Ms. Marvel (2022) Review

A teenager in Jersey City who writes fan fiction about the Avengers finds a bangle in her grandmother’s things, puts it on, and discovers she can produce solid light.

The 1 is about function instead of craft. Nothing here is incompetently made. The direction is lively, the visual style is the most distinctive of any Phase 4 series, and the lead is likeable.

What the 1 registers is what happens when you strip the introduction obligation away and ask what the story is about. The answer is a young woman getting powers so that a later film has somebody to put in it.

The Visual Grammar Works

Text messages appear on buildings. Doodles animate across walls. A daydream becomes a full illustrated sequence and then collapses back into a bedroom.

It is the most distinctive-looking project of the phase and the technique is doing something instead of decorating. The animation externalizes an interior life, so the audience is inside the head of somebody who narrates her own existence.

The directing teams, including Adil El Arbi and Bilall Fallah, bring a genuine energy to the Jersey City material, and the first episode has more visual invention in it than most of the films that year.

Iman Vellani is the other thing that works. She plays enthusiasm without becoming grating, which is harder than it sounds, and her fandom is written as specific instead of as a character trait announced once.

Vellani was a fan of the comics before she was cast, had no professional credits, and the casting is the kind of decision that usually goes wrong and did not. Her enthusiasm reads as belonging to the person instead of to the performance, which is not a thing that can be directed into somebody.

The Family Is the Good Show

Mohan Kapur and Zenobia Shroff play parents who are strict, loving, embarrassing and entirely specific, and every scene in that house is better than the plot around it.

The wedding episode is the series at its best. An extended family, a ceremony, competing opinions, an aunt with an agenda and a teenager who wants to leave, all of it handled with the density of people who have known each other too long.

Matt Lintz’s Bruno and Yasmeen Fletcher’s Nakia are written with the same care. A friend who is in love and will not say it, and a friend running for a mosque board on a platform about the women’s entrance, both given wants unrelated to the superhero plot.

The mosque material is the most textured thing in the phase. A congregation, a leaky roof, a board election and a genuine argument about who the building serves, treated as ordinary life instead of as an establishing shot.

Sheikh Abdullah is the smallest and best example. A religious figure written as a reasonable man with a sense of humor, giving practical advice, who is neither an obstacle nor a source of wisdom delivered on cue. Almost no American television manages that with any clergy at all.

The Partition Episode

The fifth episode goes to 1947, to a railway station during the partition of India, and follows a family being separated in a crowd.

It is genuinely good television and it belongs to a different show. Filmed with weight, specificity and no fantasy business for long stretches, and the sequence of a child being lost and found is the only time the series generates real feeling.

The problem is what it is attached to. The historical material is framed as the explanation of a bangle, so a real catastrophe that displaced millions functions as backstory for a piece of jewelry.

That instrumentalizing is the series’ central failure in its clearest form. When the best material exists to explain a plot device, the show has told you what it values.

The Plot Is an Arrangement

The antagonists are a group of displaced beings who want to return home, whose motivation changes twice across six episodes, and who are replaced midway by a government agency pursuing the protagonist.

Neither threat accumulates. The Clandestines arrive, state a goal, become hostile, and are dispatched. The agency arrives, escalates, and is resolved by a community rallying at a school.

Najma is the clearest waste. A woman who has been separated from her home for seventy-five years, played with real conviction, whose motivation is restated three times in different terms because the series has not decided whether she is desperate or malevolent. A displaced person who cannot go back is a subject, and the show uses her as an obstacle.

The powers were changed from the source, where the character stretches and reshapes, to hard light constructs. The stated reasons were practical, and the dramatic result is that her ability has no relationship to who she is, where the original had an obvious one about a person trying to fit different shapes.

The finale is a school under siege, a speech, and a new name, followed by a scene in which somebody arrives to recruit her. That scene is the purpose, and the six episodes before it are the arrangement around it.

Kamran gets the worst of it. A boy introduced as a romantic possibility, revealed as connected to the antagonists, given powers he did not ask for and then abandoned by the plot in the last twenty minutes, which is what happens when a character exists to move a bangle story forward.

What the Score Measures

A 1 next to a series with this much visible craft in it needs explaining, and the explanation is about why it exists.

Take the introduction obligation away. Remove the requirement that this character appear in a film in November 2023, and ask what story remains. A teenager with a supportive and frustrating family, a crush, a mosque election and a grandmother in Karachi with a history.

That show would be worth watching and this is not that show, because every episode has to also deliver a power, a threat, an escalation and an eventual costume. The good material is the residue of a different project running underneath.

The reception made the point in its own way. The series was widely praised for exactly the elements that have nothing to do with the franchise, the family, the neighborhood and the humor, and it had the lowest viewership of any Marvel series to that point. The part people liked was not the part it had been commissioned to deliver, and the part it had been commissioned to deliver is the only reason that any of the rest of it was ever written, cast, or put in front of a single camera anywhere.

The clearest evidence is the ending. A series that had been about family, faith and a neighborhood concludes with a stranger arriving to say that the protagonist is now part of something larger, which is an advertisement in the shape of a final scene.

Should you watch Ms. Marvel?

Watch the wedding and the Partition episode, which are the two places a genuinely good series is visible. The rest is a competent origin story built to deliver somebody to a film, and the parts that are alive have nothing to do with the reason it was made.

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