If The Defenders is fundamentally a story about New York, then it seems inevitable that it should return to the city’s defining tragedy.
It is no exaggeration to suggest that the events of 9/11 changed the course of world history. They fundamentally altered the foreign and domestic policies of the United States, the world’s strongest superpower. Inevitably, they also changed New York itself. It could reasonably be argued that the twenty-first century began with the 9/11 attacks, at least culturally; the atrocity brought an end to the global peace and stability that had defined the nineties, ushering in a new world order.
“Um, Danny? Hero shot?”
The Defenders is a story very much invested in New York City, with characters repeatedly referring to New York as “my/your/our city.” Of course, each of the four series leading into The Defenders imagines a different city. Daredevil is set against the backdrop of an early eighties version of Hell’s Kitchen, one never tamed nor gentrified. Jessica Jones unfolds in a vast and anonymous and disconnected city. Luke Cage imagines Harlem as an ideal, a cultural hub. Iron Fist treats Manhattan as the stage on which familial conflicts might play out.
The Defenders is about bringing those separate versions of New York together, of integrating them into a single story set against the backdrop of a single version of the city. Inevitably, that version of the city is the city as it was defined at the start of the twenty-first century, a city united by catastrophe and destruction. However, there is more to it than that. The Defenders embraces the 9/11 subtext seeded through the first season and plays the idea out to its logical conclusion.
“What? Am I supposed to look serious doing this?”
The season culminates in a bizarre inversion of 9/11, in which our heroes lay siege to an empty skyscraper. They decide that the only way to save Manhattan is to demolish the building. Although the episode is edited in such a way that the audience never sees the collapse of the skyscraper in question, The Defenders is still structured in a way that evokes the most uncomfortable paranoid conspiracy theories about the events of 9/11. With the structure destroyed from the inside with architectural precision, this change to the New York skyline really is “an inside job.”
It plays almost as a grotesque and uncomfortable attempt to reclaim a traumatic image, to take ownership of the atrocity. It is an attempt to construct a heroic iteration of the terrorist attacks that forever changed the city, as if that may somehow provide an opportunity for healing and reconciliation.
Take it as red.
Filed under: Television | Tagged: 9/11, new york, New York City, the defenders | 7 Comments »
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