Best Marvel Defenders Season So Far

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Unlike their Avengers brethren on the big screen, the Marvels Defenders on Netflix don’t get all that much attention. This is probably partially because these Netflix Original series are more “adult,” which limits the audience to a more “mature” viewers. They also don’t have the advertising budget of the blockbuster films.

However, if your parents say it’s okay for you to partake in the Defenders’ heavier use of blood, sex, and substance abuse, you should give the Marvel-Netflix Originals a chance. Here’s a mostly spoiler-free break down of how I’d rank each season of that’s out so far (as of May of 2018):

Last Place (Unfortunately)

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Iron Fist, Season One

Sorry, to kick a show when it’s down, but—

Although I like Danny Rand’s positive attitude, the first season of Iron Fist is easily the weakest of the Defenders series. The most glaring problems are the fight scenes. The Iron Fist is supposed to be a kung fu master. He should be fast, fluid, and visceral. While I applaud Finn Jones’ effort and fitness, the show fails to deliver a punch in its fight choreography.

With the public’s years of exposure to Jackie Chan’s stunt work and Jet Li’s more-authentic skill, it’s hard to watch Iron Fist‘s snail-slow choreography and buy Finn Jones as an elite kung fu master. They should’ve used more camera tricks and worked the Foley stage to mask Jones’ inexperience in martial arts.

I read somewhere that Jones was rushed through training and filming, so he and the stunt team couldn’t get the fight scenes done right. I hope that’s true, so after however many months, Jones can have a fair chance to make a better showing in the second season.

Overall, I’d still watch this season if you’re enough of a Marvel Cinematic Universe nerd (or simply love the Knight of Flowers).

Fourth Place: 

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Daredevil, Season Two

While watching this season, I found the two “parallel” story lines to be drastically different in tone and quality. In short, the bits with the Punisher was good while the parts focusing on Elektra was not so good.

With a quick Google search, I found the likely reason: The season had two showrunners who, I can only assume, worked with too much independence. They weren’t careful enough with pacing and cohesiveness of the season overall.  The story with Elektra, however, leads into the Defenders crossover, though. So perhaps the showrunners were being pulled in too many directions.

If you ask me, the flashbacks concerning Elektra’s past were shown too late. They should have built up sympathy for her much earlier so the viewers would not be so annoyed with her. As it is, Elektra’s tossed into the story in a very slapdash way, and we’re force fed some kind of supposed chemistry between her and the Daredevil. It didn’t quite work.

Third Place:

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Jessica Jones, Season One

To put it bluntly, I think Jessica Jones kind of got screwed over in terms of budget for the first season. Although I can’t find any clear evidence, I found some circumstantial evidence: The first seasons for all four superheroes plus the crossover were supposed to split a $200 million budget, and Daredevil ate up $56 by himself. The variety and quality of the sets on Jones makes it seem like an indie film in contrast to Daredevil, which came out first, and Luke Cage which came out a little later. A huge number of the scenes and property damage in Jones was limited to her one-bedroom apartment (which, by the way, is much crappier than Daredevil’s big ass loft/studio).

So despite having a solid story about Jones getting over some serious trauma paired with strong performances by the actors, I think the budget (although maybe the production was also rushed like Iron Fist) made Jones’ first season lack the luster it deserved.

Although, David Tennant does a great job playing a character whose face I want to punch whenever he shows up. Pft. Kilgrave.

Second Place:

I’m going to cheat and go with a three-way tie: Jessica Jones, Season Two; Luke Cage, Season One; and The Punisher, Season One

The pacing and apparent production value for the second season of Jessica Jones totally outshines the first. The story has more hooks and barrels forward with more momentum than the first (despite or because of the general lack of David Tennant’s character; I guess Kilgrave, and what he does, makes me uncomfortable).

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Luke Cage is awesome, due in no small part to his much-more-impressive superpowers. However, the soundtrack, plot, and tone all work together to make the series very engrossing.

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The Punisher, although he’s not technically a Defender, has a great first season. It, like the other second-place seasons, hooks you from start to end. They provide some great action while building a lot of sympathy for the hard-ass protagonist.

All three of these shows touch upon subjects that, outside of fiction, may be difficult to discuss. Jessica Jones is a survivor rape and tons of other sources of trauma;  Luke Cage is wrongfully incarcerated and, as many have noted, is in a show about a bulletproof black man released in the midst of the #BlackLivesMatter movement; and The Punisher deals issues veterans face (e.g., PTSD, being and feeling discarded after their service). However, the shows don’t harp too much on these social and political issues. It’s all subtle enough that you can simply enjoy entertaining stories about over-the-top heroes (and anti-heroes).

First Place:

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Daredevil, Season One

The first season is leagues better than the second. I think it’s because it doesn’t have to worry so much about leading into the Defenders crossover as its second season (AKA one of many problems Iron Fist had to deal with). The action in this season is arguably the best in all of the Defenders, with a prime example being the should-be-famous one-shot fight scene from the very first episode.

This first season also benefits from having characters who are smart. They generally make decisions which are well thought out and they speak in a manner that exudes some measure of intellect (this contrasts with the first season of Jessica Jones where people make decisions without thinking and communication is almost non-existent). The season also leans heavily on the charismatic Kingpin, played by Vincent D’Onofrio (I lay most of this out in my so-called review of the season from way back when).

Apparently, I like violence followed by pretentious dialogue.

Full disclosure: I may have a bias for Daredevil because I’m also a handsome attorney who spends too much time in a side hustle. He fights crime with his superhuman senses, and I sit around writing crap no one reads. It’s the same.

Bonus Note: Each Defender show uses the character’s designated color throughout their scenes: red for Daredevil, purple for Jessica Jones, yellow for Luke Cage, and green for Iron Fist. Although the colors are noticeable in Daredevil and Jones, I feel it’s not overdone. Yellow lights are pretty common in real life, so it’s all but unnoticeable in Luke CageIron Fist, however, totally flushes too much out with green. C’mon, Fist team.

 

 

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What’s this WB Writers’ Workshop?

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I realize I’m setting myself up for an unnecessarily public failure by posting this, but last Tuesday I submitted an application to the WB Writers’ Workshop.

The WB Writers’ Workshop is a program which takes writers looking to get into television, teaches them pretty much everything about being a TV writer and ultimately tries to find staff writings positions for the program participants. As I understand it, the program gets over two thousand applications a year and only has ten seats; it’s highly competitive.

The central piece of the application is the writing sample. At minimum, they want one spec script of a show on their approved list; and, optionally, you can include a second script (i.e., either an original pilot or a spec of another listed show).

When I decided to apply to the program in April, I set forth a plan: binge watch the second season of The Flash and write a spec about the adventures of Barry Allen; and, simultaneously, consider other shows for my second writing sample.

Weeks went by, and thanks to work (and my one-hour-each-way commute), I’d only watched five episodes of The Flash and hadn’t written a single word. On top of that, I had yet to choose a second show. At the start of May, I looked at the program’s website again and realized the list had been updated.

Marvel’s Daredevil was an option.

I changed my plans. Rather than attempt to catch up on The Flash, I went with Daredevil, a show I enjoyed (well, the first season more than the second) and was entirely caught up on. Also new on the list was another Netflix Original, Aziz Ansari’s Master of None, and I had that queued up to be the subject of my second spec.

My first step in writing a Daredevil spec was re-watching the latest episode and reading up on the character’s comic book rogue gallery to find a proper villain. It took me at least a full week (again, thanks to work and other obligations) to finally decide on a villain. When it came to the weekend before applications were due, I only had ten pages of script: less than 25% of what I needed. So writing a second spec was out of the question, and I focused entirely on Daredevil.

Around 11:30 P.M. on May 30th, the night before the submission deadline, I had twenty pages done. As a break from writing, I logged onto the writing program’s submission page. There, the submission deadline was stated to be at 11:59 P.M., May 30th.

I was screwed. I had less than half my script finished, and only half an hour until the cutoff time. I gave up.

Within minutes, I received an email from my supervising attorney for whom I’m doing contract work at a fancy high-rise office in Downtown Los Angeles. He wanted me to come in the next day to handle a quick assignment. I told him I’d be there.

As I sent the email, I tried to reconcile the different deadlines on the program’s website. The login page said it was due before midnight on the 30th, and the information page said it was due at 5:00 P.M. on the 31st. I decided one of these was a mistake, and it was likely the earlier deadline was wrong. If so, I could sleep, go to work, and finish the rest of my script before 5 o’clock.

Sure enough, the next morning, I checked the program’s Facebook page which reiterated that the submission deadline was at 5:00 P.M. on the 31st.  I still had hope. However, I couldn’t start writing again until I drove from Orange County to Los Angeles and finished my work assignment. I got to the office at 7:00 A.M., did my job, and finally got back to my script.

Five or so hours later, at around 3:00 P.M., I had an unpolished spec script done. In order to submit my application to the program, though, I needed to print and sign a release form. And, in order to even print the form, I needed to upload my script. So I uploaded the damn thing as it was, emailed the release to myself and headed down to the nearest FedEx to print it. There, I was informed that this particular FedEx did not have a scanner. So then I had to run to the next nearest FedEx, two city blocks away in the Westin Bonaventure Hotel. After scanning the signed release, I picked up my first meal of the day from McDonald’s and went back into my office and submitted my application at around 4:30 P.M.

All of that, and I am 99% sure I am not getting into the WB Writers’ Program.

Yep.

My script is slightly shorter than average and barely more than a first draft, it would be a wonder if I beat out 2,000 other applicants. Still, I learned a lot about writing television scripts, and a valuable lesson: get $@#% done early. Time to plan for next year.

So, I Binge-watched Daredevil on Netflix

Daredevil Promo ImageMarvel has been knocking it out of the park with just about every addition to the Marvel Cinematic Universe. Netflix has done similarly with their lineup of original series. Daredevil, which is part of the MCU as well as a Netflix original series, is no exception—the show is good.

For those unfamiliar with the Marvel character, Matt Murdock is a blind lawyer who uses his other heightened senses to moonlight as a masked vigilante. Matt has a sort of radar sense that gives him great awareness of his surroundings (e.g., placement and movement of objects, people’s heart rates and body temperatures).

It’s satisfying to watch the titular character flip around and kick countless amounts of asses. Beyond the physical action, there’s plenty of character development and non-combat tension. What I found impressive was the show’s success in developing the antagonists which sometimes left me rooting for the bad guys. As it should be, however, I ultimately wanted Matt Murdock to prevail.

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