Given The First Purge is first and foremost a horror movie, this may seem like a redundant question. Blumhouse Productions naturally want us to be afraid of a picture designed to make audiences jump and scream, but The Purge franchise has never been simply a series of jump-scare horror films. The most recent prequel, depicting how the concept of the Purge came to be, presents a deeper, more existential question which, by the day, seems to grow in power.
Should we be scared that The First Purge could actually, in some form, one day happen?
If anything proves the Netflix corner of Marvel’s cinematic and TV universe has found its groove, or perhaps in this case its soul groove, it is the second season of Luke Cage.
Marvel’s partnership with Netflix to weave together four shows set in New York City has reached an interesting place, after three years of regularly airing content. The Punisher added a fifth main show to the mix late last year after The Defenders, a much-touted coming together of Cage and fellow heroes Daredevil, Jessica Jones and Iron Fist, underwhelmed a great many. Iron Fist’s first season last year suffered a critical mauling, while people have been lukewarm on Jessica Jones’ recent second season – after it raced out of the gate in late 2015 with a powerful piece of comic-book television. In other words, the Netflix corner of Marvel is drifting a touch, and is in sore need of a booster to remind people of how good it can actually be.
It looks like Luke Cage may, therefore, have returned at just the right time.
Say what you like about Avengers: Infinity War but nobody can deny one thing: it is breaking new cinematic ground. For decades there have been sequels. For decades there have been franchises. For decades we have seen continuing universes on both the big and small screens, sometimes overlapping, develop characters and storylines. Marvel Studios differ in their approach. This is the first time anyone has, over a ten-year period, created and structured a cinematic franchise in the narrative style of a ‘season’ of television.
This is something I have discussed when talking about the Marvel Cinematic Universe before because it has cast a shadow over the mainstream cinematic landscape which is likely to stay for years, perhaps even decades, to come. Kevin Feige, producer supremo, has been the constant here; ever since 2008’s Iron Man turned Robert Downey. Jr from disgraced character actor into the biggest movie star in the world, Infinity War has been the goal. While undoubtedly tides have changed, production realities have emerged, and details have altered, Marvel have been working to a decade-long plan to unite the Avengers against Thanos, the Mad Titan, and his plan to wipe out half the universe with the combined Infinity Stones.
Black Panther feels as much like a moment as it does a movie. There has been something transformative about the response to what, in another time and place, might have just ended up as *another* Marvel movie. It’s yet again proof that Marvel are expanding their reach, upping their game, and doubling their odds.
Ryan Coogler’s entry into the Marvel Cinematic Universe, adapting the successful if not widely known outside comic-book circles story of King T’Challa of Wakanda, is the second picture in a row from the comics studio, after Taika Waititi’s Thor: Ragnarok, to feel like the true work of an auteur filmmaker. This has been a balance Kevin Feige’s game-changing franchise has previously struggled with since Jon Favreau’s Iron Man changed the course of blockbuster cinema in 2008; you only have to point to the wreckage of films such as The Incredible Hulk or Thor: The Dark World as good examples of how it took Marvel a while to truly embrace a filmmaker’s singular vision alongside the beats and overarching universal frameworks Marvel have spent a decade building toward, which will reach a conclusion with Avengers: Infinity War this year and its untitled 2019 sequel.
Could it be that the reason both Thor: Ragnarok and now Black Panther are such strong entities within the Marvel family is precisely because they didn’t have to particularly fit that framework? That’s a strong possibility. All Waititi had to do was position Thor in a space whereby he could be slotted back into Infinity War – beyond that he had carte blanche to re-imagine the world of Asgard as a neon, Guardians of the Galaxy-esque, 1980’s retro-futuristic blend of mythology and Antipodean eccentricity, and for the most part it worked beautifully. Coogler has perhaps even greater freedom with Black Panther, allowed as he is to truly develop the internal mythology and world of Wakanda around what isn’t a traditional origin story for T’Challa, given his previous introduction in Captain America: Civil War, but something deeper: a liberal-minded tale of colonial rejection, imperialist globalisation, and the haunting embers of black persecution.