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The Defenders – The Defenders (Review)

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.

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The Defenders – The H Word (Review)

It’s a hell of a town.

One of the most striking aspects of The Defenders is its emphasis on New York City. Of course, the Marvel Universe has always been centred on the Big Apple. Decades before Fantastic Four #1 laid the foundation stone for that elaborate shared continuity, Marvel Comics #1 established New York City as a hub for characters like Namor, the Angel and the Human Torch. The city has a long and rich shared history with the comic book publisher, allowing visitors to take tours of iconic comic book locations and even lighting the Empire State Building in the colours of The Amazing Spider-Man.

Matt’s got the devil off his back.

Of course, this long-standing association between New York and the Marvel universe has inevitably bled over into the Marvel Cinematic Universe. Most obviously, The Avengers places its iconic long pan around the eponymous heroes right in front of Grand Central Station. Spider-Man: Homecoming features its hero swinging through Queens and the suburbs. However, most of these scenes are shot on location outside New York; Atlanta and Toronto frequently double for New York.

In contrast, the Netflix Marvel series have all shot in and around New York. Daredevil, Jessica Jones, Luke Cage and Iron Fist all went to the bother of filming Manhattan, rather than trying to recreate the city using another location. In many ways, it feels like these series unfold in a more authentic and grounded version of New York than the corresponding feature films, right down to the fact that their skylines all feature the real-life MetLife Building instead of the fictional “Avengers Tower.”

Trish Talk.

The Netflix shows did not always engage with a particular vision of New York. Iron Fist was so confused about its own identity that it never engaged with the city around it. Jessica Jones never invested in Jessica’s surroundings, but it still found time to include the city itself in the title character’s goodbye tour in AKA Top Shelf Perverts. However, both Daredevil and Luke Cage were very firmly rooted in their own versions of the Big Apple. Daredevil imagined a pre-gentrification eighties urban hellscape, while Luke Cage celebrated the history and culture of Harlem.

Given that The Defenders is being overseen by showrunners Marco Ramirez and Doug Petrie, it makes sense that the series would have a very strong sense of place. Ramirez and Petrie were previously in charge of the second season of Daredevil, which imagined a version of New York that seemed trapped in the urban decay of the late seventies and early eighties, Bang even evoking the Summer of Sam in its introduction of the Punisher while the ninjas that populate the second half of the film look to have escaped a particularly dodgy seventies exploitation film.

Cage re-match.

However, The Defenders is not particularly interested in one individual version of New York. It is not a show that is firmly rooted in one single idea of the Big Apple, not a story that unfolds against the backdrop of one individual conception of the urban space. Instead, The Defenders is particularly interested in the capacity for these various iterations of New York to overlap with one another. The opening credits offer a visual expression of this approach, suggesting the series serves as a point of intersection.

The Defenders is a series built around the infinite potential of New York, this idea of the city as a space in which narratives collide and coalesce, where separate stories might come together and where people on their own journeys might find common cause with one another. The Defenders seems to accept that nightmarish cityscape of Daredevil is hard to reconcile with the uncaring urban environment of Jessica Jones or the vibrant community of Luke Cage. However, The Defenders also insists that they are are all facets of the same city.

Oh, and Danny is there too.

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Daredevil – New York’s Finest (Review)

This month, we’re doing daily reviews of the second season of Daredevil. Check back daily for the latest review.

The stock comparison for the first season of Daredevil was Batman Begins. There were certainly plenty of reasons. The yellow-ish colour scheme. The non-linear superhero origin story focusing on a protagonist who subsumes his anger into something greater. The erosion of the existing organised crime framework, replaced by something altogether weirder. The ninjas who plot to smuggle a potentially dangerous (and pseudo-mystical) weapon into the heart of the city through th docklands. It was a good comparison, and it served Daredevil well.

As such, it makes sense that the second season of the show would desperately want to be The Dark Knight.

That'll make a nice logo...

That’ll make a nice logo…

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Daredevil – Bang (Review)

This month, we’re doing daily reviews of the second season of Daredevil. Check back daily for the latest review.

The Marvel Universe has a strong attachment to New York City.

There are any number of examples that might be cited, from the lighting of the Empire State Building in blue and red to celebrate the release of The Amazing Spider-Man to J. Michael Straczynski’s cringe-inducing issue of The Amazing Spider-Man where megalomaniac (and occasionally mass murdering) supervillain Doctor Doom cries in the rubble of the World Trade Centre. The company and its characters have a long and rich history that is intertwined with the city itself.

Church Devil.

Church Devil.

At the same time, certain titles and characters have stronger attachments to particular areas and eras of the city. Spider-Man will always be rooted in Manhattan. The X-Men are symbolically tied to Westchester. Daredevil might be connected with Hell’s Kitchen, but he is anchored in a very particular version of Hell’s Kitchen; the gritty version of Daredevil pioneered by Frank Miller is tied to the dangerous neighbourhood as it existed against the backdrop of the seventies and eighties. (The Punisher is similarly rooted in seventies and eighties New York.)

Of course, Hell’s Kitchen has changed in the intervening years. It is no long as run down as it once was, subject to the forces of gentrification and modernisation. The first season of Daredevil touched on this idea, using the Chitauri attack from The Avengers to explain why the neighbourhood had been set back a few decades and turned into an urban hellhole. Wilson Fisk was suggested to be plotting a gentrification that had already taken place in the real world, casting out working-class inhabitants in order to remodel the area.

In with a shot...

In with a shot…

The second season of Daredevil adopts something of a different approach, which makes sense given the transition from producer Steven DeKnight to Doug Petrie and Marco Ramirez. Although there are fleeting references to “the Incident” later in the season, the invasion is no longer used to explain the urban nightmare of Hell’s Kitchen. Instead, the season adopts an approach akin to a stylistic period piece. Although Daredevil is still unfolding in the present day, the series is populated with markers that place it in an earlier context.

Bang seems to suggest that Daredevil is unfolding a version of New York anchored in the summer of 1977.

Don't leave us hanging...

Don’t leave us hanging…

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Jessica Jones – AKA Sin Bin (Review)

Kilgrave lies.

To be fair, that much should be obvious. Kilgrave is a character whose power hinges upon his ability to manipulate people using words. Of course he lies. Even his name is a lie. He lied to Jessica about the effectiveness of his powers, revealing that his decision not to control Jessica against her will wasn’t really a decision. He lies to everyone about his past, painting his concerned parents as cliché monsters. He lies to himself about his motivations, genuinely believing he is a victim in all of this.

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He also lies to the audience about his character, as AKA Sin Bin reveals Kilgrave is not a tragic and sympathetic antagonist with an explanatory childhood trauma after all. He is not the archetypal sympathetic bad guy whose actions can be explained away as the result of the horrible things that happened to him when he was a child. He is not the version of Wilson Fisk presented in Shadows in the Glass, a man who might have been a hero under other circumstances. Kilgrave is an unrepentant self-serving sociopath.

One of the joys of Jessica Jones is that the revelation that Kilgrave is unquestioning evil does not in any way make him a less complicated or compelling character.

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Jessica Jones – AKA Top Shelf Perverts (Review)

Generally, Jessica Jones is quite optimistic in its portrayal of responses to trauma.

In AKA It’s Called Whiskey, Will Simpson tried to murder Trish Walker with his own hands; by half-way through AKA The Sandwich Saved Me, the two are involved in an energetic and fulfilling sexual relationship. In AKA Top Shelf Perverts, Malcolm helps to dispose of the body of Ruben before engaging in a half-season long deception of Robyn about the fate of her brother; but AKA Take a Bloody Number, it seems like there might be romance in the air. In AKA You’re a Winner!, Jessica reveals that she killed Luke Cage’s wife; by AKA Smile, they have reconciled.

jessicajones-topshelfperverts25

As a rule, Jessica Jones suggests that trauma is not defining or delimiting. Trauma damages a person, but it does not necessarily break them. Jessica Jones never avoids exploring the consequences of abuse – particularly long and sustained abuse – but it also refuses to let its characters be trapped by those experiences. Trish’s abuse at the hands of her mother might have led her to build a fortress, but she still puts herself out in the world. Jessica has been abused by Kilgrave, but she still wants to save Hope. AKA Top Shelf Perverts is the exception that proves the rule.

After the events of AKA You’re a Winner!, Jessica spirals into truly self-destructive behaviour. In many ways, AKA Top Shelf Perverts serves as an effective contrast to the rest of the season, demonstrating how functional Jessica was up to this point. As with AKA The Sandwich Saved Me, the episode suggests that Jessica is not solely defined by her traumas; that she is not broken by her experiences with Kilgrave. AKA Top Shelf Perverts does this by teasing the audience with glimpses of what a truly broken Jessica might look like.

jessicajones-topshelfperverts32 Continue reading

Jessica Jones – AKA Ladies’ Night (Review)

“New York may be the city that never sleeps, but it sure does sleep around,” explains grizzled private detective Jessica Jones, the first line of Jessica Jones.

The line establishes two key themes going forward, running through the first season of the show. The more subtle theme is that of New York itself. Like Daredevil before it, Jessica Jones is rooted in a particular vision of New York; in its imagery and iconography. While Daredevil was arguably rooted in a version of Hell’s Kitchen that no longer existed, Jessica Jones seems at least a little more modern and more relevant. In AKA Ladies’ Night, and across the season, street names serve as an emotional anchor to the eponymous private eye. They are real and tangible places.

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The second theme is more immediately pronounced. Jessica Jones might just be the most sex-positive aspect of the shared Marvel Universe. Although the usual limitations on nudity are in effect, Jessica Jones seems far more comfortable with human sexuality and sexual dynamics than any of the studio’s earlier output. AKA Ladies’ Night sets the tone for the season, opening with an awkward sequence of quick and grotty sex in (and around) a parked car. The show starts as it means to go on, embracing sex as a part of the human condition.

AKA Ladies’ Night does an effective job of setting the tone for what will follow. It is an effective introduction to the world of Jessica Jones.

jessicajones-ladiesnight12 Continue reading