Today, we take a look at the Marvel Universe origins of one of the most controversial Black Widow scenes in the Marvel Cinematic Universe.
This is a feature called “Written in Book”. It’s basically the reverse of another of my features called “Follow the Path,” where I highlight changes to comic book characters based on outside media, as well as characters entirely drawn from outside media. Nowadays there are so many comic book movies and TV series that we can highlight examples of TV and movies adapting specific and less famous comic book stories to other media (so no ” Spider-Man lifts debris “or stuff like that).
This time, we’re going to take a look at the comic’s influences on the infamous “monster” scene from Avengers: Age of Ultron.
WHAT IS BLACK WIDOW’S “MONSTER” SCENE?
First Avengers movie, a big part of Black Widow’s arc in the movie is that she doesn’t really think she can be considered a hero because she had done so many bad things before Hawkeye took her off the show. Black Widow. Loki, of course, being a jerk, torments her with that same worry in the movie:
Black Widow: It’s really not that complicated. I have red in my ledger, I would like to erase it.
Loki: Can you? Can you erase that much red? Dreykov’s daughter, Sao Paulo, the hospital fire? Barton told me everything. Your ledger is dripping red, and you think saving a man who is no more virtuous than you will make a difference? It is the lowest sentimentality. He’s a child in prayer … PATHETIC! You lie and kill in the service of liars and killers. You claim to be separate, to have your own code. Something that makes up for the horrors. But they are part of you and they will never go away!
So that’s what Black Widow was dealing with in the second movie when she and Bruce Banner developed some kind of relationship with each other and when the team was hiding in Hawkeye’s farm, they have a heart to heart about their eventual relationship. Banner, naturally, hesitates because of the monster inside him and Black Widow explains that she is just as much of a monster as he is.
She then explains that during her training in the red room to become a black widow, she was sterilized. She explains, “Do you know what my last test was in the red room? They sterilize you. It’s effective. One less thing to worry about, the one thing that could be more important than a mission. It makes everything easier, even killing. Do you still think you’re the only monster on the team? *
Now clearly the scene’s presumed intention was to continue on the ideas expressed in the first movie that Black Widow did so many bad things before coming to work for SHIELD that she feels like she’s just as much a monster as the Hulk. However, from the way it’s specifically expressed, it sounds like she is saying that her sterilization plays a role in her being a “monster”, and as you can imagine, that didn’t. not taken well by a number of fans, who felt it equated the inability to have children of their own to be a “monster.”
Again, this was almost certainly not Joss Whedon’s intention, but whether intentional or not, it was always the way the scene read.
Interestingly, however, the scene was heavily influenced by a comic book sequence.
WHAT HAS BEEN THE INFLUENCE OF COMICS ON THE STAGE?
In the 2004 Black Widow mini-series by Richard K. Morgan, Goran Parlov and Bill Sienkiewicz, Natasha discovered in the fifth issue that Black Widows were prevented from getting pregnant …
because the program didn’t want any distractions …
Natasha is furious at the news …
Morgan was then interviewed by Charlie Jane Anders on the stage and after expressing his pleasure to Whedon adapted part of it to Age of Ultron, he explained:
This narrative thread actually didn’t emerge from any particular interest in children on Natasha’s part – my feeling about the character is that she’s probably not keen on the idea – but because one of her Widowed comrades was trying to have children and had run into red. Biotech room that prevented it. So when Natasha finds out, it’s almost a flippant blow. But what is telling, I think, is his reaction; there are no tears, no sentimentality, no collapse to become a female distress – she is just very (and dangerously) angry. And it’s important to understand why she’s angry – it’s not because she necessarily wants kids. She’s upset because she was taken away from the choice.
It has always been important to me that the widow is a genuine woman, not just a guy type character with T&A and her legs so far stuck together. And there’s no honest real-world view of women that doesn’t take into account having babies; this is what women were designed for through millions of years of evolution, most women will feel the urge at some point in their lives, and remember I was postulating Natasha as getting old – a female in your thirties at a minimum, so this urge might be becoming urgent.
But that’s biology. Feminism begins after biology, and in this case, it begins with what women do (and, more importantly, are able to do) about this biological drive. You see, most of the women I’ve met already have or want to have children at some point in time, but there are still a significant number who don’t, or at least don’t. moment. But these variations are irrelevant – the real point is that among all these women, having or wanting children or not, I have never met one who did not want a choice. Ultimately, I think that’s what feminism is for – to build a world in which women’s choices are not bypassed by someone else’s (man’s) agenda.
So yeah, that’s how the scene got from the comics to the movies.
If you have any suggestions for future Written in the Book installments, send me a message at [email protected]!
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