The complaint outlined by Sady Doyle is that Age of Ultron was just one ad for every other tv sjow or movie in the MCU, which meant instead of character arcs all we got was placeholders. "But when you’re doing all your character work with shortcuts, and you have to write a shortcut for your female character, what do you come up with? She’s that one dude’s girlfriend, obviously, is a time-honored shortcut, used or teased by every Marvel writer who’s put Black Widow in a movie — as a woman, she’s an Other, and a sexual object, and therefore must be deployed as a potential or actual sexual reward for a male viewpoint character, rather than being a viewpoint herself. But that’s the same problem you find with every woman in every Marvel movie (Gamora, Agent Carter, Pepper, whatever Natalie Portman’s name is supposed to be) except for Maria Hill, who is clearly saving herself for her one true love, Exposition. If you want to deepen your female character past being a sexual object, in a movie that has no time or patience for anything resembling “depth,” what conflicts do you give her? Well, women have babies, right? Women want babies. Okay. She can’t have babies. She’s sad because she can’t have babies. There you go! Depth established! I mean, it’s disgusting. Defining your female character’s motivation solely around the Betty Crocker axis of “wants boyfriend” and “wants babies” is 100% disgusting. But if you look around, all of this is disgusting, because all of the characters are exactly this vapid, because Whedon can’t get more than five or ten minutes to establish or complicate their motivations, because Marvel is mandating that he not waste screen time on things like the characters’ motivations when he could be shooting ads for their other movies, because Marvel doesn’t care about men, women, or anything except getting you to show up in a few years for the next installment of Avengers." I really liked the first Avengers movie, Iron Man 3 and Guardians. All of those movies feel like they can stand alone. They give just enough details to fill the audience in on the greater context, but not so much that the plot feels over saturated with backstory, to the point where organic exposition is crowded out or minimized.