We in Danger, Girl

The show has had a lot of errors, but the team really doubled down on the sloppiness here, especially with how many scenes have mouth movements out-of-sync with characters' words.

We also get N. A. T. A. L. I. E. Outdoors in the daylight in this episode, revealing that she somehow casts a shadow. I don't know how to head-canon that one. Doesn't make sense.

And why does her audio sound like she's a real person (at times)? Shouldn't it always sound like whatever she's being projected from? In fact, we even get scenes that make clear how she sounds when she's inhabiting the suit! So when she's being projected from the suit, isn't that how she should sound? To me this is a massive oversight, added to the overwhelmingly long list of sound mistakes in the show.

Some important things apparently happened in this episode, but viewers who can't turn their brains off will likely be too distracted by the production's carelessness. Personally, trying to suspend disbelief took all my attention.

Some big action!

Episode 3 has Riri finally waking up to the real extent of the shady characters she is with, as The Hood's motives become more and more clear.

For all her genius, Riri is still niave. We've seen this for Marvel's hero journeys many times before. As soon as you think you know something, you're hit with an event that means you know nothing.

Alden Ehrenreich has had an up and down career, but he fits well into this show, and his back story is certainly interesting. But yeah, he was in Star Wars, so stop mentioning Star Wars Marvel, because I find it distracting.

Natalie's back story is fleshed out, I hope the obvious twist isn't so obvious.....

THIS is how you Marvel, Marvel. Keep it up.

It might take until the last act of the episode to really kick it up, but this is much closer to what I was hoping for from this show, and from Marvel in general now. I mean, I get that we kinda 'had to' start off how we did with Riri to make it more believable that she become who she's supposed to be, I'm just glad that they gave her that one big push in that direction now - in the first drop of episodes - rather than making us wait longer. I'm also glad that they're diving into Parker's story a bit harder and faster now too. We knew it was coming so putting it off much longer would have felt cheap.

Here's hoping that this is where Anthony Ramos and Dominique Thorn in particular really get to stretch their metaphorical legs and start running with their characters, because that ending was DAMN good!

This series strives to assume the mantle of exploring technology and its potential for further revolution. This was a central theme in the "Iron Man" films, and it was subsequently carried over into the "Black Panther" films. In many ways, "Ironheart" draws from the functional elements of both franchises, incorporating them into its own narrative, while juxtaposing technology against magic. The first two episodes have been solid, and this installment continues the momentum, though it does not introduce any novel elements to enhance its established formula.

As Riri becomes more deeply entangled in the criminal underworld, the central themes of personal accountability begin to emerge. Riri, accustomed to operating on the fringes of the law to further her own objectives, has not deviated from this approach. Although she claims she is not a criminal, her actions increasingly suggest otherwise. Narratively, Riri proves to be far more compelling than the crew she interacts with, as they still lack substantial development, with the notable exception of Anthony Ramos' Parker Robbins, who shines in this episode with several memorable moments. While the show's overarching technological plot is intriguing, it arguably shouldn't dominate the narrative focus. The emotional dynamics between Riri and the AI, Natalie, as well as between her and Alden Ehrenreich's character, are the true strengths of the episode, offering meaningful character development. However, it is frustrating that these moments do not substantially advance the storyline. The episode also includes some striking action sequences in its third act, providing a visually engaging portion of the show, as much of the series has yet to establish a distinct visual identity. Ultimately, the episode concludes with the most captivating ending of the released episodes, sparking genuine intrigue to continue watching.

"We in Danger, Girl" is the first episode to significantly escalate the action, yet a notable disconnect persists between the audience and the central storyline. Riri remains an engaging character, and the show is at its strongest during her emotional moments with other characters, rather than when it centers on the primary heist narrative.

This junk was cobbled together from half a dozen failed scripts. The character looks 30, not 19. Only Han Solo Jr. Brings anything resembling acting chops to the game.

And her suit?

Jaysys, what a mess, ostensibly a heap of disjointed scraps that somehow have the shine and polish of a mint '59 Jag. You'd never build a prototype with that level of finish, since you're only designing in order to re-design. Why bother with ten coats of pain when you're not close to perfecting the work?

What would have been interesting if, instead of pointless scenes that don't build even one character meaningfully, they spent five minutes actually showing how a budding engineer works? Why not do that, so that the audience knows why things work the way they do. Instead we get a stream of scenes with no tempo, scenes that don't build to anything.

It's not hilariously bad, which at least would have made Ironheart interesting, but it is weak in every area, yet another installment in Disney+ endless output of tripe. I'd say it's a pity, but the premise is so flawed it was never going to work.

At this rate Disney will go bankrupt and take Marvel with it. That's a good thing since in 10-20 years it might result in a production based on the comics that reboots the stories intelligently, with actual heart.