Quel pasticciaccio brutto di Marvel su Netflix

Più che pasticcio, lo chiamerei un vero peccato.

La qualità era alta, le aspettative pure. Ma tante piccole cose non hanno funzionato. L’articolo di Vulture gira il coltello in una ferita ancora aperta per i tanti fan delle serie Marvel, soprattutto per me lo fa con Daredevil. Una delle più belle di sempre.

Chissà se Disney le riporterà mai in vita.

For one thing, all the shows suffered from an acute case of Netflix bloat. With the exception of the one-off crossover series, The Defenders, and the second season of the widely derided Iron Fist, every season was 13 episodes, with each episode clocking in at about an hour. There was simply no good reason for these stories to run 13-odd hours each. And they were, for the most part, single stories of that length; the shows tended to eschew the idea of self-contained episodes, even in the case of Jessica Jones, where individual private-investigation cases would have been a natural fit to fill out the world and liven up the pace. There were B- and C-plots, but they, too, were stretched out to unreasonable lengths. This is, of course, not a problem unique to Marvel shows, as Netflix and other streamers tend to believe that a drama is only worthwhile if it feels interminable.

But it was especially irritating in the case of the Marvel–Netflix shows, because a viewer was likely comparing them, consciously or not, to other superhero offerings. Superhero movies, though often longer than they should be, have runtimes between two and three hours — more than enough of a span to tell an epic saga of good, evil, duty, and all the other familiar tropes. More important, these stories are all adapted from comic books, which have long been oriented toward brief, dense, punchy individual issues of about 22 pages each, typically ending on some kind of cliffhanger. The sloggy Netflix approach just didn’t sit well with the expectations we have for the genre and our attendant desire for super-heroic action and Manichean suspense. The creators and diehards may argue that these weren’t just superhero shows — they were inspired by neo-noir (Jessica Jones) or blaxploitation (Luke Cage) or kung-fu (Iron Fist) and so on — but come on, these were all stories based on the expectation of climactic action between the forces of light and darkness. Yet, over and over again, we had to see that gratification delayed beyond reason. You were never going to hold eyeballs very long with that kind of lukewarm storytelling.