“Rectify” Is a Quiet Marvel

> Daniel was convicted of a brutal but ambiguous crime. Now that he’s out of prison, everyone wants clarity. Credit Illustration by Tomer Hanuka In the first episode of “Rectify,” Daniel Holden (Aden Young) is released from death row, and he gives a speech to journalists and protesters gathered outside the prison. Rather than assert his innocence or talk about justice, he offers a zigzagging meditation on the nature of fatalism. “I had convinced myself that kind of optimism served no useful purpose in the world where I existed,” he explains, in an underwater monotone, as the protesters look on, baffled. “Obviously, this radical belief system was flawed and was, ironically, a kind of fantasy itself.” Humbly, as if ending a philosophy seminar, he concludes, “I will seriously need to reconsider my world view.” For three years, “Rectify” has been a small marvel, an eccentric independent drama, filmed in Griffin, Georgia, and airing off the beaten track as well, on Sundance. With its skewed insights into carceral cruelty, “Rectify” took the slot that “The Wire” used to occupy: it’s the smart crime drama whose fans have trouble persuading others to watch, because it sounds too grimâ€"or maybe too good for you. It’s a frustrating dynamic that has haunted other dramas without cowboys or zombiesâ€"“The Leftovers” and “The Americans” come to mindâ€"but “Rectify” ’s reputation for difficulty is misleading. The show’s dreamy pace makes it a satisfying high, like a bourbon-soaked bob down a river on a humid day. It’s a show about the way that time gets distorted; it’s one that distorts time, too. As with many structurally daring series, it’s joyful, because its insides match its outsides. It’s also, more straightforwardly, a gothic mystery about small-town secrets. When Daniel was in his late teens, he was convicted of the rape and murder of his sixteen-year-old girlfriend, Hanna. He served nineteen years, most of them in solitary confinement. The crime itself was a foggy, ambiguous incident that involved psychedelic drugs; two boys testified against him, and, under pressure, Daniel confessed. DNA cleared him of the rape but not of the murder, so plenty of localsâ€"and, at times, Daniel himselfâ€"suspect that he did it, because he was found cradling Hanna’s naked corpse, which he’d decorated with flowers. But Daniel’s younger sister, Amantha (Abigail Spencer), never lost faith in his innocence, and she’s been sleeping with the liberal Jewish lawyer she lobbied to work on his behalfâ€"the big-city Reuben to her Norma Rae. Everyone involved wants clarity, now that Amantha’s faith has paid off. No one gets it. The murder case is reopened and leads down alarming paths. Few people want to face the uglier facts, including the knowledge that Daniel was raped in prison, multiple times. While he was on death row, his father died and his mother remarried, so he has two new stepbrothers, Ted, Jr., and Jared, who is still in his teens. In some ways, Daniel is himself an adolescent, prone to self-indulgent, self-destructive whims. In isolated Paulie, Georgia, he’s a distinctly odd figure, a socially awkward autodidact who meditated and read obsessively in his cell. He speaks in an off-kilter, whispery style, making even sympathetic neighbors uncomfortable. His mannered intellectualism marks him as an outsider, queer in several senses, as much as any suspicions of criminal guilt do. The one person who truly gets him is Ted, Jr.,’s wife, Tawney, a sweet born-again Christian who is desperate to save Daniel, and with whom he develops a dangerous chemistry. Their flirtation takes place, however, largely through elevated conversation about Thomas Aquinas and Buddha, forgiveness and humility. And, in fact, a lot of the pleasure of the show is in the dialogue, which favors the stuff that Daniel jokes is not “gallows humor” but “lethal-injection humorâ€"it’s more humane but less funny.” “It felt good to use the telephone that wasn’t smarter than me,” Daniel tells his sister, about a pay phone. His companion on a road trip tells him, “Everything that happens between men and women is written in mud. And butter. And barbecue sauce. Paula Deen said that to me in a dream I had one time.” Ted, Jr.,’s boozy koan: “First you hate it. Then you like it. It’s called beer.” While the talk takes its time, the plot moves fast. The first season covers six days in six episodes, and climaxes in two crimes, one committed by Daniel, one against him; by the fourth and final season, currently airing, only a few months have passed. Several of the best episodes are one-offs, featuring characters we never meet again. In one, Daniel drifts into the orbit of an antique dealer named Lezlie, a Pan-like anarchist, who invites anyone who is not a gentrifying yuppieâ€"the class he regards as ruining Paulieâ€"to party at his ramshackle house. In another, Daniel gets a ride from a stranger and steals some goats. There’s a strong sense in “Rectify” that, when your memory has been rendered spongy and your safety shattered, each event might last forever or be gone in a flash. Perhaps the standout episode is “Donald the Normal,” from Season 2. In it, Daniel finally leaves town. He takes a bus to Atlanta, then puts on nice clothes and goes to a museum to see a beautiful painting that he knows only from a book. Throughout “Rectify,” the claustrophobically close-knit Paulieâ€"where the local waitress sleeps with both Daniel and the politician who framed him, and where Hanna’s brother glares at Daniel’s family in the supermarketâ€"is portrayed as near-enchanted in its isolation. Any mention of a larger Southern city (even from the former Atlantan Amantha, who has a liberal hipster’s condescension for her home town) makes it sound as distant as Mars. At the museum, Daniel is approached by an attractive older woman, played by Frances Fisher. “What do you think?” she asks. “I think I’ve looked at this painting in a book for so long that somehow my brain has trivialized it,” he says. “And as I stand here in front of the real thing I feel, if anything . . . disappointed.” She’s charmed by the alien quality that others find so creepyâ€"his formal speech, his lack of boundaries. She invites him to lunch with her book-club friends. These are sleek, rich city women. He tells them that his name is Donald and that he owns a bookstore in Alabama. This experiment in reinvention falls apart fast. Daniel has cuts on his forehead and cheeks, the remnants of a beating that put him in a coma. And, bright as he is, he can’t improvise a life he never had. He finds himself faking a conversation about a book he hasn’t read, something with a “pitiful” protagonist. “This bread, um, is excellent,” he says, trying to change the subject. “The panini bread?” one of the women asks. “Yes, um, the pallini bread,” he responds. “It’s . . . unusually fresh.” It’s a heartbreaking slip, a class error that locks him out of a whole world. The book-club women get into a conversation about a story that Daniel >has read, Tobias Wolff’s “Bullet in the Brain,” and which he’s memorized. His lunch companion can’t believe it: “It would be torture to memorize.” No, he explains: it was a calming task, back during “a period in my life when I was having some difficulty dealing with the passing of time in a traditional sense.” Because Wolff’s story deals “with the bending of time,” memorizing it helped him bend time as well. References like this get at the show’s fearlessness in taking art seriously, not merely as a distraction but as a bridge between strangers, a way of reframing the world. Still, it would be an exercise in solipsism without the larger, more grounded ensemble, particularly Daniel’s opposite number, Ted, Jr., who becomes both his bully and his victim. As played by Clayne Crawford, Ted is a strutting, insecure shit-kicker, a high-school tough kid gone to seed. A salesman at the family car dealership, he’s the yuppie type Lezlie disdains, or, at least, he aspires to be: he and Tawney share a McMansion decorated in pastels. When the bank won’t give him a loan for a sketchy scheme involving leasing auto rims to black customers, he mortgages the house, despite Tawney’s resistance. When things fall apart, he gets scary. In another story, Ted might be a cartoon villain: the abusive husband who, at one point, confesses to something so close to date rape that it’s a distinction without a difference. (Crimes on “Rectify” are like that: violence so ordinary that no one reports itâ€"and, when someone does, the justice system makes it worse.) But the show sees Ted’s side, too. Like Daniel, he is a man humiliated by loss of control, with few coping skills when he’s been abandoned. In “Rectify,” anyone who feels something for others, however painful, must be redeemable. In the final season, Tawney and Ted, Jr., go to therapy, heading toward divorce. Daniel, who has been legally “banished” to Nashville, lives at a halfway house and gets an artist girlfriend. The crime is on the verge of being solved. If “Rectify” has a flaw, it’s one that so many humane shows develop in their final stretchâ€"a Tawney-like desire to save everyone, simply because these are characters we’ve loved for years. In one scene, Amantha, recognizing that an old enemy is helping solve the mystery of Hanna’s murder, asks, “Is there anyone left to hate?” Daniel wryly refers to himself as Humpty-Dumpty, but he’s often more like Kimmy Schmidt: he’s strange not because his capacity for wonder has been shut down but because it’s almost too open. As the finale approaches, it’s not the show’s problem that I’ve found myself wanting some ugly to stay ugly. Perhaps I will seriously need to reconsider my world view. >♦ "

| “Rectify” | Quiet | Marvel |

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‘Deadpool 2' To Introduce New Marvel Character, Ryan Reynolds Reveals More : Culture : iTech Post

First Posted: Dec 09, 2016 01:16 AM EST

Ryan Reynolds has revealed updates on the awaited sequel to "Deadpool". He also further hinted that Domino and Spider-Man might just be in the upcoming Marvel movie. Credit:The Superhero Podcast/YouTube

Entertainment Weekly has just hailed actor Ryan Reynolds as the entertainment of the year for the various movies he has starred in 2016. One of his notable projects was, of course, the breakthrough movie, “Deadpool”. The said actor dishes out on the sequel and the possibility of a new Marvel character being introduced.

“Deadpool” was the film that redefined the world of superhero movies after delivering a successful portrayal of one of the most popular anti-hero protagonists in the Marvel universe. The movie did so well in the box office that it shattered records as it earned a total of $782.6 million against a production budget of only $58 million. It became the seventh highest grossing movie in the world for the year 2016 and surpassed the records held by “The Matrix Reloaded” and “X-Men: Days of Future Past”.

With such success, it was no surprise that a sequel would be in the works. The sequel to “Deadpool” was confirmed in April 2016 by Fox and also revealed that Ryan Reynolds and T.J. Miller will return to reprise their roles. Reynolds further shed light on the sequel just recently and said that “Deadpool 2” is still in the development stage but it is about to move into production.

He also revealed that the production team was looking into introducing a new Marvel character, Domino in the sequel. Domino, also known as Neena Thurman, is a telekinetic female mercenary who had a rough past after being experimented on to become a super soldier like Captain America. Surviving the experiment, she gained powers, became a mercenary, and joined the X-Men.

Deadpool and Domino first met in the comics “Deadpool” Volume 3 No. 16-17 when X-Men was considering to offer Deadpool a spot in their group. In the comics, Deadpool tried to join the group but Cyclops who was skeptical of him refused him and even went through the trouble of sending out Domino to kill Deadpool. This edition showed a whole new side of Deadpool actually impressing mutants so he can be part of X-Men.

Though this has not been confirmed yet, it would be great to see another new Marvel character, let alone a female superhero being introduced. It has been reported that as of October 2016, several actresses have already auditioned for the role of Domino. This evidently leads up to a conclusion that Domino will most likely appear in the sequel.

It was also recently reported that producer Simon Kinberg has also talked about the possibility of a crossover featuring Spider-Man. The Marvel characters had met a few times in the Marvel universe comics and they share an interesting friendship. With a new Spider-Man movie in the works, which has been titled “Spider-Man: Homecoming”, this idea might not be farfetched at all. Besides, Marvel has always been on making crossovers to improve storylines and attract more viewers.

Aside from that, Kinberg also said just last month that the “Deadpool” sequel is looking into assembling the X-Force team. More details and the release date of “Deadpool 2” has yet to be announced. Meanwhile, actor Ryan Reynolds, who plays the role Wilson Wade and his alter ego Deadpool, is currently working on two movies slated for 2017.

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Creators & Details On Marvel's CABLE Ongoing From X-MEN RESURRXION Line

By Chris Arrant, Editor December 7, 2016 01:43pm ET

Credit: Marvel Comics

Credit: Marvel Comics

The creative team and plot for the 2017 Cable ongoing series has been announced by Marvel. One-time Cable writer James Robinson is returning to the title, with veteran illustrator Carlos Pacheco, in what is the sixth (and final, for now) X-Men book coming as part of the new "ResurrXion" joint line with the Inhumans.

The big conceit of the new Cable book, according to Robinson, is Nathan Summers' expertise as a time traveler, with 'timesliding' as 1990s readers will recall.

Credit: Marvel Comics

"One of the things about Cable is he’s a 'time warrior.' Time travel is part of his make-up in almost every aspect of his history - no pun intended," said Robinson. "This series will be Cable on a race against time to fix time. The reason Cable must take on this quest will reveal itself as the story and mystery unfolds, but he’s doing it for the sake of the Marvel Universe, which will fall apart if he doesn’t take action. And in the course of Cable’s mission, we’ll see him in a lot of great time periods like 15th century Japan, WWI, the Stone Age, Victorian England, and on and on, all with those time periods made more crazy and sci-fi by time being fractured by the villain of our series."

While the X-Force founder has had numerous enemies over the years, Cable's first big bad is someone new.

"This series, while not throwing out any of Cable’s past, will focus on him as a character for new readers as well as old ones. The villain is a new character simply named Conquest. He’s a technocrat from a future where he’s worked out how to manipulate the butterfly effect of times past to make his reality perfect for his wants," Robinson said. "That ripple effect has changed the present. Cable has to stop Conquest. Conquest has no intention of being stopped and intends to use all that history has to offer in terms of warriors and villains to stop Cable at each stop our hero makes  in time."

This new Conquest has no connection to the previous Marvel villain of the same, who appeared Avengers/JLA and Thor. One piece of history that Robinson is keeping in mind for Cable, however, is his short run on the character in 1997's Cable #44 - #50. Although its nigh on twenty years since it occurred, Robinson remembers it vividly.

"I remember a great deal actually. I had been invited to a summit by the Marvel powers-that-be at that time. I didn’t have a Marvel book then and was invited just to contribute ideas. It was a lot of fun, sitting down with Chris Claremont, Kurt Busiek and others, planning the new storylines, and it definitely made me want to get on a book and stay a part of Marvel at that time," the writer said. "To an outsider, at that time Marvel seemed to be a place with two fiefdoms. One was the main Marvel characters and the other was the world of X-Men. The two worlds were really apart with many fans only collecting X-books and the continuity being quite separate from the main Marvel U. to accommodate them. I saw Cable as a character that was lost in his own ever-more convoluted back story, and thought it would be great to have him (very much a lone wolf like Logan) as a crossover character that could operate in both the X-world and the main Marvel worldâ€"a tired old warrior who’s trying to keep the present day in line and make sense of it for both mutants and humanity."

Robinson said he's returning in part to make up for his abbreviated first run with the character.

"Honestly, leaving Cable when I did was one of the regrets I’ve had with my career. I was overwhelmed with life outside of comics at that time and so I just felt it was one book too many to write," said Robinson. "My leaving helped Joe Casey get a good footing in the industry, which is a great thing, but part of me has always regretted not muscling through and staying on the book for longer. So, when my friend Mark Paniccia recently got the X-books to oversee, we began talking about something for me to do there. Cable’s name came up and an idea began to form almost immediately. And so here I am."

Cable is expected to debut in spring 2017.

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Iron Fist 'is no white saviour' in Netflix's newest Marvel show

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Thursday 8 December 2016

Game of Thrones actor Finn Jones enters the Marvel Cinematic Universe as Iron Fist

Netflix

WIRED recently visited the set of Marvel's Iron Fist, observing how Netflix shoots and converts a show for 4K HDR video quality.

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While behind the scenes, we spoke with Iron Fist showrunner Scott Buck and Allie Goss, Netflix's vice president of Original series. Here, the creators discuss the genesis of the series, controversy over the casting, and the impact of Marvel's superheroes.

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Iron Fist is the fourth of the originally announced Marvel series, following Daredevil, Jessica Jones, and Luke Cage, and leading into team-up series The Defenders. While the heroes chosen for the crossover are all "street level" characters, Iron Fist himself is the most supernaturally tinged.

Power-wise, he's no Thor, but Danny Rand â€" Iron Fist's secret identity - did grow up in a mystical realm known as K'un-Lun, where he trained in martial arts and fighting skills long lost to the mortal world. He eventually gained the power and title of the Iron Fist; the ability to channel his chi into explosive strikes. Don't expect to see too much of that backstory laid bare in the first season, though.

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"The mythological aspect, we sort of keep as a mystery that lingers throughout the series. We haven't fully explored it in this first season," Buck tells WIRED. "We approach Danny Rand as a person, and try to see the world through his eyes. As for the flashiness of the fist, it's dealt with in what we hope is the most realistic way possible.

Colleen Wing (Jessica Henwick), Danny Rand, and recurring Marvel supporting character Claire Temple (Rosario Dawson) are the core trio of Iron Fist

Netflix

The mythological aspects of the character could have made him the hardest character to fit into the mix â€" and indeed, is probably the reason Iron Fist was last in the line-up to debut, giving the creators longer to get their approach just right. For Buck, it was Danny Rand's personality that appealed most, though, as well as the opportunity to explore who he is after he returns to present day New York after being presumed lost and dead for decades.

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"To me, when I first encountered the character, it seemed to me like these were not the greatest super powers in the world. Like, 'all he can do is punch really hard?'," Buck recalls. "But that's sort of what appealed to me about it â€" he has this one gift, and he can use it some ways, but in the rest of [his] life, it's just not all that significant."

"[Danny's] greatest gift is just his martial arts skills, and that's not a super power â€" that's something he struggled for and earned by training day and night throughout his whole childhood," he continues. "So from that perspective, we do try to keep it very real and grounded."

From Goss' perspective, the human side of the characters is what's been most important about the Marvel shows Netflix has produced so far.

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"What we've strived to do together, both on this show and prior, is just to tell a great character driven story first, and a superhero story second," Goss says. "We don't want to downplay powers or abilities, or the fact these characters are derived out of comics and graphic novels â€" that's what's so special about them. But we want to expose them in a way where you really get to see the character's story, that's a little more aimed towards adults and explores these people in a way beyond just the 'superhero'. That feels a little generic, given how deep these characters have the ability to be."

The capacity of the comics to tell compelling, character-driven stories first and super-powered fables second was what originally impressed Goss about the source material. Discovering there was such depth to them initially came as a surprise.

"I remember when I first started reading comics years ago, I literally called a friend who was into them and I was like 'oh my gosh, these are just good stories!'," she says. "I didn't realise that, but once you get into it, they're rich full characters with so much to explore."

Jessica Henwick's Colleen Wing is a long-time ally of Iron Fist in the comics - a skilled swordswoman and renowned martial artist in her own right

Netflix

Long-time comics fans are well aware of that depth, and the decades of continuity that some characters have. It's a trick the Netflix Marvel shows have been employing since the first season of Daredevil, where packets of drugs being distributed by crime lord Wilson Fisk â€" the Kingpin â€" bear the insignia of the Steel Serpent, one of Danny's major foes from the printed page.

"Sometimes things are done because they're fun, just drop them in and go 'Eh, the next series will figure them out!'," Buck says of the continuity between the series. "There's a bit of that, but I do speak to the other showrunners, and because we are leading into The Defenders, we have to leave our show in a very specific place [but] we do plant seeds and stories that will then come to fruition."

Ultimately, each series also needs to stand on its own merits though. Buck continues, "there does have to be a lot of co-operation between the different groups but other than that, we work distinctly by ourselves."

Beyond 4K: Netflix lets us in on plans to push the HDR revolution - starting with Iron Fist

Beyond 4K: Netflix lets us in on plans to push the HDR revolution - starting with Iron Fist

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The production of Iron Fist hasn't been without controversy, though. Aside from ill-founded rumours it had been cancelled due to its challenging mythological aspects, supposedly being replaced by The Punisher in the pre-Defenders billing (instead, Punisher is getting his own show, spinning out of the events of Daredevil season two), there has been debate around the character's ethnicity.

Iron Fist was created in 1974 by writer Roy Thomas and artist Gil Kane, inspired by the popularity of kung-fu cinema at the time. While badly dubbed Shaw Brothers films filled American grindhouse theatres, the comic book industry reacted with colourful variants on the genre, including the likes of Bronze Tiger at DC and Shang-Chi, another Marvel character.

Iron Fist, proving books are more powerful than violence

Netflix

In translating Iron Fist to another medium â€" especially one already dominated by Caucasian characters â€" many fans suggested Marvel should reimagine Danny Rand as an Asian American hero, even giving rise to the trending hashtag #AsianAmericanIronFist. It was a complicated issue â€" ignoring fidelity to the comics, you're left with broadly two options; either you end up with an Asian character whose 'superpower' is kung-fu, hitting the all Asians know martial arts trope, or stick with a white character who somehow becomes magically better at kung-fu and saves the day â€" the Mighty Whitey cliché at best, the problematic white saviour syndrome at worst.

The character and his background was originally unknown to Buck before getting involved with the series.

"When Marvel came to me with this idea, I had never heard of Iron Fist or Danny Rand," Buck says. "I had never read the comics. What [executive producer] Jeph Loeb pitched to me specifically was this character, and that's what pulled me in, what intrigued me."

"The other aspects are things I've only learned about afterwards," Buck continues. "I can say definitively that Danny Rand is no 'white saviour'. He's trying to save himself, if anything."

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Ultimately, Buck and Marvel decided to stay true to the comics, while hoping to avoid the clichés. While the version of Danny Rand that viewers will meet when the series debuts in March will still be Caucasian, he may be different to the comics in other ways.

"One of the things that appealed to me about Danny was that even though there have been several comic books written about him, there wasn't this great big backlog of information or stories about him," Buck says. "It allowed us to be a little bit more creative and take a slightly different direction with this character."

"Also, if you do go back and read the Iron Fist comics, some of them show a completely different origin story from one series to another, and Danny is very different character in different comics. That gave us the freedom to create the character we specifically wanted to."

Iron Fist season one will premiere on Netflix on March 17, 2017.

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