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.
By now you no doubt have heard about how the Season 5 launch of Arrested Development has been a bit of a ‘fustercluck’ all-round.
The accusations of sexual harassment and abusive behaviour against star Jeffrey Tambor which led to his firing from Transparent, a questionable interview with the New York Times which landed Jason Bateman in particular in hot water, and now presumably trying to head off any more corrosive media troubles, Netflix have cancelled the U.K. press tour ahead of the Season 5 premiere on Tuesday. It’s all just a bit of a mess all round, tinged with the whiff of scandal concerning the key issue rocking the entertainment industry this year – inappropriate behaviour of male actors against their female co-stars, in a variety of ways. It does, however, lead to an important question we haven’t yet achieved the distance to answer.
Does the personal fall of artists compromise the art they have worked on itself?
So imagine you’re in a pitch meeting with a major studio (in this case ABC). You have all your ideas stacked up ready to go and then one of the studio heads says “you know what we really want? A mash up of The West Wing and 24. Politics! Action! Conspiracy! Bills! Sounds cool, huh?”. Of course, because you’re a writer who wants to put food on the table, you say: “uh, sure…”. And there you have it: Designated Survivor is born.
Now, let me be clear: that’s not how Designated Survivor, which has just been cancelled by ABC in what is fast becoming an infamous ‘Cancel Friday’ where several well-known, fairly long-running shows have been axed, came to be. I think. I’m pretty sure David Guggenheim, the creator, didn’t have to be talked into developing a hybrid of Aaron Sorkin’s erudite look at Democratic politics in the White House, and the pulse-pounding, 9/11-reactive action madness of 24 – especially not for an actor as engaging and charismatic as Kiefer Sutherland. Nonetheless, of all the shows given the axe in this latest cull (including Lucifer and Brooklyn Nine-Nine – until it was saved last minute by NBC), Designated Survivor is by far the weirdest and, honestly, probably the most deserving.
Just to clarify, starting a title with Anon is not me trying to go all highbrow and Shakespearian on all of you. It does of course refer to a new picture being released next Friday, starring Clive Owen & Amanda Seyfried, written and directed by Andrew Niccol, which is being promoted with a curious affectation: it is both being released in UK cinemas *and* on the Sky Cinema service as a premiere simultaneously on the same day. In a world where people worry about how Netflix Original movies are threatening to make cinema obsolete, this only adds fuel to the fire.
Now I haven’t seen Anon. My website Set The Tape was at the press screening and our guy there gave it a decent review, but the film didn’t set his world alight. I will refrain from judging Anon until I’ve seen it, and I will see it, but will I see it at my local cinema? Probably not, in all honesty. Why would I? I’m fortunate enough to have the means to have Now TV, and by extension Sky Cinema, so I can get home from work on Friday, grab a snack from the cupboard, put my feet up on my sofa, and watch Anon on my 45’ plasma. Alternatively I could travel five miles, pay for snacks, sit next to a stranger, and not even be able to stop the film for a cuppa. Again, why would I?
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.
Let me tell you a story about Marvel, more specifically my relationship with the Netflix corner of the Marvel Cinematic/Television Universe. Having just digested all of the second season of Jessica Jones, the latest entry in the Marvel TV stable, it’s time we had an honest chat about these shows and how there’s a problem I just cannot get past.
Jessica Jones had a really impressive first season, and still could well stand as the strongest run in what, at the current count, stands as eight thirteen episode seasons that have encompassed the Netflix TV corner set in and around Hell’s Kitchen in New York City, with a ninth on its way in the next few months. Melissa Rosenberg’s adaptation of the comic Alias Jessica Jones (the Alias dropped in part to prevent confusion with ABC’s spy-fi drama of the same name) made a star of the biting and droll Krysten Ritter as Jessica, a super-powered private detective with a caustic attitude and few social skills, and told a quite violent, harrowing and dramatic story all about an abusive, controlling relationship & the psychological scars of rape. It was, on the whole, pretty superb television.
NED STARK: “Jon was a man of peace. He was Hand for seventeen years, seventeen good years. Why kill him?”
VARYS: “He started asking questions.”
Halfway into the first season of Game of Thrones and establishment is beginning to give way to narrative momentum. ‘The Wolf and the Lion’ may not, on the face of it, be as action-packed as some of the previous episodes, and certainly not many of those to come, but in many respects it serves as the lynchpin of the first season and the core of David Benioff & D.B. Weiss’ adaptation so far. Once again, the title says it all. Wolf and Lion. Stark and Lannister. The Dragon will form the culmination of this triptych, but not yet. We don’t see any sign of a Targaryen at any point in this episode.
That doesn’t mean, of course, they are not central and crucial to the conversations and conspiracies swirling around King’s Landing. We spend more time in the Westeros capital in this episode than we have in any other, principally because Benioff & Weiss are beginning to pull the threads of George R.R. Martin’s novel ‘A Game of Thrones’ which lead directly to his next book, ‘A Clash of Kings’, which would form the basis of the second season of the show.
At this stage, their adaptation is faithful. The majority of beats are being followed, characters being established, and storylines being developed, with the odd exception of creative license for television purposes; Littlefinger & Varys’ sparring, the much lauded scene between Robert Baratheon & Cersei Lannister for example, or bulking out the homosexual relationship between Ser Loras Tyrell & Renly Baratheon, more suggested in Martin’s novels.