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The defenders episode 1

Postby Mauktilar В» 07.04.2020

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Set in the Marvel Cinematic Universe MCU , it shares continuity with the films of the franchise and is a crossover event for a series of interconnected shows from Marvel and Netflix.

Development began in late , with Cox the first actor cast in May Petrie and Ramirez joined as showrunners in April, after doing so for the second season of Daredevil. Petrie left with the start of filming, which took place in New York City from October to March Cinematography and design work established the different color palettes from the characters' individual series, and combined them as the team is formed.

Critics were mostly positive about the crossover, highlighting the dynamics between the different Defenders as well as Weaver's performance, but were generally disappointed with the overall story, pacing, and the use of the Hand as villains.

Third-party analysis indicated that the miniseries was the least-viewed Marvel Netflix series and had the largest week-over-week drop in viewership of them all, though it was the third-most " Binge Raced" series globally at the time of its release according to Netflix.

In October , Deadline Hollywood reported that Marvel Television was preparing four drama series and a miniseries, totaling 60 episodes, to present to video on demand services and cable providers, with Netflix , Amazon , and WGN America expressing interest.

So the idea of taking the concept and name and applying it to [the Marvel Cinematic Universe MCU ] feels wholly natural" adding that Marvel has "a wonderful concept" behind why the group would form in the MCU and why they would be called the Defenders. In April , Marvel announced that Douglas Petrie and Marco Ramirez, the showrunners for the second season of Marvel's Daredevil , would serve as showrunners and executive producers on Marvel's The Defenders. Clarkson , director of the miniseries' first two episodes, also serves as an executive producer on the first episode.

Rosenberg said that she and the other showrunners "felt really included in the process". Loeb explained, "We got to a point where the scripts were done, and we wanted Marco to continue, and Doug pursued other avenues.

By late May , Petrie and Ramirez had turned in a completed story for the miniseries, [58] based on a "very bare-bones structure" from Loeb. Ramirez and Petrie wanted the project to feel earned, grounded, and topical like the individual series, rather than "a corporate mandate".

Choosing an antagonist for the miniseries was another challenge, according to Ramirez. They settled on the overarching organization of the Hand, [64] and have the characters following individual investigations that lead them to converge on the same location. This includes her mentor Stick and the miniseries' apparent central antagonist Alexandra, whom she both murders, as well as Daredevil. Ramirez said that the theme of "having to embrace the identity you want" also applies to the four Defenders.

He added that Elektra murdering Alexandra made more sense than one of the Defenders doing it, as the writers felt that none of the Defenders were "particularly" murderous and would have to be pushed into doing it. Regarding where the miniseries leaves the Defenders, Ramirez compared their relationship to "people who were on the same bus when it got in an accident The nun calling for "Maggie" is an implied reference to Murdock's mother , [65] [66] which Ramirez would not confirm at the time of miniseries' release.

He did note that this scene along with several others from Daredevil's story in the miniseries was a direct homage to the comics, and that this panel from "Born Again" was one of his favorite Daredevil panels. At New York Comic-Con in October, Sigourney Weaver was announced as playing the main antagonist of the miniseries, [29] later revealed to be Alexandra. Director S. Clarkson, cinematographer Matthew J. Lloyd, production designer Loren Weeks, and costume designer Stephanie Maslansky worked together to create distinct color palettes for each of the characters, maintaining the looks from their individual series, rather than attempting to blend the looks of all the different series for the miniseries.

The series' title sequence, designed by Elastic, [69] evokes the work that the company did for the series True Detective by recreating the characters of the show out of elements of its setting: the sequence depicts the four Defenders out of colored topographical maps of New York City, showing the different areas of the city that each of them come from.

Clarkson, who also directed for Jessica Jones , said that series is "very dark and very steely and very blue" while Daredevil focused more on red, and so these were emphasized early on. When Murdock and Jones meet, they are in a "steely gray-blue" room to indicate that it is Jones's world, with Knight there wearing a Luke Cage -appropriate tan color, and Murdock entering and letting red into the room to show the connecting of the two characters. Clarkson was inspired by New York-set films such as The French Connection , Shaft , and Serpico when establishing the look of the miniseries.

Lloyd began work on the miniseries several weeks before the start of filming, taking the development work that Clarkson had already done for the project and refining it; he avoided pushing the different colors so far that they made the scenes look unrealistic, [71] and noted that red can be an overwhelming hue on camera so limited this for the Daredevil scenes by just using it as an accent. He also had to create different color grades for the high dynamic range and standard dynamic range versions of the show that are released on Netflix.

After her work on Jessica Jones , Clarkson was most comfortable working in that more grounded world and instinctively knew what lighting and camera angles to use. She was less comfortable with the world of Iron Fist and portraying the more mythological elements of that series. During pre-production on The Defenders , filming on Iron Fist was taking place.

When a director from that series was not available to return to the production to reshoot a scene, Marvel asked Clarkson to direct the new take. Clarkson found this experience "incredibly valuable", giving her a chance to work with Jones and experience the tone of his series ahead of the beginning of filming for The Defenders. Maslansky, who designed the costumes for the previous Marvel Netflix series, [74] had the choice between designing for The Defenders or the first season of The Punisher due to a scheduling conflict between the two productions, and chose to work on The Defenders so she could create the culmination of all her work on the previous series.

Maslansky felt that the full tracksuit was "very '70s, a little too wise-guy, Italian mafia", and so designed a track jacket that used the classic design and colors of green with gold stripes, and paired it with cargo pants. For Alexandra and the Hand, the executive producers suggested the color white as a repurposing of the phrase "the light at the end of the tunnel" given the group are immortal supervillains.

Alexandra's costumes also feature metallic elements to suggest that she was more of a warrior in a past life and has that "fierceness or a power within her". Marvel announced in February that the miniseries would be filmed in New York City, [81] with Marvel Comics' editor-in-chief Joe Quesada stating in April that the show would be filming in areas of Brooklyn and Long Island City that still look like the old Hell's Kitchen , in addition to sound stage work.

Lloyd was the primary cinematographer for The Defenders , but McMillan is credited for several episodes on which he did the most work. Lloyd described the production of the miniseries as being more similar to a film than the previous Marvel Netflix television series due to the scheduling requirements of the larger cast and the fact that episodes would not always be shot in order due to location requirements. The schedule also demanded more days per episode for filming, so the overall production was not as significantly shorter as Lloyd had expected given the episode count is lower than the usual Netflix order of Lloyd shot the miniseries with the RED Weapon camera.

The use of these lenses created issues for the series' camera team and created supply issues with Panavision, with Lloyd noting that though the use of lenses such as these are popular, they "do not make life easy". So, for the rest of the miniseries Lloyd returned to the modern Arri Master Prime lenses that he had used on Daredevil , which he said did not create a significant difference in look for the miniseries. The miniseries used a lot of steadicam work, so much that they essentially had two A-camera steadicam operators working simultaneously.

Clarkson also planned out multiple cinematic "hero" shots which required complex camera movements and a lot of technocrane work.

Clarkson tried to have as much individual time with each hero as possible to help the audience understand who each character was if they had not watched all of the individual series.

Clarkson said on this, "I tried to do transitions that connected them Clarkson looked to film the action sequences in the different ways that the other series had, such as the "incredibly choreographed and For Cage, Clarkson felt that he is "this solid, central figure that is bulletproof, is unbreakable", so she often filmed him with a static camera or steady camera, while Iron Fist was filmed in a lot more movements and with handheld cameras.

The fight between the two, in the second episode, combined those two styles. Additionally, he noted the different stunt team and directors for The Defenders allowed for improvements to be made, calling the choreography of the miniseries' action "a lot slicker" and more cohesive.

They generally had a day to learn a fight, but choreography would also be changed on set. In February , John Paesano was announced as the composer for the miniseries, after previously composing for the first two seasons of Daredevil. His score, which was a hybrid of synthesizers and a piece orchestra, borrows the "color" of each character's themes from their individual series "to remind viewers of their individual personalities". The scene establishes Alexandra to be "a Brahms aficionado". The composer's First Symphony is then heard as the leaders of the Hand prepare to attack the Defenders in the miniseries' fifth episode.

Finally, Alexandra listens to a defective recording of Brahms' Tragic Overture. A soundtrack album featuring Paesano's score was released digitally by Hollywood Records and Marvel Music on August 17, All music composed by John Paesano: [].

Midland Circle, where the four Defenders all initially meet, was previously mentioned in the first and second seasons of Daredevil and the first season of Iron Fist. Ramirez said that after showing the Hand purchasing the building in the first season of Daredevil , and introducing the hole they were digging in Daredevil ' s second season, it was up to the writers on The Defenders to decide what would be in the whole.

Ramirez felt that having the skeleton of a dead dragon be the source of the substance the Hand sought was the best way to tie the different series together, including because it references the first season of Daredevil where Gao sells a drug made from crushed dragon's bone.

The Defenders was released on August 18, , on the streaming service Netflix, worldwide, [] in Ultra HD 4K and high dynamic range. At the San Diego Comic-Con , a teaser trailer was shown featuring the word "Defend" forming from pieces of the logos from the four previous series over "the ominous shape of a giant hand", along with Glenn providing a voice over as Stick, asking how the four heroes plan to save New York when they cannot save themselves.

In April , series' release date was revealed via a teaser trailer designed to look like security footage showing the four Defenders inside a Midland Circle elevator. The teaser also featured a hidden URL which led to a faux website for the New York Bulletin featuring "plenty of easter eggs and little details". Nicole Sobon of Comic Book Resources felt releasing these this way was "a smart marketing move by both Marvel and Netflix, as over the course of the years, the Twitter accounts [for each series] have managed to drive in plenty of fan interaction by their 'conversations' between the characters".

Jumpshot, which "analyzes anonymized click-stream data from a panel of more than million internet consumers", looked at the viewing behavior and activity of the company's U.

Netflix viewers who watched at least one episode of the season. The data excludes viewing that occurred on Netflix's connected TV or mobile apps. Netflix defined "Binge Racers" as viewers who watched the entire series within 24 hours after its release, and that data accommodated "for time zones and is reflective of a show's launch within 24 hours of a country's release".

The company did note in their announcement that the "Binge Racing" ranking had "no relation to overall viewership". The site's critical consensus reads, " Marvel's The Defenders further develops well-known characters in an action-packed arc whose payoff packs more than enough of a punch to offset its flaws. The early screening of the first episode at San Diego Comic-Con was met by "applause throughout" from the crowd.

Tracy Brown of the Los Angeles Times noted after "a quick refresher on where each hero's solo story left off She added that the episode included elements expected for a Marvel Netflix series, and concluded with a binge-watching-appropriate cliffhanger. He highlighted the use of color throughout the episode to differentiate the characters.

Reviewing the first four episodes of the series, Katharine Trendacosta for io9 appreciated the writers for addressing the questions viewers wanted answered and depicting moments that fans wanted to see without "sacrificing the characters or the story". She did criticize the amount of exposition, the unoriginal story, and the "over-the-top" villains, but felt that "the good of The Defenders far outweighs the bad He praised the fact that The Defenders was only 8 episodes long, compared to the 13 of previous Marvel Netflix seasons.

However, he felt it falied to "up the ante story-wise", and was disappointed that Weaver's Alexandra was "yet another businessperson baddie whose dirty deeds are hidden by sharp suits". Collider ' s Allison Keene also gave the miniseries 3 stars out of 5. She felt some of the solo series issues such as pacing and narrative choices were still present, but there were still elements to enjoy including Jessica Jones and the banter among the heroes. Keene felt that the pacing issues improve once the Defenders finally unite.

She criticized the focus on Rand's company, and also said that the miniseries felt less like a culmination or ending than she would have liked. However, he felt that the pacing of the four episodes reviewed was "yet another Netflix ultra-slow burn". He saw this improve once the four heroes meet in the fourth episode, and hoped that in the second half of the season "both [the] show and team could justify their existence as something more than a package Marvel put together years ago in the hopes everything would work out".

Lawler felt Rand was the "undeniable handicap" of the series, having hoped that " The Defenders would shy away from Danny and his petulance, but unfortunately, Iron Fist is integral to the larger plot".

She also felt the series had pacing issues, and said the Defenders as a group "lack chemistry". Lawler felt Weaver was "a bright spot" but concluded "viewers who were attracted to one or more of the Netflix series for their unique perspectives will be disappointed" by The Defenders. Krupa pointed out the pacing issues and described the Hand as "an ill-defined, confused and confusing antagonist" that did not compare favorably to previous Marvel Netflix villains such as Wilson Fisk , Kilgrave , and Cornell "Cottonmouth" Stokes.

Krupa did call the chemistry between the main characters "excellent", and praised Yung as providing "the most credible and emotionally-rich villain" in Elektra. The highlight of the miniseries for him was the Chinese restaurant scene in the fourth episode.

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Postby Yozshur В» 07.04.2020

Krupa did call the chemistry between the main characters "excellent", and praised Yung autism normal providing "the most credible and emotionally-rich villain" in Elektra. Archived from the original on July 6, We begin in Phnom Penh, Cambodia. The Washington Post. On a Rand jet, Danny washes his face before hearing voices.

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Postby Mikam В» 07.04.2020

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Postby Akinor В» 07.04.2020

Hopefully, Cole was wrong when he told Luke defenders was too late for heroes, because this earthquake is definitely the call to action. The nun calling for "Maggie" is an implied reference to Episode mother[65] [66] which Ramirez would not confirm at the time of miniseries' release. Full Cast and Crew. Matt Murdock, Jessica Jones, Luke Cage and Danny Rand investigate criminals and fight injustice, unaware their paths are about to cross. I'm optimistic I'll enjoy wpisode more as I catch the rest of the series.

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Postby Mumuro В» 07.04.2020

She did criticize the amount of exposition, the unoriginal story, and the "over-the-top" villains, but felt that "the good of The Defenders far outweighs the bad Retrieved February 26, chemical March 24, element Lawler felt Weaver was "a bright spot" but concluded "viewers who were defendrrs to one or more of the Netflix series for their unique perspectives will be disappointed" by The Defenders. Rachael Taylor as Trish Walker.

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Postby Faetilar В» 07.04.2020

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Postby Gurr В» 07.04.2020

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Postby Kedal В» 07.04.2020

Archived from the original on Episode 17, Keene felt that the pacing issues improve once the Defenders finally unite. On the plus side, the glacial pace of the plot is defenders than compensated for by the star power of the cast. A knock on the door brings Misty Knight, who asks him to decenders a walk with her. Douglas Petrie Marco Ramirez.

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Postby Faugis В» 07.04.2020

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Postby Nishura В» 07.04.2020

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Postby Yozshusida В» 07.04.2020

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