Re: Marvel Cinematic Universe by Slider_Quinn21

Dude, James Marsters is 56 years old. I just found that out. I always knew that he was older than the others when he was on Buffy, but wow.

He's on The Runaways though, if you really want to see him on a Marvel series.


I never read a Punisher comic book, but I'm not sure that a version of that character could headline a TV series without some humanization. Not because of the violence and all of that, but because it would be pretty dull to see a character with no real dimension to him. He kinda came across that way in some of the Daredevil episodes, but even then, he had more depth to him as his story progressed.

Re: Marvel Cinematic Universe by Slider_Quinn21

Wolverine really isn't supposed to be male model youthful. He's old and grizzled and I can see both Hartley and Marsters playing different sides of the icon and creating a great character.

Re: Marvel Cinematic Universe by Slider_Quinn21

They released a teaser for the new season of Agents of Shield.

https://www.superherohype.com/news/4338 … er-is-here

All I'll say is....SMH.

Re: Marvel Cinematic Universe by Slider_Quinn21

I'm excited for it. All I ask is that we not make Informant watch it.

Re: Marvel Cinematic Universe by Slider_Quinn21

I just watched Episode 9 of THE PUNISHER's second season. Spoilers:




























The ending has Frank accidentally gunning down some innocent women when pursuing the villain. This is pretty much the same event in the MAX series that drove Frank to his death. And for the TV adaptation of this event, I'm calling BS on it. THE PUNISHER is determined to avoid controversy and moral ambiguity and any serious indictment of the TV Frank Castle, so I'm expecting this to be reversed with some less-than-shocking reveal that any corpses in that room were dead long before Frank fired on them.

However, it's a knee-jerk reaction and they're not always right. :-)

Re: Marvel Cinematic Universe by Slider_Quinn21

Watching Episode 10 and [spoilers]














Karen shows up in Frank's darkest hour and demands to know why he wasn't there for her in Season 3 of DAREDEVIL and shrieks at Frank that she was nearly impaled and repeatedly stared down gun after gun and people died right in front of her and WHERE WAS HE? Frank apologizes and says he wasn't on the call sheet for those shooting days and had his own show to star in.

No, I'm just messing with you, she doesn't even bring it up. Which has me assuming then that Frank was there, off camera. :-)

Re: Marvel Cinematic Universe by Slider_Quinn21

ireactions wrote:

I'm excited for it. All I ask is that we not make Informant watch it.

But....again?  We already did this.  I guess he's Loki now?

Re: Marvel Cinematic Universe by Slider_Quinn21

I have total trust in the AGENTS OF SHIELD showrunners. I rewatched the entire show a few months ago and saw them struggle through the restrictions of Season 1, create their own mythology in Season 2, rebuild their own version of SHIELD in Season 3, delve into the magic and reality-bending plots of Season 4 and leap into the future with brilliance and aplomb for Season 5 and with a drastically reduced budget. I think they are splendid and I have complete faith in their creativity and commitment.

**
So, Marvel-Netflix. I finished THE PUNISHER's second (and probably final) season and... it's fine, I guess. It's a Marvel-Netflix show and I've come to the reluctant conclusion that Marvel and Netflix have the completely wrong approach to superhero stories.

Like all Marvel-Netflix shows, THE PUNISHER has an excellent cast, thoughtfully scripted dialogue, gripping action sequences, expensive location filming and in-depth characterization. It also has entire episodes of characters standing around talking with no progress made.

THE PUNISHER has enough plot for maybe six episodes (Frank wandering and getting involved with Amy who is hunted by John Pilgrim; Frank returning to New York City to face Billy Russo; Frank and Amy confronting John Pilgrim). It's padded out to 13 through having the characters sit around having solemn conversations. However, the conversations are about the characters as opposed to THE DEFENDERS where the conversations were about "the substance" and "the city."

Frank, Amy, Madani, Pilgrim and Curtis have strong arcs that are unfortunately slow. Russo's arc with his therapist is awkward; Floriana Lima is a great actress who doesn't convey why Dr. Krista Dumont would shelter and bed a murderous psycho and upend her life as a successful health care professional.

The script indicates that Dr. Dumont has sadomasochistic tendencies, but Lima either by decision or direction, plays her role as very rigidly in control with only brief glimpses of madness, so brief it's forgettable. As a performer, Lima seems best when she plays active characters like Maggie Sawyer on SUPERGIRL. She's a great actress; she's just the wrong actress to play reactive passivity in the Marvel-Netflix house style of standing around talking solemnly.

DAREDEVIL's third season showed greater concern for episodic progression than previous Marvel-Netflix shows. By the end of each episode of DAREDEVIL S3, we'd learned something new, gotten somewhere different. With THE PUNISHER, the episodic endpoints are arbitrary. Aside from the first two and the last two episodes, there is no real thought given to giving each episode specific developments.

THE PUNISHER has many of what Darren Mooney on The M0vie Blog calls "narrative cul-de-sacs" with Frank and Amy and Madani waiting on or pursuing a plot point that doesn't advance the story but fills out the length. And unlike the other shows, THE PUNISHER's plot doesn't allow standalone stories.

The other four shows could have given the heroes a few one-off villains or cases to add bulk. THE PUNISHER, however, features Frank being drawn back into a war he's trying to leave behind; neither Season 1 nor 2 lend themselves to one-off situations. THE PUNISHER would have worked better by telling its Season 2 story in six episodes -- and then coming up with a new story for the subsequent seven, perhaps with a brief hiatus between the two segments.

I think we've only got 13 Marvel-Netflix episodes left: JESSICA JONES, Season 3. We're near the end (unless I'm wrong!). And, looking back, the Marvel-Netflix deal was a mixed bag. DAREDEVIL's first season was excellent, JESSICA JONES was terrific but the cracks showed with Kilgrave repeatedly entering and leaving and entering to stretch the story to a 13 episode size.

LUKE CAGE did well for six episodes and then fell into disarray in the second half. DAREDEVIL's second season was incoherent with three movie length plots (Elektra, the Punisher, the Hand) stretched across 13 episodes. IRON FIST was a disaster. THE PUNISHER S1 was adequate. THE DEFENDERS featured all of the Marvel-Netflix characters but also all the problems. DEFENDERS' vivid characters were muted by the dull tedium of the series. Overall, the Marvel-Netflix aesthetic is that of people standing around having solemn conversations. If that's the sort of story that Marvel and Netflix want to tell, then superheroes are the wrong characters to feature in these stories.

Audiences watch superhero shows to see them using their powers and dealing with the results; audiences want to see superheroes investigating plots, fighting villains, saving civilians, protecting their secrets, cracking wise, training their abilities, solving problems and engaged in action. Even the worst episodes of SMALLVILLE had Clark using his superpowers to save somebody and SMALLVILLE is one of the stupidest superhero shows ever made.

I don't know what Marvel TV and Netflix were thinking. Audiences who want to see characters standing around talking are unlikely to watch superhero shows; they would find a different genre where characters aren't so defined by their physical actions and abilities. The Marvel-Netflix aesthetic is a creative death sentence for superheroes.

Shockingly, the aesthetic of a Marvel-Netflix show is the same as a Season 5 episode of SLIDERS -- episodes where showrunner Bill Dial rewrote scripts for the budget by cutting anything expensive and then filling the massive content gap with scenes where characters re-state previously established information until the timeslot is filled. His rewrites on "The Great Work," "Please Press One," "Map of the Mind," "The Java Jive" and other episodes where characters meander aimlessly while repeating information is precisely the Marvel-Netflix model.

Which leads to my guess that despite the high production value of location filming on New York City, the budgets weren't sufficient and that's why action on these shows was constantly isolated and restricted to individual episodes with the bulk of the content featuring overstretched, elongated scenes.

JESSICA JONES and LUKE CAGE had solid second years with CAGE's showrunner even apologizing for the last six episodes of Season 1. (Informant disagrees with that.) IRON FIST's second season was good and DAREDEVIL's third season was masterful. Overall, these four showrunners had either found their feet with their budgets and episode counts or learned from their predecessors. And THE PUNISHER's second season was absolutely fine, at times great and often very slow with long conversations to stall the plot. It was a Marvel-Netflix show.

I would like for this era to receive a proper conclusion with a short second season for THE DEFENDERS. But to be honest, I'm not really broken up about Netflix ending their partnership with Marvel. All the shows found reasonable(ish) points of conclusion. And the Marvel-Netflix shows were very inconsistent, often overstretched, shockingly short on superhero action and frequently dull.

These shows were constantly boring. Season 3 of DAREDEVIL defied this reputation, but in totality, there were just too many episodes of Matt, Jessica, Luke, Danny, Frank and Sigourney Weaver having slow and solemn discussions. All too often, it was like watching Season 5 of SLIDERS, specifically "Map of the Mind" in which the sliders perform a procedure to heal Diana's brain damage -- then perform the procedure again -- and then describe what they just did to Diana as though the viewers needed a third iteration of the same action.

It's repetitive, it's tedious, and it's been an interesting experiment and I'm sorry it's ending, but I'm not sorry to move on. Anyway. I might copy-paste some of the above after JESSICA JONES airs its third (and probably final) season.

Re: Marvel Cinematic Universe by Slider_Quinn21

Overall, I'm fine with the tone of the Netflix shows. I think that some of the writers/producers struggled to work with that style though. Luke Cage was just horrible. It was one of the worst shows I've seen in a while. It was so bad that they actually needed to use slow jazz elevator music as the inspiration for the series. Oof.

I'll agree that the downfall for many of these shows was their lack of stand-alone episodes or short mini-arcs to fill out the season, and this caused them to repeat a lot of things. Jessica Jones was very guilty of this. However, I'm fine with the "stand around and talk" element, because it's an interesting corner of the Marvel world to explore. I don't necessarily need incredible action in every episode, as long as the episodes are still compelling in some way. It's tricky to accomplish, and these shows certainly didn't always succeed. But I prefer this style to, say, Agents of SHIELD, or even the Marvel movies.

Re: Marvel Cinematic Universe by Slider_Quinn21

Informant wrote:

I think the Loki and Scarlet Witch shows are definitely Disney streaming service material, but the company also owns a large chunk of Hulu. That is where the more mature shows would go.

https://www.superherohype.com/news/4355 … y#/slide/1

Re: Marvel Cinematic Universe by Slider_Quinn21

As much as I'd like to see Hulu offer continuation and/or closure to the Netflix era, there are serious financial and logistical impediments. At this point, the contracts on the casts of DAREDEVIL, LUKE CAGE and IRON FIST would have expired. Netflix has a two year contractual hold on the DEFENDERS and PUNISHER characters, so Hulu would have to buy out Netflix's interest. Would any network want to pay for that and still pay for making the show? Could they get any of the actors back after buying the license?

Well, it happened (sort of) with SLIDERS, so it's not impossible.

Re: Marvel Cinematic Universe by Slider_Quinn21

Yeah, you might end up in a Sliders situation where you get back Charlie Cox but most of his supporting characters are missing and story threads (like Bullseye) could get completely dropped.

I don't think it will happen, mostly because of the delay.  But if the people making the show really enjoyed it, I'd tune back in.

Re: Marvel Cinematic Universe by Slider_Quinn21

Informant wrote:

Overall, I'm fine with the tone of the Netflix shows. I think that some of the writers/producers struggled to work with that style though. Luke Cage was just horrible. It was one of the worst shows I've seen in a while. It was so bad that they actually needed to use slow jazz elevator music as the inspiration for the series. Oof.

I'll agree that the downfall for many of these shows was their lack of stand-alone episodes or short mini-arcs to fill out the season, and this caused them to repeat a lot of things. Jessica Jones was very guilty of this. However, I'm fine with the "stand around and talk" element, because it's an interesting corner of the Marvel world to explore. I don't necessarily need incredible action in every episode, as long as the episodes are still compelling in some way. It's tricky to accomplish, and these shows certainly didn't always succeed. But I prefer this style to, say, Agents of SHIELD, or even the Marvel movies.

I’m trying to find some way to describe the Netflix style that isn’t as insulting as calling it the style of “people standing around talking.” Conversational conflict is a valid style so long as it’s a tool applied for specific purpose and leads to achieving a worthwhile end. We’ve all loved shows that used this style well: HEROES spent its first season with entire episodes where characters would be paired up to wander a single location and engage in an intense conversation. Most of DAREDEVIL’s first season unfolded like this.

When used correctly, this style from masters like Bryan Fuller, Drew Goddard and Steven S. DeKnight feels like it’s taking full advantage of how TV is episodic; they’re having us spend time being close to the characters, getting to know their internal conflicts and giving voice to their inner lives. TV allows us to spend so many hours with people we like. There is an intricate craft to making these conversations significant and an intimate beauty to knowing Peter Petrelli and Matt Murdock and Karen Page so closely.

But the second seasons of HEROES and DAREDEVIL maintained this approach and when we have already gotten to know the characters, conversational conflict starts to look less like a stylistic flourish taking full advantage of TV’s extended length and it looks instead like a limitation. A limitation from low budgets that need to confine superpowers and fight scenes to a small number of episodes. A restriction on plot progression to fill an episode count.

DEFENDERS really stood out in this choice; the episode where all the Defenders gather in a Chinese restaurant for an episode to do nothing but talk should, in theory, be a stylistic standout for the season. But in reality, the majority of DEFENDERS featured the characters wandering around having intense conversations, so this episode in the Chinese restaurant didn’t stand out from the rest at all.

DAREDEVIL’s 2018 season did a great job of making sure that each episode had some meaningful development. THE PUNISHER’s 2018 season, in contrast, featured scene after scene of the Punisher sitting around having a philosophical conversation about war and it was almost always the same conversation.

564 (edited by Slider_Quinn21 2019-02-16 09:53:11)

Re: Marvel Cinematic Universe by Slider_Quinn21

I'm four episodes into The Punisher season two.  It's fine.  One thing is bothering me, and it's bothering me to an annoying point.

Ben Barnes plays Billy Russo.  In season one, everyone kept saying how pretty Billy was.  That he's such a good-looking dude that he had this vanity to him.  By the end of season one, Frank busts up Billy's face.  It was clear what they were doing - Billy has always used his looks as a weapon, and Frank is taking that weapon away.  Billy, if he survives, ain't pretty no more.  Billy Russo is now the Punisher villain Jigsaw.

Flash forward to season two.  Billy is in the hospital, and he wears a mask with a jigsaw-like face drawn on it.  He's presumably wearing it to hide all the hideous scars on his face.  When he finally escapes the hospital and removes the mask, he's on a bus when a man teases him about his hideous scars.  How he's a freak.  The fact that Billy is essentially in a comotose state as he's talking doesn't matter - it's all about his freakish face.

Later, he visits a man that used to run his foster home.  The man keeps bringing up the fact that Billy used to be so good looking and look at him now.  Scars all over his face.  He's not pretty anymore.

....

Except that's how it's written.  In reality, Barnes has a couple minor scars on his face.  He's still very-much Hollywood handsome.  The scars are sometimes not even noticable - not enough to be mentioned over and over again. Definitely not enough for some punk to notice from across a bus.

I read that Barnes pushed for more scarring, but the producers convinced him to go with a more subtle approach because it was more powerful if he thought his outer scars were bad but it was really his *inner* scars that were the worst.  His face isn't terrible, but *inside* he's Jigsaw.

Which I think is just an excuse not to put Barnes in makeup for an entire season, but it also doesn't work.  Because if Barnes is fine on the outside but wrecked on the inside, why are 100% of the people Russo has interacted with speaking to him like he's got Jigsaw-like scars on his face?

It's like the decided later to change it but forgot to change the script, even when they were shooting.

(if either of you guys brought this up, I'm sorry.  I don't read your reviews until I'm done watching).

Re: Marvel Cinematic Universe by Slider_Quinn21

Yeah, I'd agree with that.

Re: Marvel Cinematic Universe by Slider_Quinn21

Worst kept secret in the world is out - the Punisher and Jessica Jones have both been cancelled.  Even though Jessica Jones still has a season to air, they went ahead and got it out of the way.

Re: Marvel Cinematic Universe by Slider_Quinn21

Well, it's good that they freed up the cast and crew to find other work.

**

Recently, my niece and I were walking out of a movie theatre and I spotted a poster for CAPTAIN MARVEL.

IB: "It'll be so good to see Agent Coulson back on the big screen again!"

LAUREN: "Who?"

IB: "Loki stabbed him to death in AVENGERS and he got better on AGENTS OF SHIELD?"

LAUREN: "Right, right."

IB: "I once tweeted Clark Gregg and told him that Coulson was my favourite superhero and he said thanks."

LAUREN: "Big of him. Do you have any thoughts on INTO THE SPIDER-VERSE, the movie THAT WE JUST SAW?"

IB: "Yeah! I wish Agent Coulson were in it. I miss him."

Re: Marvel Cinematic Universe by Slider_Quinn21

About 9 episodes into the Punisher.

What's really odd about this season is the way it's structured.  I think they're trying to do one of those "blur the lines between hero and villain" things, but it's coming off sorta awkward to me.  Billy doesn't even know who the Punisher is until the very end of episode 7, and even then, Billy doesn't even know what's going on.  As of right now (with four episodes to go), it's clear that Billy wasn't faking it.  He was plotting to get his revenge.  He's still a killer and a monster, but he's essentially a new character.

And our hero, Frank, is the same guy, and his only goal is to find this guy and kill him.

It's a weird situation.  I find myself, at times, wondering how this narrative would work in reverse.  If Frank were beaten up at the end of season one and left for dead.  He wakes up from a coma and doesn't know that his wife and kids are dead.  And he's terrified by nightmares of this man with a jigsaw face.  And he's trying to find out who he is while this pyschopath keeps attacking him for reasons Frank can't possibly understand.

It just feels sorta disconnected because the hero and villain have this history that only the hero really remembers.  It makes for a complicated villain but a complicated story structure.  Then you have Pilgrim thrown in, and I don't have any idea where he's supposed to fit in.  Frank barely knows who he is at all, and I don't think anyone on the hero side knows his name.

Re: Marvel Cinematic Universe by Slider_Quinn21

I think a lot of this aggravating disconnection is because the material just isn’t there for 13 episodes. There was about six episodes of story here and giving Billy memory issues and dragging in John Pilgrim isn’t bringing in more story, just stretching out what little there is.

Re: Marvel Cinematic Universe by Slider_Quinn21

Yeah.  I can't argue there.

The problem with the Marvel Netflix shows is consistently a refusal to write any sort of "case of the week" stories.  And I just don't understand why none of the shows ever did this.  Daredevil is a lawyer.  Luke Cage and Iron Fist are heroes for hire.  Jessica Jones is a friggin' PI.  There are built-in ways to tell a story that doesn't involve one guy fighting one guy for 13 episodes.  I know "freak of the week" stories got old on Smallville, but I think television has evolved since then.  The Arrowverse regularly pads seasons that are twice as long with stories like that.

They wouldn't have to forget about their primary villains.  While Frank was trying to bust up a gang of human traffickers, Russo could still be in therapy.  Pilgrim could be chasing down the girl.  They don't have to ignore their character building to busy up Frank in an engaging story for an episode.  We could see Kingpin's rise to power while Matt Murdock is trying to get a falsely-accused guy out of prison.  Kilgrave could be abusing his power while Jessica Jones tries to find a missing child.

Give the characters a season-long arc, but it doesn't have to be *only that*.  I mean, Hell, in the X-Files, they did so many case of the week episodes that people actually prefer them to the mythology episodes. smile

I feel like it almost has to be something from the higher ups at Marvel TV or Netflix.  Because there's no way that we'd have 12 seasons of this stuff and none of the writing rooms thought "Hmmm...what if we had Frank do something in this episode instead of having him hang out on a rooftop casing a joint for 40 minutes so we can do the 10 minute fight sequence that is the only reason we're doing this episode."

Re: Marvel Cinematic Universe by Slider_Quinn21

The Netflix shows have been designed to be watched 2 - 4 episodes at a time if not all 13 in one day. I can sort of understand why Marvel TV wouldn't want to do standalones as they would seem like a distraction when the Netflix app automatically loads and plays the next episode. However, I binge-watched 10 seasons of SUPERNATURAL in about a year and I can't say the standalones were in any way disruptive, so the problem is that Marvel TV chose a format for their Netflix shows and have refused to break from it even when it only works for some shows.

DAREDEVIL's third season was great at this extended format because all the characters' separate arcs were a direct reaction to Wilson Fisk rebuilding his empire. Whether the story was about Agent Ray Nadeem, Foggy, Matt, Karen or Dex, it forwarded the season-long arc of Fisk's second rise to power. In contrast, there is no central event or situation for THE PUNISHER's second season. John Pilgrim's pursuit of Amy has nothing to do with Dinah Madani's obsession with Billy which has nothing to do with Frank guarding Amy which has nothing to do with Dr. Dumont's infatuation with Billy which has nothing to do with the Shultzes trying to hide their son's homosexuality which has nothing to do with Curtis' whatever. None of it's there to further explore the themes of THE PUNISHER. It's just filler and it drags.

And it really doesn't help that Frank spends 40 minutes of screentime on stakeouts in a single episode, as you've noted, and the budget is also clearly a problem. Just as SLIDERS blew the bulk of two seasons' budget on that stupid hotel set, THE PUNISHER has clearly expended most of its funds on location filming in New York City. There is a cultural relevance and urban texture to NYC that was essential to LUKE CAGE's Harlem and DARDEVIL's Hell's Kitchen, but with THE PUNISHER (and JESSICA JONES and IRON FIST and DEFENDERS), the show might as well be shot on the sets and locations of AGENTS OF SHIELD or SUPERGIRL or GIRL MEETS WORLD and they'd probably get a tax credit for their trouble. New York City is not a meaningful character in THE PUNISHER and the cost of location filming has not been worth it.

Re: Marvel Cinematic Universe by Slider_Quinn21

I think Captain Marvel is going to be Marvel’s first misstep in awhile now.  I thought the problem might be that they’ve emphasized the “first woman” aspect too much - playing with fade-ins on titles to read “HERo”; releasing the movie on International Women’s Day; etc. The effort felt like a gimmick and it was off-putting to me.  But when you look at it, Black Panther did the same things - Black in the title, released during Black History Month; etc - and yet I always felt excited to see Black Panther and thought it would be a hit.  So what’s the difference?

The trailers and likely by extension the movie.

For the months preceding Black Panther, we had a commercial with a dramatic leap from above onto a moving car where Panther stops some bad guys.  For Captain Marvel, we have had a stoic Brie Larson riding in a car with Nick Fury.  We also have Brie fighting constipation on top of a train.  Oh!  And Brie punching an old lady.

To add more fuel to the fire are the reviews for Captain Marvel.  A recurring mention?  The cat steals the show.  The best thing about it...is the cat.  I see Marvel trying to damage control too - mentioning that the first Iron Man movie wasn’t a billion dollar movie and these things can take time to build up.  Not exactly comparing apples to apples.  The first Iron Man movie had little studio support behind it.

If you have a good movie to promote, the advertising gimmicks fall to the background and you don’t notice them. They become almost subliminal.  If it’s a weak movie, all you see is the gimmick.  I’ve become increasingly repulsed every time I see them pushing the movie as “it’s a woman!”; and I’ve come to realize my repulsion is because I think that’s all the movie has going for it.  It’s a shame too, because there’s nothing wrong with Captain Marvel or Carol Danvers - it could easily be great with the right writers, directors and actors.

https://screenrant.com/wp-content/uploads/2018/09/Brie-Larson-as-Captain-Marvel-train-closeup.jpg

Re: Marvel Cinematic Universe by Slider_Quinn21

So I finished the Punisher and read your reviews.  I generally agree - it was just fine.  I was actually really disappointed in the whole Jigsaw piece.  I thought that ended up being wholly unnecessary to the plot - so much so that the Punisher and Russo's only interaction in the finale is for Frank to execute a Billy that's already given up and dying.

I thought there were so many places they could've gone with the character, and like the way they did the makeup, I felt like they didn't really understand what they wanted to do with him.  It feels almost like what happened with Spider-Man 3, where the people in charge wanted John Pilgrim to be the bad guy, and the studio demanded that they tack on Jigsaw. 

At the end of the day, ireactions is right - the storylines are just too disjointed to really work.  There's really no connection between the villains and Frank.  Pilgrim wants the girl, and the only issue he has with Frank is that he won't let him get to her.  Frank knows that someone is after the girl and wants to protect her, but who that person is never really matters.  Frank learns his name in the final episode just as an afterthought.  Frank and Russo have history, but even at the end, Russo doesn't seem to fully understand their issues.  Frank kills him, but Russo's big fight was with Madani.

There was a way to pull this off.  Maybe Pilgrim was another former military buddy of Frank's who has been warped by his newfound religion.  Maybe Russo is faking everything and gets everyone over to his side.  And as the walls close in on Frank, he has to fight two of his old buddies while trying to keep this girl safe.

I don't know.  I feel like they sacrificed a lot of what makes the Punisher fun to focus on character, but most of the character work didn't really have anything to do with Frank.  Yes, he bonds with Amy as a surrogate daughter....but that's essentially all that happens.  He never learns or grows because of his problems with Pilgrim, and he doesn't really learn or grow because of his interactions with Russo.

I simply refuse to believe that it's too many episodes.  I'll fully acknowledge that it was "not enough story" for 13 episodes, but the simple part of that is simply to add more story.  Create more villains for Frank to kill.  Add another subplot.  There's decades of stories you can pull from - the material is there.

Re: Marvel Cinematic Universe by Slider_Quinn21

Marvel has decided that the only director who can replace James Gunn for GUARDIANS 3 is James Gunn.

https://deadline.com/2019/03/james-gunn … 202576444/

Re: Marvel Cinematic Universe by Slider_Quinn21

It's a really weird story.  If it was just a "let's wait for this to blow over and we'll rehire you" then why did Gunn jump to DC to direct Suicide Squad?  It sounds like someone at Disney made the call unilaterally and everyone was able to wear that person down until they just relented.

Re: Marvel Cinematic Universe by Slider_Quinn21

I think Marvel genuinely fired him. But, over time and with investigations and further soul-searching, it became clear: Gunn is not a pedophile. Gunn is a rape victim who was making 'jokes' about a childhood trauma. Furthermore, Gunn made no excuses and cast no blame for his behaviour, declaring that he understood Disney's decision to fire him and all of that made it easier to rehire him, especially when Taika Waititi declined the job of directing GUARDIANS 3 before he'd even been offered the job.

Re: Marvel Cinematic Universe by Slider_Quinn21

Oh I agree that I don't think he's not a pedophile, and it was weird that he lost the job on Guardians 3 for comments that he apologized for during the production of Guardians 1.  But it seemed like things had been done, and he'd moved on to a rival company.

I think he's mentioned that Guardians was supposed to be 3 movies and then he'd move on.  So I imagine this is just to finish his job at Marvel before moving on to whatever's next, whether it be more Suicide Squad or something else entirely.