Who the hell said that?!?
Marvel Netflix Discussion: The Defenders (New Trailer!) fonzerrillii approved
- Thread starter playahaitian
- Start date
Disagree .misty was annoying and in their way
Thanks to Defenders, Daredevil's Next Season Will Be Based on This Classic Comic Story
Image: Marvel Comics. Art by David Mazzucchelli, and Christie “Max” Scheele.
Matthew Murdock is in a strange place by the end of The Defenders, but the final moments of the show—and even actor Charlie Cox—indicate that Daredevil’s third season will adapt one of the character’s most iconic comic book stories. Here’s what you need to know about it.
The Defenders ends with Daredevil and the reborn Elektra embracing each other as the Hand’s Midland Circle headquarters come crashing down upon them, the ruins plummeting into the cavernous depths beneath the building to destroy the skeletal remains of a great dragon buried there along with “the Substance” that allowed Elektra and the Hand founders to cheat death..
While his fellow Defenders and friends believe Matt was killed in the collapse, the closing moments of the very last episode reveal that Matt survived the ordeal (and maybe even Elektra did too, although Élodie Yung is just as uncertain about that as we are), and is being patched up by a convent of nuns. Many fans took the scene as a confirmation that the next season of Daredevilwould be adapting the seminal 1986 comic book storyline Born Again—something that was basically confirmed by Charlie Cox himself, although with the caveat it would be a very loose adaptation.
So What Is Born Again?
Written by Frank Miller—returning to the Daredevil book since he first turned Daredevil into one of Marvel’s biggest comics in the early ‘80s—and with art by David Mazzucchelli and Christie Scheele (credited as Max Scheele), Born Again ran between issues #227 and 233 over the course of 1986, and charted the fall and rise of Daredevil after one of his greatest foes, the Kingpin, discovers his alter ego.
Kingpin gets that info from an unlikely source: Matt Murdock’s former love interest Karen Page, who previously left the law firm of Nelson and Murdock. Karen—now living in Mexico after a nascent acting career leads to her becoming a heroin addict filming porn flicks to pay for her drugs—sells the truth behind Daredevil’s secret identity for more drug money, and the information eventually makes its way up the criminal hierarchy to the Kingpin.
The crimelord then uses it to begin a six-month campaign to drive Murdock insane. Matt’s bank accounts are frozen, his apartment is foreclosed, and Kingpin pays off an NYPD officer to testify that Matt attempted to pay off a witness in one of his cases. Matt gets disbarred, but not jailed, thanks to Foggy wrangling his friend out of serving time. In retaliation, Kingpin simply decides to burn his apartment down, leaving his costume in the ruins as a message that Kingpin knows that he’s Daredevil.
Homeless and ceaselessly tracked by the Kingpin’s henchmen, Matt slides into paranoia and insanity, unable to trust anyone around him now that his identity is known. Matt eventually attempts to confront Kingpin one on one, only to be beaten within an inch of his life and dumped in the East River—which, being a remarkably resilient guy, Matt manages to escape and drag his broken body back to Hell’s Kitchen. There, he’s found by his mother, absent from his life since he was a child, and nursed back to health at the church she has spent her life working in.
It’s not just Matt who gets a bit obsessively loopy in the storyline. Becoming more and more obsessed with destroying Murdock, Kingpin realizes that Matt escaped being dumped in the river, so begins using his henchmen to kill off the loose ends of his failed plan to land Matt in jail—including Karen, who evades Kingpin’s men and returns to New York, having realized who her information eventually wound up with. After re-uniting with Matt and revealing what she did, the two reconcile; Matt announces he’s moved on from the life Kingpin destroyed, and they settle down in an apartment together, hiding from Kingpin’s men while Matt works at a diner to help Karen recover from heroin withdrawal.
Eventually Kingpin recruits the deranged super-soldier Nuke to draw Matt out of hiding with a killing spree outside the diner, leading to Matt donning the Daredevil costume again for the first time since Kingpin destroyed his old life. After the two fight, the Avengers intervene. While Kingpin manages to get Nuke killed before he can reveal his involvement, Captain America eventually discovers his subterfuge, ruining to Kingpin’s reputation as an “honest” businessman as a flurry of lawsuits are filed against him, even if he avoids jail time. Meanwhile, despite still being disbarred, Matt finds himself recommitted to his role as Hell’s Kitchen’s protector, while living with and helping Karen while returning to the Daredevil mantle.
What Does This Mean for Daredevil Season Three?
A lot of the groundwork for adapting Born Again has actually already been covered, thanks to the final episodes of Daredevil’s second season and the finale of The Defenders. Even a loose adaptation of the story—Daredevil’s secret identity being exposed and Matt going through hell, only to get a fresh chance at life—would make sense for where Matt Murdock is after The Defenders, and serve as a way to “reset” the character after the wild events of Elektra’s re-appearance and the Hand’s arrival in New York. The show may even include Murdock getting disbarred for his actions in The Defenders, which would truly wipe the character’s slate clean for future seasons. Defenders already tackled the idea of how dangerous the blurring of Matt’s personal and superhero lives are to both himself and the people around him, so a season dedicated to that problem would make sense.
A Born Again adaption could also mean some familiar faces from the Marvel Netflix-verse woll be back in season three. Given that the Hand are now mostly dealt with thanks to the events of The Defenders, it would also make sense if Daredevil ended up bringing back Vincent D’Onofrio’s beloved take on Kingpin for the adaptation of storyline. After all, when we last saw him in jail in Daredevil’s second season, he was already pretty obsessed with destroying both Matt and Foggy’s lives for putting him there in the first place—and it was heavily hinted that he’d started suspecting that Daredevil and Murdock were one and the same. While it’s unlikely the Avengers would show up in the Netflix version of this story, given that Nuke already appeared in Jessica Jones’ first season—tweaked into Wil Traval’s former cop-turned-drugged-up maniac Will Simpson—there’s a chance that character could return here as one of the Kingpin’s main henchmen, too.
An adaptation of the comic also means that we’ll likely finally meet Matt’s estranged mother, who left her husband when Matt was still young to join the Catholic church. She played a major role in Born Again, meeting her son again out of chance for the first time since she left for the Church, and nursing him back to health. The final scene of Defenders all but confirms this, considering the Nun looking over Matt tells someone to “Get Maggie” when he wakes up— Maggie being the name of his mother in the comics.
I’m willing to bet the part where poor Karen Page becomes a heroin-addicted sex worker is probably not going to happen on the show, however. Maybe the events of Born Again will reconcile her doubts about Matt being a vigilante and see the two get romantically connected again. Although it’s just as likely they could finally push Karen out of his life altogether.
Image: Marvel Comics. Art by David Mazzucchelli, and Christie “Max” Scheele.
Matthew Murdock is in a strange place by the end of The Defenders, but the final moments of the show—and even actor Charlie Cox—indicate that Daredevil’s third season will adapt one of the character’s most iconic comic book stories. Here’s what you need to know about it.
The Defenders ends with Daredevil and the reborn Elektra embracing each other as the Hand’s Midland Circle headquarters come crashing down upon them, the ruins plummeting into the cavernous depths beneath the building to destroy the skeletal remains of a great dragon buried there along with “the Substance” that allowed Elektra and the Hand founders to cheat death..
While his fellow Defenders and friends believe Matt was killed in the collapse, the closing moments of the very last episode reveal that Matt survived the ordeal (and maybe even Elektra did too, although Élodie Yung is just as uncertain about that as we are), and is being patched up by a convent of nuns. Many fans took the scene as a confirmation that the next season of Daredevilwould be adapting the seminal 1986 comic book storyline Born Again—something that was basically confirmed by Charlie Cox himself, although with the caveat it would be a very loose adaptation.
So What Is Born Again?
Written by Frank Miller—returning to the Daredevil book since he first turned Daredevil into one of Marvel’s biggest comics in the early ‘80s—and with art by David Mazzucchelli and Christie Scheele (credited as Max Scheele), Born Again ran between issues #227 and 233 over the course of 1986, and charted the fall and rise of Daredevil after one of his greatest foes, the Kingpin, discovers his alter ego.
Kingpin gets that info from an unlikely source: Matt Murdock’s former love interest Karen Page, who previously left the law firm of Nelson and Murdock. Karen—now living in Mexico after a nascent acting career leads to her becoming a heroin addict filming porn flicks to pay for her drugs—sells the truth behind Daredevil’s secret identity for more drug money, and the information eventually makes its way up the criminal hierarchy to the Kingpin.
The crimelord then uses it to begin a six-month campaign to drive Murdock insane. Matt’s bank accounts are frozen, his apartment is foreclosed, and Kingpin pays off an NYPD officer to testify that Matt attempted to pay off a witness in one of his cases. Matt gets disbarred, but not jailed, thanks to Foggy wrangling his friend out of serving time. In retaliation, Kingpin simply decides to burn his apartment down, leaving his costume in the ruins as a message that Kingpin knows that he’s Daredevil.
Homeless and ceaselessly tracked by the Kingpin’s henchmen, Matt slides into paranoia and insanity, unable to trust anyone around him now that his identity is known. Matt eventually attempts to confront Kingpin one on one, only to be beaten within an inch of his life and dumped in the East River—which, being a remarkably resilient guy, Matt manages to escape and drag his broken body back to Hell’s Kitchen. There, he’s found by his mother, absent from his life since he was a child, and nursed back to health at the church she has spent her life working in.
It’s not just Matt who gets a bit obsessively loopy in the storyline. Becoming more and more obsessed with destroying Murdock, Kingpin realizes that Matt escaped being dumped in the river, so begins using his henchmen to kill off the loose ends of his failed plan to land Matt in jail—including Karen, who evades Kingpin’s men and returns to New York, having realized who her information eventually wound up with. After re-uniting with Matt and revealing what she did, the two reconcile; Matt announces he’s moved on from the life Kingpin destroyed, and they settle down in an apartment together, hiding from Kingpin’s men while Matt works at a diner to help Karen recover from heroin withdrawal.
Eventually Kingpin recruits the deranged super-soldier Nuke to draw Matt out of hiding with a killing spree outside the diner, leading to Matt donning the Daredevil costume again for the first time since Kingpin destroyed his old life. After the two fight, the Avengers intervene. While Kingpin manages to get Nuke killed before he can reveal his involvement, Captain America eventually discovers his subterfuge, ruining to Kingpin’s reputation as an “honest” businessman as a flurry of lawsuits are filed against him, even if he avoids jail time. Meanwhile, despite still being disbarred, Matt finds himself recommitted to his role as Hell’s Kitchen’s protector, while living with and helping Karen while returning to the Daredevil mantle.
What Does This Mean for Daredevil Season Three?
A lot of the groundwork for adapting Born Again has actually already been covered, thanks to the final episodes of Daredevil’s second season and the finale of The Defenders. Even a loose adaptation of the story—Daredevil’s secret identity being exposed and Matt going through hell, only to get a fresh chance at life—would make sense for where Matt Murdock is after The Defenders, and serve as a way to “reset” the character after the wild events of Elektra’s re-appearance and the Hand’s arrival in New York. The show may even include Murdock getting disbarred for his actions in The Defenders, which would truly wipe the character’s slate clean for future seasons. Defenders already tackled the idea of how dangerous the blurring of Matt’s personal and superhero lives are to both himself and the people around him, so a season dedicated to that problem would make sense.
A Born Again adaption could also mean some familiar faces from the Marvel Netflix-verse woll be back in season three. Given that the Hand are now mostly dealt with thanks to the events of The Defenders, it would also make sense if Daredevil ended up bringing back Vincent D’Onofrio’s beloved take on Kingpin for the adaptation of storyline. After all, when we last saw him in jail in Daredevil’s second season, he was already pretty obsessed with destroying both Matt and Foggy’s lives for putting him there in the first place—and it was heavily hinted that he’d started suspecting that Daredevil and Murdock were one and the same. While it’s unlikely the Avengers would show up in the Netflix version of this story, given that Nuke already appeared in Jessica Jones’ first season—tweaked into Wil Traval’s former cop-turned-drugged-up maniac Will Simpson—there’s a chance that character could return here as one of the Kingpin’s main henchmen, too.
An adaptation of the comic also means that we’ll likely finally meet Matt’s estranged mother, who left her husband when Matt was still young to join the Catholic church. She played a major role in Born Again, meeting her son again out of chance for the first time since she left for the Church, and nursing him back to health. The final scene of Defenders all but confirms this, considering the Nun looking over Matt tells someone to “Get Maggie” when he wakes up— Maggie being the name of his mother in the comics.
I’m willing to bet the part where poor Karen Page becomes a heroin-addicted sex worker is probably not going to happen on the show, however. Maybe the events of Born Again will reconcile her doubts about Matt being a vigilante and see the two get romantically connected again. Although it’s just as likely they could finally push Karen out of his life altogether.
Me too. I'm convinced a lot the complaints come from people who didn't read the comics. Not all but definitely a lot more than expected.
http://www.cbr.com/luke-cage-s2-misty-knight-bionic-arm-photo/
She is so beautiful If her and Colleen get their on show it would be home of some the best breast on TVLuke Cage S2: Misty Knight’s Bionic Arm, Revealed
http://www.cbr.com/luke-cage-s2-misty-knight-bionic-arm-photo/
That's what I love about Jessica Jones.... She really doesn't want to be in the spotlight. She doesn't want to be a Superhero. She would be perfectly fine with just helping small client cases. Jessica is just a regular person that happens to have powers. She tried being a Superhero and it didn't work out.
exactly why i don't have complaints with her not using her powers she is not drawn to a higher calling of being a super hero. she's flawed. she just wants to be a private investigator and fuck luke cage.
she had on a damn turtle neck and them titties were trying to poke up out the top of it
her titties must taste like sweet potato pie
3 episodes in and this shit is not entertaining.
I abandoned it halfway thru the first ep...that was like a month ago
Why is Misty Knight so fine....man
Thanks to Defenders, Daredevil's Next Season Will Be Based on This Classic Comic Story
Image: Marvel Comics. Art by David Mazzucchelli, and Christie “Max” Scheele.
Matthew Murdock is in a strange place by the end of The Defenders, but the final moments of the show—and even actor Charlie Cox—indicate that Daredevil’s third season will adapt one of the character’s most iconic comic book stories. Here’s what you need to know about it.
The Defenders ends with Daredevil and the reborn Elektra embracing each other as the Hand’s Midland Circle headquarters come crashing down upon them, the ruins plummeting into the cavernous depths beneath the building to destroy the skeletal remains of a great dragon buried there along with “the Substance” that allowed Elektra and the Hand founders to cheat death..
While his fellow Defenders and friends believe Matt was killed in the collapse, the closing moments of the very last episode reveal that Matt survived the ordeal (and maybe even Elektra did too, although Élodie Yung is just as uncertain about that as we are), and is being patched up by a convent of nuns. Many fans took the scene as a confirmation that the next season of Daredevilwould be adapting the seminal 1986 comic book storyline Born Again—something that was basically confirmed by Charlie Cox himself, although with the caveat it would be a very loose adaptation.
So What Is Born Again?
Written by Frank Miller—returning to the Daredevil book since he first turned Daredevil into one of Marvel’s biggest comics in the early ‘80s—and with art by David Mazzucchelli and Christie Scheele (credited as Max Scheele), Born Again ran between issues #227 and 233 over the course of 1986, and charted the fall and rise of Daredevil after one of his greatest foes, the Kingpin, discovers his alter ego.
Kingpin gets that info from an unlikely source: Matt Murdock’s former love interest Karen Page, who previously left the law firm of Nelson and Murdock. Karen—now living in Mexico after a nascent acting career leads to her becoming a heroin addict filming porn flicks to pay for her drugs—sells the truth behind Daredevil’s secret identity for more drug money, and the information eventually makes its way up the criminal hierarchy to the Kingpin.
The crimelord then uses it to begin a six-month campaign to drive Murdock insane. Matt’s bank accounts are frozen, his apartment is foreclosed, and Kingpin pays off an NYPD officer to testify that Matt attempted to pay off a witness in one of his cases. Matt gets disbarred, but not jailed, thanks to Foggy wrangling his friend out of serving time. In retaliation, Kingpin simply decides to burn his apartment down, leaving his costume in the ruins as a message that Kingpin knows that he’s Daredevil.
Homeless and ceaselessly tracked by the Kingpin’s henchmen, Matt slides into paranoia and insanity, unable to trust anyone around him now that his identity is known. Matt eventually attempts to confront Kingpin one on one, only to be beaten within an inch of his life and dumped in the East River—which, being a remarkably resilient guy, Matt manages to escape and drag his broken body back to Hell’s Kitchen. There, he’s found by his mother, absent from his life since he was a child, and nursed back to health at the church she has spent her life working in.
It’s not just Matt who gets a bit obsessively loopy in the storyline. Becoming more and more obsessed with destroying Murdock, Kingpin realizes that Matt escaped being dumped in the river, so begins using his henchmen to kill off the loose ends of his failed plan to land Matt in jail—including Karen, who evades Kingpin’s men and returns to New York, having realized who her information eventually wound up with. After re-uniting with Matt and revealing what she did, the two reconcile; Matt announces he’s moved on from the life Kingpin destroyed, and they settle down in an apartment together, hiding from Kingpin’s men while Matt works at a diner to help Karen recover from heroin withdrawal.
Eventually Kingpin recruits the deranged super-soldier Nuke to draw Matt out of hiding with a killing spree outside the diner, leading to Matt donning the Daredevil costume again for the first time since Kingpin destroyed his old life. After the two fight, the Avengers intervene. While Kingpin manages to get Nuke killed before he can reveal his involvement, Captain America eventually discovers his subterfuge, ruining to Kingpin’s reputation as an “honest” businessman as a flurry of lawsuits are filed against him, even if he avoids jail time. Meanwhile, despite still being disbarred, Matt finds himself recommitted to his role as Hell’s Kitchen’s protector, while living with and helping Karen while returning to the Daredevil mantle.
What Does This Mean for Daredevil Season Three?
A lot of the groundwork for adapting Born Again has actually already been covered, thanks to the final episodes of Daredevil’s second season and the finale of The Defenders. Even a loose adaptation of the story—Daredevil’s secret identity being exposed and Matt going through hell, only to get a fresh chance at life—would make sense for where Matt Murdock is after The Defenders, and serve as a way to “reset” the character after the wild events of Elektra’s re-appearance and the Hand’s arrival in New York. The show may even include Murdock getting disbarred for his actions in The Defenders, which would truly wipe the character’s slate clean for future seasons. Defenders already tackled the idea of how dangerous the blurring of Matt’s personal and superhero lives are to both himself and the people around him, so a season dedicated to that problem would make sense.
A Born Again adaption could also mean some familiar faces from the Marvel Netflix-verse woll be back in season three. Given that the Hand are now mostly dealt with thanks to the events of The Defenders, it would also make sense if Daredevil ended up bringing back Vincent D’Onofrio’s beloved take on Kingpin for the adaptation of storyline. After all, when we last saw him in jail in Daredevil’s second season, he was already pretty obsessed with destroying both Matt and Foggy’s lives for putting him there in the first place—and it was heavily hinted that he’d started suspecting that Daredevil and Murdock were one and the same. While it’s unlikely the Avengers would show up in the Netflix version of this story, given that Nuke already appeared in Jessica Jones’ first season—tweaked into Wil Traval’s former cop-turned-drugged-up maniac Will Simpson—there’s a chance that character could return here as one of the Kingpin’s main henchmen, too.
An adaptation of the comic also means that we’ll likely finally meet Matt’s estranged mother, who left her husband when Matt was still young to join the Catholic church. She played a major role in Born Again, meeting her son again out of chance for the first time since she left for the Church, and nursing him back to health. The final scene of Defenders all but confirms this, considering the Nun looking over Matt tells someone to “Get Maggie” when he wakes up— Maggie being the name of his mother in the comics.
I’m willing to bet the part where poor Karen Page becomes a heroin-addicted sex worker is probably not going to happen on the show, however. Maybe the events of Born Again will reconcile her doubts about Matt being a vigilante and see the two get romantically connected again. Although it’s just as likely they could finally push Karen out of his life altogether.
Luke Cage S2: Misty Knight’s Bionic Arm, Revealed
http://www.cbr.com/luke-cage-s2-misty-knight-bionic-arm-photo/
her titties must taste like banana pudding with vanilla wafers sprinkled with elation
The Defenders Season 2 Not Happening Anytime Soon
According to Marvel TV head Jeph Loeb, season 2 of The Defenders isn't in the cards. When Marvel first announced their plans for a street-level corner of the MCU on Netflix, the deal entailed four solo series leading to a team-up based around the Defenders from the comics. Since that time, however, new seasons of each show have been planned or released and The Punisher was added to the mix. But last year, The Defenders finally debuted and joined Jessica Jones, Daredevil, Luke Cage, and Iron Fist together for the first time in a live-action setting. Unfortunately for fans, it was never planned to be an ongoing affair.
Like with the movies, Marvel is beginning to do more and more mini team-ups on their shows. Each Netflix series so far has featured cameos from various supporting characters, but Jessica Jones kicked it up a notch by introducing Luke Cage ahead of his show. Later this month, season 2 of Luke Cage will feature Colleen Wing when she teams up with Misty Knight. Not to mention, Danny Rand will be stopping by Harlem before Iron Fist returns, presumably next year. Despite all the connections, though - or perhaps because of them - The Defenders season 2 may be a pipe dream.
RELATED: ROSARIO DAWSON UNSURE OF HER FUTURE WITH MARVEL TV
Jeph Loeb did an Ask Me Anything on Reddit earlier today, and one fan naturally broached the question about a season 2 for The Defenders. According to Loeb, it's "not in the plans right now, but you never know!" So while the return of the show isn't impossible, it's not seeming likely.
The Defenders was always conceived as a single miniseries, telling one compact story that united the street-level heroes of the MCU and many of their foes. The reverberations of the plot will affect aspects of Luke Cage, Iron Fist, and Daredevil, and various crossovers seem destined to continue happening. Misty Knight is already scheduled to show up on Iron Fist, and fans are certainly eager to see Jessica Jones and Matt Murdock join forces again.
Because of these smaller team-ups, though, The Defenders may not be necessary. There's also some confusion as to the future of the Marvel-Netflix shows once Disney's new streaming service launches next year. For now, things are moving forward with Jessica Jones season 3, as the show should start filming soon. Iron Fist set photos, meanwhile, have teased some of the show's plot, which is expected to unfold next year along with the return of The Punisher. Beyond that, we'll just have to wait and see.
- BY MATTHEW ERAO
- – ON JUN 07, 2018
- IN TV NEWS
According to Marvel TV head Jeph Loeb, season 2 of The Defenders isn't in the cards. When Marvel first announced their plans for a street-level corner of the MCU on Netflix, the deal entailed four solo series leading to a team-up based around the Defenders from the comics. Since that time, however, new seasons of each show have been planned or released and The Punisher was added to the mix. But last year, The Defenders finally debuted and joined Jessica Jones, Daredevil, Luke Cage, and Iron Fist together for the first time in a live-action setting. Unfortunately for fans, it was never planned to be an ongoing affair.
Like with the movies, Marvel is beginning to do more and more mini team-ups on their shows. Each Netflix series so far has featured cameos from various supporting characters, but Jessica Jones kicked it up a notch by introducing Luke Cage ahead of his show. Later this month, season 2 of Luke Cage will feature Colleen Wing when she teams up with Misty Knight. Not to mention, Danny Rand will be stopping by Harlem before Iron Fist returns, presumably next year. Despite all the connections, though - or perhaps because of them - The Defenders season 2 may be a pipe dream.
RELATED: ROSARIO DAWSON UNSURE OF HER FUTURE WITH MARVEL TV
Jeph Loeb did an Ask Me Anything on Reddit earlier today, and one fan naturally broached the question about a season 2 for The Defenders. According to Loeb, it's "not in the plans right now, but you never know!" So while the return of the show isn't impossible, it's not seeming likely.
The Defenders was always conceived as a single miniseries, telling one compact story that united the street-level heroes of the MCU and many of their foes. The reverberations of the plot will affect aspects of Luke Cage, Iron Fist, and Daredevil, and various crossovers seem destined to continue happening. Misty Knight is already scheduled to show up on Iron Fist, and fans are certainly eager to see Jessica Jones and Matt Murdock join forces again.
Because of these smaller team-ups, though, The Defenders may not be necessary. There's also some confusion as to the future of the Marvel-Netflix shows once Disney's new streaming service launches next year. For now, things are moving forward with Jessica Jones season 3, as the show should start filming soon. Iron Fist set photos, meanwhile, have teased some of the show's plot, which is expected to unfold next year along with the return of The Punisher. Beyond that, we'll just have to wait and see.
The Defenders Season 2 Not Happening Anytime Soon
- BY MATTHEW ERAO
- – ON JUN 07, 2018
- IN TV NEWS
According to Marvel TV head Jeph Loeb, season 2 of The Defenders isn't in the cards. When Marvel first announced their plans for a street-level corner of the MCU on Netflix, the deal entailed four solo series leading to a team-up based around the Defenders from the comics. Since that time, however, new seasons of each show have been planned or released and The Punisher was added to the mix. But last year, The Defenders finally debuted and joined Jessica Jones, Daredevil, Luke Cage, and Iron Fist together for the first time in a live-action setting. Unfortunately for fans, it was never planned to be an ongoing affair.
Like with the movies, Marvel is beginning to do more and more mini team-ups on their shows. Each Netflix series so far has featured cameos from various supporting characters, but Jessica Jones kicked it up a notch by introducing Luke Cage ahead of his show. Later this month, season 2 of Luke Cage will feature Colleen Wing when she teams up with Misty Knight. Not to mention, Danny Rand will be stopping by Harlem before Iron Fist returns, presumably next year. Despite all the connections, though - or perhaps because of them - The Defenders season 2 may be a pipe dream.
RELATED: ROSARIO DAWSON UNSURE OF HER FUTURE WITH MARVEL TV
Jeph Loeb did an Ask Me Anything on Reddit earlier today, and one fan naturally broached the question about a season 2 for The Defenders. According to Loeb, it's "not in the plans right now, but you never know!" So while the return of the show isn't impossible, it's not seeming likely.
The Defenders was always conceived as a single miniseries, telling one compact story that united the street-level heroes of the MCU and many of their foes. The reverberations of the plot will affect aspects of Luke Cage, Iron Fist, and Daredevil, and various crossovers seem destined to continue happening. Misty Knight is already scheduled to show up on Iron Fist, and fans are certainly eager to see Jessica Jones and Matt Murdock join forces again.
Because of these smaller team-ups, though, The Defenders may not be necessary. There's also some confusion as to the future of the Marvel-Netflix shows once Disney's new streaming service launches next year. For now, things are moving forward with Jessica Jones season 3, as the show should start filming soon. Iron Fist set photos, meanwhile, have teased some of the show's plot, which is expected to unfold next year along with the return of The Punisher. Beyond that, we'll just have to wait and see.
Netflix killed it...no more Defenders.
https://comicbook.com/marvel/2018/09/17/marvel-defenders-canceled-netflix-season-2/
I was looking forward to seeing what they'll do for the second season....
Netflix killed it...no more Defenders.
https://comicbook.com/marvel/2018/09/17/marvel-defenders-canceled-netflix-season-2/
I was looking forward to seeing what they'll do for the second season....
could this also be because of the Disney App coming soon?
Probably,but Netflix is saying that Defenders was a mini-series but they made it sound like the show was getting multiple seasons before it came out.....
Marvel on Netflix: What Went Wrong?
By Abraham Riesman@abrahamjoseph
Not exactly the most ambitious crossover event in history. Photo: Sarah Shatz/Netflix
There was a brief, shining moment when it seemed like this whole Marvel–Netflix thing was gonna work out just fine. I can tell you exactly when that moment began: around 7 p.m. on October 11, 2015. Along with hundreds of others, I was crammed into the main auditorium at New York Comic Con, where a standing-room-only crowd had gathered to hear the latest about the future of the Marvel Cinematic Universe on the world’s biggest streaming platform. The joint venture had already begun six months prior with the release of the somewhat-acclaimed first season of Daredevil, and the audience that night was amped up about the next outing, Jessica Jones. To our surprise, we were abruptly told that we’d be getting a surprise screening of that show’s very first episode. Squealing and cheering commenced. This was a crowd that expected great things.
And hoo boy, their expectations were met. That inaugural installment ofJessica Jones was a true humdinger. It was distinctive without being flashy, mature without being ponderous, ambitious without being self-satisfied, sexy without being exploitative, and just … good. I can’t tell you how much of a revelation a good superhero show was at that time. We were used to spandex outings that were inane, formulaic, and utterly uninterested in pushing a single envelope. But here was a tale that seemed like it was going to grapple with everything from PTSD to queerness and do it all with style. Showrunner Melissa Rosenberg and star Krysten Ritter genuinely seemed to be elevating the game. As soon as the screening was done, I rushed to the lobby to get reception and email my editor like an old-timey reporter clamoring for a pay phone just after getting a hot scoop. I have seen the future of superheroes, I thought, and it is Marvel Netflix.
ADVERTISEMENT
INREAD INVENTED BY TEADS
If it ever was the future, it is now the past. This week sees the barely ballyhooed release of the third and final season of Jessica Jones, which is itself the final season of Marvel’s four-year Netflix experiment. Its death has been agonizingly and humiliatingly gradual: Over the course of the past few months, each of the five ongoing series that made it up has been given the ax, one after another. Daredevil, Jessica Jones, Luke Cage, Iron Fist, The Punisher; their fans saw them all go the way of the dodo — without fanfare. It was all too clear that there wasn’t much advance warning for the creative teams, given that many of the shows ended without resolution. Even though Marvel Television’s corporate overlord, Disney, is launching its own streaming platform, the superhero programming there will be run by the movie folks at Marvel Studios, who don’t particularly get along with the TV crew, so it seems unlikely that any resurrections will be in the cards. The loose ends will probably forever dangle in the wind, reminding diehards to never love anything too much.
So, what the hell happened? As far as I can see, the enterprise was doomed by three factors, two of them creative and one of them entirely corporate.
For one thing, all the shows suffered from an acute case of Netflix bloat. With the exception of the one-off crossover series, The Defenders, and the second season of the widely derided Iron Fist, every season was 13 episodes, with each episode clocking in at about an hour. There was simply no good reason for these stories to run 13-odd hours each. And they were, for the most part, single stories of that length; the shows tended to eschew the idea of self-contained episodes, even in the case of Jessica Jones, where individual private-investigation cases would have been a natural fit to fill out the world and liven up the pace. There were B- and C-plots, but they, too, were stretched out to unreasonable lengths. This is, of course, not a problem unique to Marvel shows, as Netflix and other streamers tend to believe that a drama is only worthwhile if it feels interminable.
But it was especially irritating in the case of the Marvel–Netflix shows, because a viewer was likely comparing them, consciously or not, to other superhero offerings. Superhero movies, though often longer than they should be, have runtimes between two and three hours — more than enough of a span to tell an epic saga of good, evil, duty, and all the other familiar tropes. More important, these stories are all adapted from comic books, which have long been oriented toward brief, dense, punchy individual issues of about 22 pages each, typically ending on some kind of cliffhanger. The sloggy Netflix approach just didn’t sit well with the expectations we have for the genre and our attendant desire for super-heroic action and Manichean suspense. The creators and diehards may argue that these weren’t just superhero shows — they were inspired by neo-noir (Jessica Jones) or blaxploitation (Luke Cage) or kung-fu (Iron Fist) and so on — but come on, these were all stories based on the expectation of climactic action between the forces of light and darkness. Yet, over and over again, we had to see that gratification delayed beyond reason. You were never going to hold eyeballs very long with that kind of lukewarm storytelling.
If the shows struggled with format, so too did they suffer over formula. Quite simply, they rarely did anything audacious or iconoclastic. Sure, there were little exceptions, like the daring explorations of rape and trauma in the first season of Jessica Jones, the occasional interrogation of police violence and black respectability politics in Luke Cage (it’s still amazing that a Marvel property had liberal use of the N-word in it), and the criticism of the War on Terror in the first season of The Punisher. But even in those cases, the general emphasis was more often on boilerplate superhero-fiction tropes like the need for friendship, the question of whether killing is ever okay, and the insistence that one should never give up in the face of even the most impossible odds. We live in an era when we are saturated with such themes thanks to the preponderance of cape-and-cowl mishegoss on the big and small screens, so we were never given a great reason to especially care about these slight variations. To make matters worse, even though these stories were ostensibly set in the same New York City as the one we see in the MCU movies, we never got to spice things up with appearances from any of the film characters — or, conversely, to see the Netflix characters register any importance by appearing in the films. In a word: snore.
Nevertheless, the shows experienced a modicum of success (some more than others; Iron Fist always seemed DOA) and generated enough enthusiasm to justify multiple seasons. Daredevil fan-fiction exploded, critics swore up and down that The Punisher was pretty good, and you’ll be seeing Jessica Jones cosplayers at conventions for many years to come. And yet, perhaps these victories added up to the most fatal factor of them all: The shows became something of a victim of their own success. When the Marvel–Netflix collaboration was announced in November 2013, it was something of a revolutionary idea. The skyrocketing MCU brand had begun its forays into short-form serialization with ABC’s Agents of S.H.I.E.L.D. that September, and Netflix had only just emerged on the scene with its first original series, House of Cards, nine months prior. The notion of these two newly successful firms joining forces was a bold step: Netflix could show off its original-content chops by hitching its wagon to the hottest brand at the box office, while Marvel could demonstrate that it was ready to take a leap into the still-fresh waters of streaming entertainment.
Trouble is, once both of them had won, they no longer needed each other. Netflix has, in just six short years, become one of the primary destinations for serialized original content in the known universe. Disney has seen its Marvel brand become a license to print money. But the ever-wily Disney suits realized they had enough cachet to pull off their own entrant into the streaming game, the soon-to-launch Disney+. Marvel’s Netflix shows had proven that streaming super-people could work as a concept, but why should the House of Mouse tolerate sharing the gains of their IP with a rival streamer? What’s more, Netflix has so much content that they don’t need a boost from anyone else’s brand anymore — and they similarly don’t have any desire to lend a hand to a corporation that’s about to become its biggest rival (a fact made all the more apparent by Disney’s recent decision to take a controlling stake in Hulu). Marvel Netflix was consigned to being the abandoned child from a marriage that fell apart. Future generations may find the very phrase “Marvel Netflix” to be an oxymoron, after the streaming wars really heat up.
Which brings us to Disney’s challenge in its post-Netflix reality. Within a few months, we’ll likely be seeing the inaugural MCU shows of Disney+, such as the untitled Loki solo series, Falcon and Winter Soldier, and the questionably titled WandaVision. (You’ll note that all of those shows star major characters from the film arm of the MCU. That’s because Marvel Studios will be managing all of the Marvel content streaming on Disney+.) Right now, it seems like a done deal that these series will attract subscribers, but it’s worth noting that Disney+ should learn from the collapse of Marvel’s Netflix project. The format has to lend itself to thrills, chills, and density. In a world of streaming-content saturation, even Marvel has to worry about losing people’s attention while they sit on the couch. (To be fair, they seem to be moving in the right direction when they do things like make these series attenuated in length or placed in unlikely settings.) In other words, formula has to take a back seat to innovation. If you can get the same ideas by firing up old MCU movies for a rewatch at the click of a button, why bother with inferior, lower-budget shows, especially if they don’t end up being consequential for the movies and vice versa?
But most importantly, the powers that be should remember that the tectonic plates are still shifting beneath their feet. After all, there was a time, not so long ago, when Marvel Netflix was the most bleeding-edge idea in the game. How quickly the heroes of tomorrow become yesterday’s news.
By Abraham Riesman@abrahamjoseph
Not exactly the most ambitious crossover event in history. Photo: Sarah Shatz/Netflix
There was a brief, shining moment when it seemed like this whole Marvel–Netflix thing was gonna work out just fine. I can tell you exactly when that moment began: around 7 p.m. on October 11, 2015. Along with hundreds of others, I was crammed into the main auditorium at New York Comic Con, where a standing-room-only crowd had gathered to hear the latest about the future of the Marvel Cinematic Universe on the world’s biggest streaming platform. The joint venture had already begun six months prior with the release of the somewhat-acclaimed first season of Daredevil, and the audience that night was amped up about the next outing, Jessica Jones. To our surprise, we were abruptly told that we’d be getting a surprise screening of that show’s very first episode. Squealing and cheering commenced. This was a crowd that expected great things.
And hoo boy, their expectations were met. That inaugural installment ofJessica Jones was a true humdinger. It was distinctive without being flashy, mature without being ponderous, ambitious without being self-satisfied, sexy without being exploitative, and just … good. I can’t tell you how much of a revelation a good superhero show was at that time. We were used to spandex outings that were inane, formulaic, and utterly uninterested in pushing a single envelope. But here was a tale that seemed like it was going to grapple with everything from PTSD to queerness and do it all with style. Showrunner Melissa Rosenberg and star Krysten Ritter genuinely seemed to be elevating the game. As soon as the screening was done, I rushed to the lobby to get reception and email my editor like an old-timey reporter clamoring for a pay phone just after getting a hot scoop. I have seen the future of superheroes, I thought, and it is Marvel Netflix.
ADVERTISEMENT
INREAD INVENTED BY TEADS
If it ever was the future, it is now the past. This week sees the barely ballyhooed release of the third and final season of Jessica Jones, which is itself the final season of Marvel’s four-year Netflix experiment. Its death has been agonizingly and humiliatingly gradual: Over the course of the past few months, each of the five ongoing series that made it up has been given the ax, one after another. Daredevil, Jessica Jones, Luke Cage, Iron Fist, The Punisher; their fans saw them all go the way of the dodo — without fanfare. It was all too clear that there wasn’t much advance warning for the creative teams, given that many of the shows ended without resolution. Even though Marvel Television’s corporate overlord, Disney, is launching its own streaming platform, the superhero programming there will be run by the movie folks at Marvel Studios, who don’t particularly get along with the TV crew, so it seems unlikely that any resurrections will be in the cards. The loose ends will probably forever dangle in the wind, reminding diehards to never love anything too much.
So, what the hell happened? As far as I can see, the enterprise was doomed by three factors, two of them creative and one of them entirely corporate.
For one thing, all the shows suffered from an acute case of Netflix bloat. With the exception of the one-off crossover series, The Defenders, and the second season of the widely derided Iron Fist, every season was 13 episodes, with each episode clocking in at about an hour. There was simply no good reason for these stories to run 13-odd hours each. And they were, for the most part, single stories of that length; the shows tended to eschew the idea of self-contained episodes, even in the case of Jessica Jones, where individual private-investigation cases would have been a natural fit to fill out the world and liven up the pace. There were B- and C-plots, but they, too, were stretched out to unreasonable lengths. This is, of course, not a problem unique to Marvel shows, as Netflix and other streamers tend to believe that a drama is only worthwhile if it feels interminable.
But it was especially irritating in the case of the Marvel–Netflix shows, because a viewer was likely comparing them, consciously or not, to other superhero offerings. Superhero movies, though often longer than they should be, have runtimes between two and three hours — more than enough of a span to tell an epic saga of good, evil, duty, and all the other familiar tropes. More important, these stories are all adapted from comic books, which have long been oriented toward brief, dense, punchy individual issues of about 22 pages each, typically ending on some kind of cliffhanger. The sloggy Netflix approach just didn’t sit well with the expectations we have for the genre and our attendant desire for super-heroic action and Manichean suspense. The creators and diehards may argue that these weren’t just superhero shows — they were inspired by neo-noir (Jessica Jones) or blaxploitation (Luke Cage) or kung-fu (Iron Fist) and so on — but come on, these were all stories based on the expectation of climactic action between the forces of light and darkness. Yet, over and over again, we had to see that gratification delayed beyond reason. You were never going to hold eyeballs very long with that kind of lukewarm storytelling.
If the shows struggled with format, so too did they suffer over formula. Quite simply, they rarely did anything audacious or iconoclastic. Sure, there were little exceptions, like the daring explorations of rape and trauma in the first season of Jessica Jones, the occasional interrogation of police violence and black respectability politics in Luke Cage (it’s still amazing that a Marvel property had liberal use of the N-word in it), and the criticism of the War on Terror in the first season of The Punisher. But even in those cases, the general emphasis was more often on boilerplate superhero-fiction tropes like the need for friendship, the question of whether killing is ever okay, and the insistence that one should never give up in the face of even the most impossible odds. We live in an era when we are saturated with such themes thanks to the preponderance of cape-and-cowl mishegoss on the big and small screens, so we were never given a great reason to especially care about these slight variations. To make matters worse, even though these stories were ostensibly set in the same New York City as the one we see in the MCU movies, we never got to spice things up with appearances from any of the film characters — or, conversely, to see the Netflix characters register any importance by appearing in the films. In a word: snore.
Nevertheless, the shows experienced a modicum of success (some more than others; Iron Fist always seemed DOA) and generated enough enthusiasm to justify multiple seasons. Daredevil fan-fiction exploded, critics swore up and down that The Punisher was pretty good, and you’ll be seeing Jessica Jones cosplayers at conventions for many years to come. And yet, perhaps these victories added up to the most fatal factor of them all: The shows became something of a victim of their own success. When the Marvel–Netflix collaboration was announced in November 2013, it was something of a revolutionary idea. The skyrocketing MCU brand had begun its forays into short-form serialization with ABC’s Agents of S.H.I.E.L.D. that September, and Netflix had only just emerged on the scene with its first original series, House of Cards, nine months prior. The notion of these two newly successful firms joining forces was a bold step: Netflix could show off its original-content chops by hitching its wagon to the hottest brand at the box office, while Marvel could demonstrate that it was ready to take a leap into the still-fresh waters of streaming entertainment.
Trouble is, once both of them had won, they no longer needed each other. Netflix has, in just six short years, become one of the primary destinations for serialized original content in the known universe. Disney has seen its Marvel brand become a license to print money. But the ever-wily Disney suits realized they had enough cachet to pull off their own entrant into the streaming game, the soon-to-launch Disney+. Marvel’s Netflix shows had proven that streaming super-people could work as a concept, but why should the House of Mouse tolerate sharing the gains of their IP with a rival streamer? What’s more, Netflix has so much content that they don’t need a boost from anyone else’s brand anymore — and they similarly don’t have any desire to lend a hand to a corporation that’s about to become its biggest rival (a fact made all the more apparent by Disney’s recent decision to take a controlling stake in Hulu). Marvel Netflix was consigned to being the abandoned child from a marriage that fell apart. Future generations may find the very phrase “Marvel Netflix” to be an oxymoron, after the streaming wars really heat up.
Which brings us to Disney’s challenge in its post-Netflix reality. Within a few months, we’ll likely be seeing the inaugural MCU shows of Disney+, such as the untitled Loki solo series, Falcon and Winter Soldier, and the questionably titled WandaVision. (You’ll note that all of those shows star major characters from the film arm of the MCU. That’s because Marvel Studios will be managing all of the Marvel content streaming on Disney+.) Right now, it seems like a done deal that these series will attract subscribers, but it’s worth noting that Disney+ should learn from the collapse of Marvel’s Netflix project. The format has to lend itself to thrills, chills, and density. In a world of streaming-content saturation, even Marvel has to worry about losing people’s attention while they sit on the couch. (To be fair, they seem to be moving in the right direction when they do things like make these series attenuated in length or placed in unlikely settings.) In other words, formula has to take a back seat to innovation. If you can get the same ideas by firing up old MCU movies for a rewatch at the click of a button, why bother with inferior, lower-budget shows, especially if they don’t end up being consequential for the movies and vice versa?
But most importantly, the powers that be should remember that the tectonic plates are still shifting beneath their feet. After all, there was a time, not so long ago, when Marvel Netflix was the most bleeding-edge idea in the game. How quickly the heroes of tomorrow become yesterday’s news.
Brb
New Photo Sparks Theories on Luke Cage & Jessica Jones’ MCU Return
Jessica Jones star Krysten Ritter took to her Instagram stories to share a selfie of her and Luke Cage star Mike Colter, sparking ideas about a potential reunion in a future MCU project.
thedirect.com
Jessica Jones star Krysten Ritter took to her Instagram stories to share a selfie of her and Luke Cage star Mike Colter, sparking ideas about a potential reunion in a future MCU project.
New Photo Sparks Theories on Luke Cage & Jessica Jones’ MCU Return
Krysten Ritter shared an image of herself and Mike Colter, sparking ideas of Jessica Jones and Luke Cage coming to the MCU.
thedirect.com
Marvel Officially Canonizes 6 Netflix Shows on New MCU Timeline
By Klein Felt
January 10, 2024
thedirect.com
By Klein Felt
January 10, 2024
Marvel Officially Canonizes 6 Netflix Shows on New MCU Timeline
The debate is over, as Netflix's Marvel offerings join the official MCU timeline.
thedirect.com
Similar threads
