All to well
Plot: idk. have fun!
Type: angst and fluff
Warnings: i am in no way saying that this is how all autistic people are!! This fic is based off my PERSONAL experience with autism and sensory overload. Please remember this as you read!!
Masterlist here!
Request here!
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Being autistic has drawbacks for a normal person, but for an actress in Marvel movies, it was tough. I’m proud of who I am but I didn’t want the pitying looks, the comments or being stuck as only getting the “autistic” role so for my own sake, I’m not super open about it.
My parents are ashamed of it so they never told anyone and I was forced to mask anytime I was around anyone. Not even Scar knew, and she was my best friend, almost a mother figure to me. I didn’t want her to think any different of me. She’s known me since i was 7 and played her on screen adopted daughter in Iron Man 2.
We’re filming Endgame right now. I’m on my way to set with Scarlett. Today has been a rough day for me so far as my parents woke me up by screaming at me which then caused me to struggle in keeping my mask up. Scar picked me up and I’m already exhausted, I’ve caught myself stimming a few times and quickly stopped it.
When we pulled into the parking lot, i grabbed my bag and walked with her through set to our trailers where we left our stuff and we’re immediately shuffled to makeup and costumes.
“Oh shit…” I mutter staring at the costume in Erica’s hand. “I didn’t realize it was a fight scene today…”
“Babe.” Erica, my assistant and on set guardian says. She’s known about me since the first day which was when i was 7. “You’ve known about this for a week. Are you okay?”
“I’m super over stimulated right now…” I murmur tapping my leg in sets of 7, a common stim for me.
“Let’s do hair and makeup first okay? Keep you out of the costume until the last second okay?” I nod and the two of us move to hair and makeup where Scarlett is getting her hair done.
“Hey, where’s your costume kid?” She asks looking over at me.
“I uh-“ I glance at Erica who steps in for me quickly.
“It had a small tear in it so it’s getting fixed quickly.” Scarlet merely hums in response and I sit. Getting my wig on and makeup done is awful, having everyone touching me and all their voices so close to me ears. I feel a soft hand on my cheek and peek my eyes open to see Scar staring at me in concern.
“Stop grinding your jaw babe…” I release my jaw, not even realizing i had been doing it. “You okay love? You disappeared for a bit there.” I respond with a hum, my voice disappearing from within. “Let’s get your costume on and to set okay?”
I look around quickly and don’t see Erica, Scarlet must see the panic as she quickly says. “She got called away in an emergency. I’m going to be your guardian today.” I nod, feeling the panic bubble up in my chest, but give her a soft smile.
The two of us make our way to my trailer and she helps me quickly slip into the suit. I immediately want to rip it off as it’s skin tight and an uncomfortable material. It feels like it’s digging into my skin and pulling it away as if it’s velcro and my skin is the other side. I take a deep breath and come out to see Scar in costume waiting. “Ready?” I nod and we head to set where I realize it’s a busy day, all original 6 avengers, Lizzie, both Paul’s, Gwen and Cobie are all there. I internally groan as immediately, the girls are coming over to me and Scar talking a mile a minute. I stand next to Scarlett silently until Lizzie turns to me. “Hey kiddo. Ready to fight? We have to fly today.” My eyes widen for a moment before i force a smile and nod at the fake red head in front of me.
“What? Cat got your tongue?” This makes everyone around us laugh but it makes me feel awful. I have no voice, it comes and goes, when it’s gone, my parents ridicule me, I get hit. I look down as i feel my tears well up in my eyes and blink rapidly trying to will them away. I thank god silently when Joe calls us to places which means i get away from the now very suddenly concerned looking Scarlett, Lizzie and Cobie. I’m stuck with Renner as I get rigged up, the feeling of being sick suddenly appearing as more people touch me.
I feel the lump in my throat tighten and the feeling of the harness wrapped around me suddenly makes me feel like it’s constricting my breathing and everyone around me disappeared as my hands flung to the harness, in my panic my hands struggled with the buckle which just made me more infuriated and grunts started coming out as my tears blurred my vision.
I feel a set of hands on mine holding them down, i scream and rip mine away and start scratching at my throat trying to rip it open to get a breath. My eyes started blacking out and the last thing i see is Scarlett’s panicked face as she tries to grab at my hands before it all goes black.
Scarlett’s POV
I know something is off with y/n. Not off but just that she was different. I have had a feeling it was autism for a while now, today proved that to me.
She was silent the whole car ride to set, normally she’d be singing along the radio but she wouldn’t even let me turn it on today. As soon as we got to set she locked herself in her trailer without a word, the next time i saw her, she looked panicked and while she was getting her hair and makeup done she disappeared fully before i brought her back. She has days where she goes mute, she just calls them her bad days, they usually happen on days she has arguments with her parents but normally she can still communicate to me in different ways but today she was completely gone. It got worse as soon as she realized Erica was gone. Walking on to set, she tended up and i saw her tapping her thigh every once in a while. The comment that Lizzie made would normally make her laugh, her reaction today was off.
I watched her from the corner of my eye but had to look away for a second before i heard Renner.
“Y/N!! What are you doing?! You’re going to hurt yourself!” I whip my head around and my heart sinks as i see y/n struggling with her harness, her hands are shaking violently, tears streaming down her face, her eyes are glazed over. I bolt over and grab her hands gently.
“Y/n baby, stop. You’ve got to stop my love.” She rips her hands out of mine and starts clawing at her throat which is when i notice she’s not breathing properly. She’s barely able to get a small breath. Instincts kick in for me and i turn to the cast and crew crowding her. “Give her space. Now. I need someone to set up a dark room with minimal sound and her clothes she was wearing this morning as well as the blanket from my trailer. A cold cloth and her wig taken off.” I turn around as she starts to collapse, i grab her arm and quickly wrap an arm around her waist. “Now!”
It’s a bit of a blur after that honestly, the next thing i know, im alone with her in the green room after everything is unplugged and blankets are draped over the windows. Her wig is already off and someone hands me my blanket and her clothes before silently leaving. I help her unconscious body out of the suit and into her clothes before draping my weighted blanket over her body. I sit back and stare at her, not touching her at all but close enough if she needs me.
It felt like hours but looking at my watch, it shows it’s only been 20 minutes when she finally wakes up.
My heart is beating what feels like a million mile a minute with panic as i watch her blue eyes flutter open before she looks around the room for a moment. Her hand comes out of the blanket and she starts tapping her thigh again, her head nodding along to each tap. She squeezes her eyes shut and i can hear her voice mumbling. “I’m safe. I’m here. I’m y/n.” Over and over again, i quietly cough to get her attention and she quickly sits up and her head whips up to look at me with wide eyes, both hands start scratching at the other wrist. “Oh my god…”
“Baby, you are safe. It’s just me.”
“No… no… no no no no no no no no.” She started tugging her hair and rocking slightly. “They’re going to kill me… you aren’t supposed to know…”
I quickly scoot over and grab her hands before pulling her into my chest, she tenses for a moment before melting into my arms. “I can’t hide it anymore Scar…”
“I know baby… I know.” I mutter into her hair swaying us back and forth slightly.
“I’m autistic…”
“Oh baby i know…” She freezes and looks at me with wide eyes. I can ready the fear in her blue eyes. “You hide it really really well but I’m basically your mom my love. I had suspicions but didn’t want to push you into telling me. Today was too much.” She nods burying herself back into me. “I need you to know that I will always listen to you. That if you ever feel like that again, you can tell me and i’ll get you out of it. Baby seeing you pass out was terrifying. I need you to know that if you’re that overwhelmed, that you do not have to do all that.”
“But… my parents don’t want everyone knowing… they’re all gonna know now…” She mumbles into me, my heart cracks.
“Baby being autistic is not a bad thing. It makes you even more amazing. It’s not something to be ashamed of at all. You are allowed to be who you are. To stim when your emotions are too high. To have bad days. I am here to show you that.” I say looking her directly into her eyes. “I’m here to support you.”
Tears welled up in her eyes as she nodded quickly. She sat up and started tapping her thigh as she stared at me. “This is my favourite stim, it’s really subtle but it calms me down… i count the most important people in my life.” She then looks down at her hand as she taps each finger. “Scarlett.” Tap. “Lizzie.” Tap. “Renner.” Tap. “Gwen.” Tap. “Cobie.” Tap. “Rob.” Tap. “Rosie.” Tap. “It reminds me that you guys would love me, no matter how broken or weird i am because i know how much you care.” She looked up at me through her eyelashes. “Another one is tapping here.” She taps her chest right above her heart twice. “Right here.” She does the tap to each word. “This is where you sit in my body. I usually only do this one when I’m not wearing my necklace. Playing with that is the stim i can do out in public.” I pulled her into my arms again as I cried.
“Oh baby…”
“You’ve always been my safe space Scar…”
“And i will be your safe space for the rest of eternity.”
We sit in silence for a few minutes before she pulls away with a smile. “Thank you. For learning how to help me.”
“You are more than welcome my love. Let’s go home and have a calm day okay?” She nods before standing up, pulling my weighted blanket over herself. I stand and wrapping my arms around her waist, the two of us make our way out of the room to find Lizzie standing not too far away, crying into Gwyneths arms. Y/n instantly runs over to her and wraps her arms around the crying woman. Lizzie jumps before she turns and sees who it is and wraps the girl into her arms.
“I’m so sorry bug. I shouldn’t have made that comment. I know how bad your parents are.” Y/n shakes her head pulling back and squeezes Lizzie’s hands. “Liz that wasn’t what caused that.” She takes a glance back at me before taking a deep breath and looks back at Lizzie. “I’m autistic and I was overstimulated and everything was just too much. I won’t lie, the comment did hurt a little but i know you didn’t say it in a mean way. You didn’t hurt me, memories of my parents saying stuff hurt me. But not you.” Lizzie’s eyes widen and she glances at me before she nods breathing to calm herself down. “If you ever need to talk or are struggling you can talk to me bug.”
Y/n nods with a small smile. “I know Liz.”
“Hey. Me too.” We all turn our head to see Gwyneth with a pout on her face. “You scared the shit out of me kiddo. Never do that again. Understand?” She pulls y/n’s laughing form into her arms.
“I understand mother Paltrow.” She says making us all chuckle.
Y/n pulls away and biting her cheek looks at me. “I- i uh- I’m not ready to face everyone else yet…”
“They already left bug. It’s just us four left.” Lizzie said smoothing the crazy hair down on y/n’s head. “I couldn’t leave worried i hurt you and Gwyn couldn’t leave me alone but everyone else left to give you privacy. Scarlett went full mama bear mode and screamed at some people for trying to push her into anything. It was great.” Y/n chuckled, which brings a grin to my face.
“Of course you did. But i wouldn’t trade you for the world.”
“I love you too baby.” I say kissing her head softly.
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Disneyland's Rogers: The Musical, propaganda that turns Steve Rogers into more myth than man, and revisionist history (possibly) to a purpose
Any of my thoughts in this post could just be me reading too far into things. I'm very aware of that, and please know that this post exists just because this sort of thing is fun for me! This is a thought exercise where we propose "What if we live in a world where the MCU is actually doing a cool and interesting thing as a longcon?" If you have anger at Marvel, that's valid and relatable, but please don't get angry at me or imply I'm an MCU stan who doesn't think critically about the mouse. Thanks!
Breaking news: I'm back on my bullshit!
A quick personal recap: I infamously hated Avengers: Endgame for a long list of reasons (and I even rewrote the movie). One of those reasons is that I've always taken issue with Steve's ending. But in the years since then, and as the MCU's phase 4 has evolved, my frustration at Steve's "ending" has turned into an ongoing and legitimate theory that the MCU could be slowly leading into a loosely adapted Secret Empire plot line. I know we've all been joking about Steve being trapped or about an imposter Steve since 2019, but uhhh, it's kind of not a joke to me anymore? It feels weirdly plausible at this point and so I enjoy discussing the potential.
You can find a full elaboration on that here, where I wrote out my "Steve was snatched by HYDRA" theory in 2021.
In that post, one of the things I mentioned at the time was Rogers: The Musical being in the Hawkeye trailer.
[The musical's] very existence is an example of how in-universe the stories of the lives of the heroes are being commodified, especially (in terms of how they’re framing it) for Steve’s. The heroes are no longer seen as people, if they ever were. They are, as Kate Bishop says to Clint in a recently released clip, more about “branding.” Sam Wilson will be redefining the shield moving forward in a Cap context, but simultaneously, the world is still enamored by Steve Rogers as a symbol in his own right. And that is ripe for manipulation as a Trojan horse to control public opinion… whether in the context of things like this by themselves (is the musical portraying Steve accurately, or is it painting an inaccurate picture of him the world accepts as fact?) or in future (is this propaganda that makes the public see Steve a certain way and continue to love him, to set up a fake or brainwashed Steve coming on the scene later?).
Now a form of the musical exists in full, at Disneyland and all over Youtube. Considering some of its baffling content – which I will break down below – this perspective seems even more strongly worth considering.
I have two main reasons for why I'm defending examining this musical so closely:
1. It is (arguably) an in-universe piece of media that has bearing on the MCU canon. It isn't like any other typical Disneyland attraction; its very existence is meta and it was in canon first. Obviously it's seen in Hawkeye, but there are also posters for it in several different phase 4 properties. It's lurking in the background indefinitely. So what can this musical tell us about what the wider public within the MCU is being told about the life story of Steve Rogers?
2. This Secret Empire graphic – which is animated in the center of the stage of a prolonged period of time – feels like a literal sign to pay attention.
Granted, this is obviously still ancillary material. 99% of the MCU audience will never see this musical, whether in person or on YouTube. But just because it isn't a vital piece doesn't mean it's automatically an entirely irrelevant piece.
They've given me an inch with that sign and I'm taking a mile.
So if you're interested, please join me on this journey :)
For the record, let me just say that I salute the creative team behind this show. It's pretty fun and the songs are catchy, the sets and costuming are cool, and the cast is overall very talented.
It's also fucking maddening. LMAO.
Why? Firstly, because of the seemingly deliberate ahistorical inaccuracies. We all know Ant-Man is wrongly shown in the Battle of New York, which originally "came from [the Hawkeye showrunner] and Marvel, as something to further aggravate Hawkeye as he watched the show, and also as a comment on how movies and articles and people always get something wrong." It seems like they expanded those meta nods, but most inaccuracies are now in service of glorifying Steve and Peggy's "love story." Yes, romance objectively makes for good theater; but again, I feel that this is worth examining considering the full context.
And secondly, Steve's ending is framed as an offer presented to him, convincing him it's the happy ending he deserves because he's tired. In my mind, these two big elements go together, and I'll walk you through the details of what happens in the musical before I tie the thought threads back around into some theorizing.
For your reference, here's a list of the main songs and story beats:
• "U-S-Opening Night" - the Starkettes (who are basically a Greek chorus) frame the show's story, and then it turns into an ensemble that loosely takes place at the Stark Expo.
• "I Want You" – Steve's "I want" song about trying to enlist in the army.
• "Star-Spangled Man With A Plan" – Steve performing on the USO tour obviously, and then there's a reprise with an added voiceover that (very briefly) covers the Howling Commandos' rescue + the war via comic book imagery.
• "What You Missed" – Fury and the Starkettes tell Steve some pop culture things he missed while he was frozen, + they tell him about the Avengers. Then Fury goes down a list of other hero characters, including the Guardians? Doctor Strange? Wanda?? It plays loose and fast with time, because many non-2012 characters are bafflingly mentioned in this nonlinear Avengers list – including the Winter Soldier (???).
• "Save the City" – this is the song seen in Hawkeye, with the civilians + the Avengers all involved, but it's slightly different here and expanded to also reference other battles.
• "End of the Line" – Old Steve presents main Steve with the time stone as an opportunity for his happy ending, and they reflect on things together. (Yes, this is insane.)
• "Just One Dance" – Steve and Peggy reunite and sing about their love.
• And then there's basically a reprise of "Save the City," with the Starkettes and the whole cast closing the finale out.
Right out of the gate, let's address this: the main reason you're going to see some fans pissed about this musical is not only that Steve and Peggy's ~epic romance~ is made a pillar of the story... but also that Bucky's importance/involvement in Steve's life is minimized as much as possible.
And they took Bucky-related elements from canon and made them center more around Peggy instead.
• For some weird reason, Peggy is in the Stark Expo scene. When a soldier is hitting on the Starkettes ("hey sweetheart, I wanna dance!"), Steve tells the soldier to show the ladies some respect. The soldier grabs Steve and throws him down, and then Peggy swoops in to yell "Pick on someone your own size!" and punches the guy before walking away. So she's given Bucky's TFA line verbatim, and she is given the role he had of saving Steve from bullies. There is blatantly no reason they couldn't have had Bucky still serve that function and be truer to "history," because he briefly enters this scene in uniform less than a minute later to announce he's shipping out to the 107th – and then he spins off with a date on his arm. (We don't see Bucky on stage again until the full cast comes out for the finale!)
• After the Star-Spangled Man show, Peggy rushes in to talk to Steve. Steve is excited about his USO performance (???) but she urgently tells him to listen as she says that the 107th has been captured. Peggy apparently knows it's Bucky's division, and she knows Steve is going to go, so she tells him that she's already arranged transport for him. This is a subtle twist from the truth of how it went down in TFA, in which Steve recognized 107 as the number of Bucky's division, and his dogged determination inspired Peggy to relent and help his rescue mission. Here, Peggy is given a stronger role in the Cap origin story. And before Steve rushes off, Peggy sings a short untitled ballad hoping for their dance, so Steve pauses before he leaves to ask her to go on a date with her when he returns.
• The most egregious Bucky-to-Peggy change of all is the song "End of the Line," in which the infamous Steve and Bucky line/promise (that broke Bucky's brainwashing...) is re-contextualized to be about ???? Peggy waiting for Steve in the past??? Old Man Steve and regular Steve sing it together. But we'll go back to that in a minute.
Again, I get it, yeah? It's for theater. Whatever. But in reality, the obvious logical truth is that Peggy is centered (to the point of taking elements from Bucky's story, and in turn Bucky is downplayed) because they needed to convince the audience that Steve going back in time to be with her makes sense. Steve's time travel ending had to be justified, so the Peggy and Steve "love story" had to be a pillar in this with everything else being given lesser weight.
And the inherent selfishness of him doing something as big as going back in time also had to be justified... which is why they do their best to convince you Steve fought so much he deserved it.
Let me elaborate on that by describing the lead-up to the "End of the Line" song.
So, right before "End of the Line" is "Save the City" – which includes Steve belting "I can do this all day!" repeatedly, of course. It's the 2012 Battle of New York as the Avengers come together to win.
As they begin to disperse, the song then transitions to a voiceover alert mentioning Sokovia being under attack by artificial intelligence (a.k.a. Age of Ultron). The Avengers group rushes back to center stage to say "Save the city! Help us win!" together for battle again.
And then things get fucking weird.
Because the next voiceover threat is "Washington DC. Attack: the Winter Soldier." This is not accurate to the order of events! The Winter Soldier events were before Age of Ultron; the public of the MCU would also know this.
And suddenly on stage Steve is now in the center while everyone else gestures to him. Instead of singing with him, they're telling him "Save the city! Help us win!"
Then, another voiceover: "Wakanda, under attack" (Infinity War) and again, Steve is centered while everyone else points to him. The ensemble says, "Save the city, help us win! Save us all from the state we're in! Got to hear you, got to hear you, got to hear you say..." as Steve is buckling to his knees under their pointing. And as the lights go down to one spotlight on him and everyone else leaves, he says "I can do this all day" one last time, but now it's subdued.
The implication is that Steve has been fighting and fighting, people leave him or he loses them, and he's tired.
And then fucking Old Man Steve arrives.
He says "On your left," because yes, they gave him Sam Wilson's line. BATSHIT.
So now there's two Steves on stage! There has been no mention of Thanos or infinity stones or anything up to this point! (I can only assume that's because in the MCU universe no one would want to be reminded of the trauma of "the Blip" – though it's pretty wild that they're allowed to know about magical time travel?)
Steve is baffled by Old Man Steve's arrival. I, too, was baffled by Old Man Steve's arrival.
As Steve questions how this is possible, Old Man Steve shows him the time stone from his pocket – and only the time stone – which Steve recognizes.
OLD MAN: "You've got to remember where you've been to know where you're going."
STEVE: "Where am I going?"
OLD MAN: "A date with destiny."
STEVE: “Destiny. So we’re the hero till the end?”
OLD MAN: “That’s the thing about endings, Steven. They can be rewritten.”
Lmao???????
Steve starts singing about how he hopes this means they "win" and calls himself a "tired hero."
STEVE: "But sometimes I wonder, who will save the savior? Can we really do this all day? So here I am, now and also then. Just a man, looking back at where he's been."
OLD MAN: "The road is rough but wounds are healed by a thing called time. You can't forget what's waiting at the end of the line."
Me, watching this: the fact that he says this out of the blue makes absolutely no sense.
There's a bit more singing, including "end of the line" repetition, and then Old Man Steve pulls out the time stone to essentially show visions of... I don't fucking know. Past, present, and future?
That's pre-serum Steve, Steve with Mjolnir, and Sam Wilson as the new Cap. This is the only reference to Sam in the whole thing.
More singing, and then: Peggy's silhouette.
OLD MAN: "Can't forget who's waiting..."
STEVE: "I can't forget who's waiting..."
BOTH: "Don't forget who's waiting..."
STEVE: "At the end of the line."
At this point I'm like, what in the hell?
Did Old Man Steve just brainwash normal Steve into thinking "end of the line" is now about Peggy? Because uhhhh, sorry, that's what it feels like!
Then Steve uses the stone to go back in time, reunites with Peggy, etc. etc. finale.
It's truly some crazy shit.
[drags hands down face]
Look... there's a lot to unpack here, and there's a lot that gets me about it. I know this is dramatized for the stage! I KNOW! But the fact that Old Man Steve shows up to convince Steve he should go back in time makes me want to gnaw on furniture.
Another person essentially uses the lure of a life with Peggy to tempt Steve into doing this, dramatized or not. That is how it's framed.
It's a hell of a way to frame it, and it makes Steve's ending stand in even starker contrast to so many other things in phase 4. Desperately trying to go backwards when you shouldn't or to bring back a lost lover is an evil temptation, and it results in a trap or negative cosmic consequences for basically all of the other characters in the MCU.
• In Shang-Chi, Wenwu is tempted by the Soul Eaters beyond the Dark Gate. They use the voice of his deceased wife to convince him to set them free.
• In "What If" episode 4, Doctor Strange becomes evil in a desperate bid to save Christine and he destroys his universe. Along the way, he tries to tempt/trap the good Strange who's fighting him by using visions of Christine, but good Strange knows she isn't real.
• Wanda's grief and desire to bring back Vision leads to – well, you know.
• In No Way Home, Peter trying to undo things is what causes the multiverse problems.
And the fact that they frame it as Steve being tired, so basically the argument is he deserves that time travel ending (just like MCU fans who defend Endgame say in real life)... Well.
There's no way to make it hold up, especially because in "What If" they explicitly subverted that and had Captain Carter not go back in time despite how she felt she'd "earned" it.
Lastly, in this musical as Steve decides to pursue time travel as his course of action, he basically has the meaning or memory of "end of the line" rewritten for him. I refuse to not think that is some nefarious shit. Yes, it's not out of the realm of possibility that it's just some general Disney erasing Steve and Bucky nonsense.
But... this is on another level to me. I do think that it's a blatant choice that they had to be aware even general MCU fans would call bullshit on. Everyone knows it's inaccurate. "End of the line" is embedded in pop culture consciousness as being connected to Bucky. It just is! Surely that means it's not a stretch to theorize it could be deliberate meta commentary.
How, in the MCU world, would the in-universe playwrights even know the phrase "end of the line"? How the fuck would it be accidentally applied to Steve and Peggy? Not to sound like a crazy person, but who the fuck was rooting around in Steve and/or Bucky's personal business or their brains in order to obtain that knowledge and then remix it, and why? Neither of them would flippantly mention it in the public eye or interviews ever. So where did its inclusion come from?
And in the finale ensemble, this is Bucky's line when he comes out on stage and salutes + points to Steve: "Don't forget who's waiting..." And Old Man Steve completes it with "...at the end of the line."
What on God's green earth am I meant to do with THAT?
Smh.
The vibes are fucked, folks.
The MCU public wouldn't know enough to say the vibes are fucked. The MCU public wouldn't know the origin of "end of the line" as a phrase. But us? The ones who know the "true story" via the movies? We can call bullshit.
Whether the creative team behind this musical did every aspect of this consciously or not, in my opinion the fact that they had to tweak canon "history" to A) make Peggy's involvement in Steve's life more central and B) emphasize Steve as a tired hero all works as commentary on and almost a condemnation of Endgame's frustrating ending. In a way, it's also what Endgame did with the compass and 1973 moment with Peggy as well.
Steve's ending had to be convincing.
It's theater.
And so, maybe the same is true for the in-narrative perspective of this musical in the context of the MCU world. What purpose would it serve to tell the MCU public a feel-good narrative about how all Steve Rogers wanted was to no longer be a tragic man out of time and get to make a life with his best girl? To frame it as being about how he fought so hard for years and so he earned a happy ending? To minimize and nearly erase Bucky's importance in his life?
Who would want to do that sort of propaganda, and why?
The MCU civilians are given this happy explanation and maybe don't widely question it. Who cares about the details or logistics if it makes a good story, I guess. It's a stretch, but maybe they mostly applaud it. Maybe they're happy for "America's favorite son" (not unlike people who uncritically liked Endgame). In a way, it's even a rehabilitation of his image (after the Accords) like putting the shield on the Statue of Liberty. And maybe they'd even be ready and waiting to applaud if Steve ever made a dramatically selfless and de-aged return to the spotlight or a position of authority.
But mostly, the public is being conditioned to not know or to forget that anyone else like Bucky Barnes or Sam Wilson would possibly know Steve Rogers the person well enough in the modern day to call bullshit on any of this – or on his hypothetical miraculous future return.
So. Sure, it's probably nothing.
But what if it's not?
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UPDATE: @faeriecap added to this post with some incredible information and further behind-the-scenes context about the MCU/Marvel stuff at Disney parks! Check it out here :)
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