A.B.C. and Marvel are making a smart, unique move right now. They’ve cut Agents of S.H.I.E.L.D.’s sophomore season into two halves, ending the first on a great cliffhanger that makes us hate (in a good way) that we have to wait until March for the second half. In the meantime, we get to see the origins of S.H.I.E.L.D. in the 8-part Agent Carter mini-series.

With Carter’s prior appearances in Agents of S.H.I.E.L.D., it’s like watching the same series stretched over two time periods and one time slot. The detailed continuity between the shows allows audience members to fully immerse themselves in the M.C.U. We’re in good storytelling hands as evident by Marvel’s recent winning streak. That streak continues with Bridge and Tunnel.

I’ve always loved Hollywood’s rendition of World War II. Don’t get me wrong, Saving Private Ryan and Flags of our Father are great, important films and I totally get that war is hell, but when I need a break from true history, I enjoy the romanticized version.

The Great Escape. The Dirty Dozen. Indiana Jones and The Rocketeer. All perfect examples. Even Pearl Harbor fits the bill. (The visuals, not the plot. Or the characters. Or any semblance of entertainment value whatsoever.) Now we have Marvel’s Agent Carter, which continues the comic book version of WWII established in Captain America: The First Avenger.

We’re halfway through Marvel Entertainment’s inaugural mini-series, which is enough to make an early assessment — one episode at a time. Does Agent Carter match the postcard propaganda pedigree of those other period piece productions? (*) With fedora-wearing tough guys named Thompson and Dooley who pack heat and crack wise, how could it not?