Following the tragic end of her brief superhero career, Jessica Jones tries to rebuild her life as a private investigator, dealing with cases involving people with remarkable abilities in New York City.
Spoiled billionaire playboy Oliver Queen is missing and presumed dead when his yacht is lost at sea. He returns five years later a changed man, determined to clean up the city as a hooded vigilante armed with a bow.
Set a few months after the events of the second season of Daredevil, and a month after the events of Iron Fist, the vigilantes Daredevil, Jessica Jones, Luke Cage, and Iron Fist team up in New York City to fight a common enemy: The Hand.
When a sabotaged experiment gives him super strength and unbreakable skin, Luke Cage becomes a fugitive attempting to rebuild his life in Harlem and must soon confront his past and fight a battle for the heart of his city.
As a child Matt Murdock was blinded by a chemical spill in a freak accident. Instead of limiting him it gave him superhuman senses that enabled him to see the world in a unique and powerful way. Now he uses these powers to deliver justice, not only as a lawyer in his own law firm, but also as vigilante at night, stalking the streets of Hell's Kitchen as Daredevil, the man without fear.Written by
The opening title sequence was created by Elastic. The company previously created the title sequence for True Detective (2014), which had stood out to the creators in terms of "imagination and delivering on what the show was about". Steven S. DeKnight explained that multiple companies had made pitches to the creative team involving "variations of the same idea, where you zoom in on an eye and you see a sonar map of the city." However, one of Elastic's pitches had "fluid-like blood dripping over everything ... as if paint were covering something invisible and revealing it", which both DeKnight and Jeph Loeb wanted to use immediately.
Elastic's Creative Director Patrick Clair "came up with the idea of making a red world that was revealed by liquid." Simulating the CG liquid, which was meant to be an ambiguous reference to poison and blood that behaved like "something in between liquid chocolate and tar", was difficult, with Clair saying "It's hard to make an algorithm act "insidious"". CG Lead Andrew Romatz elaborated that "Developing the right consistency and behavior of the fluids was definitely a tricky process. Getting the scale to feel right was something that we had to play with quite a bit in simulation and also in lighting and texturing. Patrick wanted the sculptures we were forming to feel like miniatures, so we did a lot of experimenting with scene scale and with camera settings, simulating depth of field to achieve that look." Fluids Lead Miguel A. Salek stated that "Each shot required custom flow maps to be painted on the sculptures, along with small attraction fields and thousands of tiny adjustments to achieve the shapes and behavior Patrick was looking for. In the end I simulated hundreds of tests and thousands of frames of fluids to achieve just the right balance for each shot." Due to time constraints, references to Murdock's boxing history such as a punching bag and boxing ring were cut from the final sequence. The final sequence was animated to a temp track-"an old piece of 90s trip hop"-before John Paesano's music for the sequence was completed. See more »
In nearly every scene in which a character is wearing glasses, the reflection of the lighting reflector panel can be clearly seen in the lenses. In many scenes, the actual camera lens is also visible. See more »
The city and its future... seeing Hell's Kitchen to its fullest potential is very important to me.
I feel the same way.
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The opening credits is a montage of silhouettes emerging from a red background, in the manner of blood dripping over everything and revealing hidden objects. See more »
A reason to sign up for Netflix, all other facts aside
As a long term comic book nerd, and a huge fan of the Marvel cinematic universe and television properties - I wasn't sure what to make of the proposed Street Heroes development deal with Netflix, especially in light of the history with those characters in film (Affleck's disappointing Daredevil in particular). I was however pleasantly optimistic from the teaser releases.
I am breath taken with the end result. Vincent D'Onofrio is to my mind the standout star and an act of sheer casting genius as Kingpin. The menace and complexity in his voice even when he's not on screen, and the cold, calculating and distant aspect of his body language, and the delivery of his dialogue, shows both the depth of his talent as an actor and the brilliance of his casting. As a long term fan of D'Onofrio - and a huge fan of the king pin in the comic book universe - I'm thrilled at the prospect of his continued involvement with the Marvel cinematic universe.
The sound editing for the series in general, from D'Onofrio's voice overs to the audible representations of the protagonist's enhanced senses is a triumph. It begs to be recognized and awarded. It is perhaps as integral to success of the series as the performance of any of the characters.
Also, Deborah Ann Woll who played Jessica Hamby in True Blood remains equally gifted as an actress, stunning as an aesthetic work of art, and for a moment, just a little bit more naked than she was in her prior works. Which after 71 episodes of true blood with a celebrity crush on her - has to be a acknowledged as part of the reason for my immediate fondness for the series. But as talented as she is, the show would stand as remarkable even without her.
In the interest of fairness, there are some rough moments in the dialogue. The visual effects have moments of awkwardness in the earlier episodes. There is a sense in a few corners of the production group finding its feet. But it does seem to level out (and up) as the story progresses.
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