It is (already) ended the era of superheroes on TV?
Have passed more or less 10 days from the notice of cancellation by Netflix – or Marvel or Disney you choose which version to listen – Daredevil after three seasons.
When the series, sponsored by Marvel/Netflix debuted it screamed, giustissimamente, miracle: a TV series that finally respected the atmosphere of the comics, embodies to perfection the spirit of the character, and assisted by a director and screenplays sublime still capable today of doing the school – it is enough to see the solutions used for the action scenes.
That formula was later expanded and articulated in small variants, giving birth to a true universe of television: Jessica Jones, Luke Cage, Iron Fist, The Punisher. But already there something was cracked and the success of Daredevil remained effectively unattainable.
This begs the question: why cancel one of the shows most watched on Netflix was called up for the same streaming service – and more venerated by the critics and the fans?
Disney is launching their own streaming service – Disney+ – and Marvel is already working on a series of projects, “television” featuring some of the characters and the actors, already seen in the Marvel Cinematic Universe – Scarlet Witch, Vision, Winter Soldier and Falcon the first – it would seem natural then that the Daredevil finds its place on this new platform, however, the transition is not as natural and direct as you'd expect.
The great success of the series in fact is due in part to the creative freedom in which the showrunner and writers have enjoyed, a freedom that translated into a convergence in the strong to the counterparty of the printed character.
The question then seems to revolve around two key points:
Daredevil of course is only the pretext for a discourse never so large as it is today in which on a daily basis that are advertised in tv projects that draw inspiration from the comics, that are born and die with mediocre results and are pale imitations of works that deserve to be not only simple tea towels to cut only a few items.
It remains a fact that Daredevil has been able to do what others have failed to do, and still cannot today, or filter the big epics on paper into something televisivamente organic, enjoyed by all, both from fans and casual viewers, but then it was blatantly crippled by the choices that you will probably never know.
What remains of the superheroes on TV after the rise and fall of Daredevil?
Little, very little.
But this is not what really worries about, rather, the clear intent to create solutions that are independent of the comics – just look at the DC series broadcast on The CW that is only marginally still recall the comic books and have traced a path that must also satisfy the needs of a public, specific and often extremely far away from the hard core of fans.
The conclusion, however, which is reached after about 10 years, between highs and lows, of gold for the superheroes on TV is that the writing on television – with all the due distinctions of the case and of the medium – still fails to rival that of the comic books that even in the darkest moments he manages always to reinvent these characters and, above all, to ensure a recycling of the fans/readers more or less constant.
Adapt, reinvent, or retelling.
The question returns overbearing to always rotate around the adage: “why not to adapt something that already has worked out really well, becoming a classic?”, with obvious reference to the great sagas in comics.
The objection is always the same: the adaptation is a double-edged sword because what worked on paper might not work on film because the audience is different.
To date, however, the result of some experiments, animated solution to the “reinvention” which seems to have exhausted its verve in more than one field, a timid approach to the real adaptation perhaps deserves a chance, thus eliminating touches authorial, or assumed, acts to conceal a certain listlessness to the bottom of both directors and screenwriters and showrunner that drifts soap opera ends in themselves.
Once again, and for someone you hate to admit it, the solution is to dig deeply in the original material if not more to understand how these characters both survived over time and have remained unscathed, or nearly so, numerous transformations.
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