sister’s death. But a lot has changed since we last saw her, and Yelena’s deadpan delivery doesn’t make an appearance until she sits down for an all-American dinner with the young woman who could’ve taken the shot. The shared macaroni meal in Hawkeye Episode 5 highlights Pugh and Hailee Steinfeld’s ability to sell the humor and hit the emotional beats. Watch out, Marvel has a new potentially unstoppable duo.
For Kate, Hawkeye is a symbol of hope and heroism that provided solace after the death of her father. Learning to be like him was a coping mechanism, which also gave her a semblance of control. On the other end of the spectrum, Yelena’s fury has been weaponized and purposefully directed at Clint. Valentina puts a target on his back in the Black Widow end credit scene and “Ronin” reveals that Kingpin and Kate’s mother are pulling the strings. At least this is what Yelena believes to be the source of her mission. Boxed macaroni is a comfort food binding force that draws out the comedy and tragedy enveloping both characters — despite their opposing positions
It's clear we are in for a good time when Yelena lets out an enthusiastic “Hi!” after Kate throws a bottle of hot sauce at the intruder’s face. This initial back and forth in the burned-out shell of Kate’s apartment reinforces Yelena’s lack of boundaries. She doesn’t see anything weird about cooking this snack (or entering uninvited) and offers a look of mock horror when Kate points out that she tried to kill her. Not only does she defend herself against this charge, but she also has some observations of her own. She doesn’t have an issue with the charred decor, however, she is aghast that Kate only has one fork and quips “this is not cutlery” about her takeout utensils. “You’re so hostile. I’m not going to hurt you. I promise,” she reassures before quickly realizing her fists are full of dangerous objects — not to mention her other accessories. Nothing is as convincing to Kate as the simple fact that she would be dead already if Yelena intended on killing her.
After this initial macaroni banter and a quick check-in with Clint, directors Bert and Bertie wisely spend the next seven uninterrupted minutes showcasing how deftly Pugh and Steinfeld can switch between the inherent comedy of this scene and the emotional reservoir that fuels both characters. Between mouthfuls of cheesy pasta, Yelena excitedly points out it is her first time in New York, and her time is limited due to the business nature of this trip. She wants to tick the landmark boxes like the Empire State Building, the “new and improves Statue of Liberty,” and the Rockefeller Center. Kate doesn’t know how to take Yelena’s enthusiasm, which she reads as insincere at first but Yelena loves American Christmases — she did live here as a child after all. In Black Widow she espoused the benefits of a multi-pocketed jacket and here she delivers the same level of passion for Manhattan’s best-known spots.
Yelena’s desire to hit these famous sights also speaks to the opening flashback scene, in which her plan to free the many Widows from mind control will culminate in a trip to the Big Apple to see her big sister. “You and Natasha will be reunited and go live your Sex and the City fantasy in New York,” Sonya lightly teases Yelena but this pop-culture-fueled comment speaks volumes. Within minutes of Yelena’s vacation plans being spoken out loud, five years have passed in the blink of an eye and her sister is dead. Cosmopolitans, Magnolia Bakery, and going for brunch in Manhattan is a wish that can never be fulfilled. While Carrie Bradshaw doesn’t eat mac and cheese straight from the pot, this is the closest to a girls’ night that Yelena has experienced in the city, and this gratitude she shows Kate for it is sincere. Wanda Maximoff took refuge in American sitcoms and Yelena is drawn to another cultural TV touchstone.
It takes a few beats before the Clint-shaped elephant in the room comes up. Kate’s discomfort is palpable and offers sightseeing recommendations that might not mesh well for a “blood-thirsty vigilante type.” Yelena is tickled by this description before the tone shifts toward the sinister as Yelena lists off everything she knows about her. The assassin has done her research and is confused by Kate’s desire to protect the man who killed her sister. This family tree revelation is met with genuine shock, and while Yelena punctuates the conversation with laughter, she is deadly serious when the idea of collateral damage is broached.
As far as two-handers go, this one is sublime. It taps into the visceral emotions while also pointing to the larger mystery of who hired Yelena and turned her grief into a weapon. Kate’s visible cuts and bruises, and her wide glassy eyes point to her naivety but she does raise a valid point about the motives of those who want Clint dead. Later, when Yelena tracks down the person behind the order, Kate is once again in for a rude awakening as her mother Eleanor is meeting none other than Kingpin.
In some respects, Yelena is now in the older sister position with the dynamic presented during the macaroni scene. Pugh and Steinfeld skillfully walk the line between comedy and tragedy — they are both Oscar nominees after all — adding weight and effortless charm to the material. While they are on opposite ends of the Clint spectrum it appears they are being manipulated by the same hand. Yelena’s actions are anchored by the snap and what she lost, whereas Kate’s experience dates back to the 2012 attack and the death of her father. A loss that could be less to do with the aliens and more to do with her mother’s business relationship with the nefarious Kingpin. Unanswered questions are stacking up before next week’s finale, but it is clear that Kate and Yelena are partner material even if they come from two different worlds.
For more, read how Hawkeye is finally giving Black Widow the eulogy she deserves, and stay tuned weekly for our Hawkeye reviews.
Continue reading...