I understand that Marvel Television in its ‘street-level’ heroes tends to seek a more grounded, realistic esthetic than those typically employed by Marvel Studios.
That probably has a lot to do with why of all the Defenders only one, Daredevil, has a costume (which is more in the vein of tactical armor than a costume, per se).
Jessica Jones and Luke Cage wear civilian clothes, as does Iron Fist (at least in the first season of his series).
And for awhile I thought that the latter in his civvies that might be a good decision, till I saw this image from the series.
That’s Johnny Yang as an ‘Iron Fist’–which is less an individual than an honorific, though only one seems to exist in any given period of time–and he looks pretty awesome.
The way they muted the colors and gave the costume a very real-world feel works really well, and I would have been glad to see it in more detail. It was technically in the series, though the footage of it was so (deliberately) blurry you couldn’t make heads or tails of it.
Maybe they kept it under wraps because Danny Rand (Finn Jones) in–hopefully The Defenders–tries to capture some of his lost history, and dons the costume as a result.
Davis Ayer’s Bright is a fascinating movie for numerous reasons. The first being that it was directed by Ayer himself, off the box office success of Suicide Squad. Next is that it was written by Max Landis, son of John Landis and a in-demand writer.
Though what’s most interesting is that it’s being financed to the tune of $90 million by Netflix, and will be seen no where else (as far as I am aware) but there. And while I know that they get their money not from box office receipts, but subscribers $90 is a lot of moolah and as far as I know, their most expensive production to date.
While Marvel Studios is doing some amazing things in the movie space, we sometimes forget that Marvel Television is making waves of their own on the small screen.
And while they have been doing solid work with Agents of S.H.I.E.L.D. and Agent Carter arguably their strongest work so far has been the series that have have done with Netflix, Daredevil, JessicaJones and Luke Cage.
Along with a distinctive visual palate, each series is aurally unique was well, each evocative of different places and/or eras.
I published a video earlier this week on YouTube reviewing Netflix’s The OA, which I thought was a pretty remarkable bit of television.
I figure that I’d expand on what I said in the video, without spoiling the experience for people who haven’t seen it yet (besides, spoilers suck).
Brit Marling wrote most of eight episodes with Zal Batmanglij, (the latter having directed them all as well) and also played ‘OA,’ a woman who when she apparently dropped off the face of the Earth seven or so years ago was blind, yet could now somehow see.
How she regained her vision is one of the lesser mysteries in a series filled with them as OA accounts for the missing time.
We also come to learn that OA’s given name was Prairie (given by whom and why being another one of those minor mysteries central to her story).
What’s perhaps most interesting is OA/Prarie’s status as a narrator, which is to say that as the series goes on what she believes and the truth are not always the same things.
It’s this tension between whether or not OA/Prairie’s version of events is an accurate one is at the heart of the story.
With Netlix enabling subscribers the ability to download content it brings to mind more questions than answers.
For instance, I assume downloaded content must ‘expire’ after a certain period of time.
Using iTunes as an example, if I were to download a movie I would only have two or three days to watch it if I had started playing it. Otherwise I might keep it for months, despite that being an exercise in silliness (never mind a waste of valuable hard drive real estate).
Then there are the rights issues that accompany everything that appears on the streaming service. To get the aforementioned rights to television shows or movies Nextlix makes deals with content creators for millions of dollars, so does the ability to download their content cost Netflix more than they are currently paying (and this question is crucial, because if it does the likelihood is high that those costs would be passed down to consumers in the form of higher membership fees).
If anyone had said that Marvel Television, when Marvel’s Agents of S.H.I.E.L.D. premiered on ABC a few years ago, that they would come to dominate superhero television I would have been hopeful, but wouldn’t have treated them too seriously.
Though having seen both seasons of Marvel’s Daredevil, as well as the first seasons of Jessica Jones and Luke Cage, it’s apparent that they’re coming to dominate the television sphere as completely as Marvel Studios has done for superhero movies.
And their latest creation: Marvel’s Iron Fist, which is going to lead intoThe Defenders
At this point, if you’re a Netflix subscriber you’ve probably already started watching Marvel’s Luke Cage (if you haven’t binged all 13 episodes, that is) so I don’t have any intention of spoiling it for you.
Except to say that the series is damn good television; so good in fact that–which I mention in my video review–you almost regret when a costumed villain is introduced.
Because before that moment, things were tight–which isn’t to imply that the appearance of Diamondback (Eric LaRay Harvey) ruined things because it doesn’t though the action and interplay between the characters was so engrossing that it wasn’t necessary.
And speaking of character interplay, Mike Colter, Alfre Wooddard, Rosario Dawson, Simone Missick, Eric LaRay Harvey and Theo Rossi stick out among one of the stronger casts in television.
The contrast between Marvel Studios’ more fantastical worlds compared to Marvel Television’s more grounded and realistic one is pretty interesting and provides a welcome and refreshing difference in approaches.