Wanting to coast along on its Alfred Hitchcock influence, The Woman in the Window does little to separate itself from Rear Window. That is fertile ground to harvest from, and if done right then there is certainly room for characters within this Joe Wright-directed piece to flourish and grow. Here is the shut-in neighbour, nosey not out of interest for others but out of boredom. She uncovers a potential murder and must work from home (like all of us have done for the past year) to solve a potential case of crime. You may know these narrative beats inside out, but it is what The Woman in the Window does with them that brings out the most interest of all. Not much is the answer, but bless them for trying.
The endgame of Avengers: Endgame has finally received clarity. Truthful, real intentions of Marvel are now upon us. They have spun an ending that impacted not just the audience, but their way of working too. Why slow down content and production when you can schedule enough television programming to never have a lull in content? Efficiency does not equal artistry. The machine trundles on, no signs of breakdown are clear just yet, and Falcon and The Winter Soldier is another product of that sturdy, strong, metallic grey vehicle. It is sleek, finely tuned, and utterly devoid of life or spirit. Interest wanes quickly with this one, and the façade of unique vision in WandaVision was at least a brief comfort. There’s no time for that with Falcon and The Winter Soldier.