The favorable reception of A Doll’s House, Part 2 was as much a foregone conclusion as is its ending, which is a quintessential example of what I call the “theater of concurrence,” a genre whose practitioners take for granted that their liberal audiences already agree with them about everything. The success of such plays is contingent on the exactitude with which the author tells his audience what it wants to hear,
This could be written about the MCU.
