She-Hulk Attorney At Law Episode 3 Breakdown
Good day to you. This week on Marvel Standom, Marvel Standom’s Alec will be taking over for Marvel Standom’s Kirsten. It’s great to put faces to names finally! Let’s move on to the twerking now, shall we?
She-Hulk: Attorney at Law has delivered on the promise it made before the show’s premiere by including at least one post-credit sequence in each of the series’ first three episodes. The post-credit scene at the end of the premiere was possibly the funniest point of that particular episode. In it, a jubilant Jennifer Walters (Tatiana Maslany) yells to the skies, “Captain America fucks!” The scene in the second episode in which a She-Hulkified Jen assists her father with laborious work around the house was less successful, but it was not harmful in the end.
However, the sequence that plays after the credits in this third episode is not merely an end-of-episode stinger; instead, it serves as a litmus test. One’s opinion on She-Hulk as a whole may be gleaned from how they feel about an exceptionally annoyingly intense scene showing a big CGI woman dancing with music diva Megan Thee Stallion.
You’ll need to let me work through this for at least a few paragraphs because I feel that it’s weirdly a watershed moment for She-Hulk and Marvel’s television output in general. Look, it’s taking all the self-control I have to refrain from doing this entire review about one 15-second post-credit twerking scene, but I’m going to ask you to bear with me because it’s going to take all the restraint I have not to make this.
Except for “What If…?” and possibly “WandaVision,” most of Marvel’s programs released on Disney+ so far have operated under a similar idea. What if Marvel decided to make one of their movies, but it was twice as long, cost only half as much, and was broken up into six or nine random parts? There are moments when the strategy is successful, such as when it was used by Loki, Hawkeye, and (for the most part) Ms. Marvel. On the other hand, rather frequently, it does not, such as in the case of the show that must not be named.
She-Hulk has demonstrated that it is prepared to experiment with new ideas via its first three episodes, if nothing else. She-Hulk has used a more TV-friendly and procedural framework for the past two episodes in a row, with the exception of the first episode, which was overly expository and uninteresting. Those fortunate enough to have screeners are aware that this pattern will persist for at least one additional week.
In addition to deviating from the typical Marvel layout, She-Hulk also brings about a substantial shift in the tone typically associated with Marvel stories. There is a good chance that a Marvel film will be humorous or irreverent. On the other hand, they are rarely as cartoonish as She-Hulk increasingly enjoys being. Jen’s breaching of the fourth wall in She-Hulk (“I know you want to see Wong, I get it.”) is only one example of the absurdity that can be found in the Marvel superheroine. Just Bruce. It would help if you didn’t get the impression that this is one of those shows where different people make cameo appearances every week. And Blonsky. And Wong.”) to its “normal” non-superpowered street-level characters being gleefully trashy (“I don’t know about ‘y’all, but I’d smash!” a TikTok commenter says of She-Hulk), the Marvel Cinematic Universe has been criticized for several things, from its portrayal of its “normal” non-superpowered characters.
She-Hulk is not the same as other people, for better or worse. And with that, we are brought full circle to the twerking.
The idea of Megan of the Stallion Persuasion twerking with a Marvel superhero is so cringe-worthy that it can only be described as a hurricane. Even the pre-release headlines that said Megan was “entering the MCU” were cringe-worthy since they made it sound like she was going to square off against Kang. And that was before we knew that a green CGI monster lady would widen her eyes and tell her eagerly, “I will kill for you, Megan Thee Stallion.”
And yet is it even possible for anything to be so sincerely cringeworthy that it manages to ride the horseshoe all the way back to the point where it’s kind of hilarious again? Given that I let out a loud, possibly embarrassing chuckle after hearing Meg tell Jen Walters to “dial it back,” then the answer is probably yes! Comedy is a multifaceted art form heavily influenced by its historical and contemporary contexts. However, there are occasions when the answer is as simple as a yes or no: either something makes you laugh, or it does not. The episode “The People vs. Emil Blonsky” is where a lot of She-gags Hulks start to hit their mark finally.
When Jen represented Emil Blonsky (played by Tim Roth) the previous week, we got a taste of how busy the Superhuman Law Division at GLK&H can be. This week, however, we get to witness how hectic it truly is. While Jen puts the finishing touches on her defense of Blonsky, with a helpful assist from Wong (Benedict Wong), Pug (Josh Segarra) takes on a textbook case of superheroic fraud. Jen’s defense of Blonsky is being helped by Wong (Benedict Wong). Dennis, played by Drew Matthews, is everyone’s least favorite asshole, and a light elf from Asgard has tricked him into thinking he is dating Megan Thee Stallion.
Since there are only approximately 30 minutes of screentime available to be divided between the A and B stories in She-Hulk (the existence of which is acknowledged by Jen in a fourth wall break), the film does not go as far as it possibly could with the concept of shapeshifting light elves. Despite this, it is an excellent prelude to all the superheroic mayhem that is still to come, and it works like a charm. The fact that Pug is kept busy is helpful in this regard. No one else on television can play dim-witted yet well-meaning bros like Josh Segarra, which can be attested to by anyone who has watched two seasons of The Other Two.
Even though She-Hulk is establishing its own identity with its first proper “case-of-the-week,” the remainder of the show is unusually generous with the amount of time it gives to Marvel Cinematic Universe characters. It will undoubtedly be a strain on the budget, but it will be worth seeing both Wong and Abomination in a single episode of television lasting thirty minutes. Both contribute much to the goings-on and make the whole thing genuinely connected to a bigger cosmos. Both of these things are important. One of the best sight gags in this episode is the artwork that appears after the credits and depicts Blonsky leaving his seven wives behind.
Much like any non-MCU television comedy, She-Hulk is still discovering its identity in its early goings. Even though the show’s visual language and overall plot (hey, do you remember Titania?) are falling behind, the show’s sense of comedy is beginning to pop through. Right now, She-Hulk feels like a legal comedy that a Marvel fan would produce if given carte blanche: checking in with Wong here, introducing a light elf there, and twerking its little heart out. In other words, it’s a Marvel fan’s version of a legal comedy.
Tv Show: She-Hulk – Attorney At Law
Genre: Action, Adventure, Comedy
Stream On: Disney+