.Original releaseAugust 18, 2017 ( 2017-08-18)ChronologyPreceded byRelated showsMarvel's The Defenders, or simply The Defenders, is an American created by and Marco Ramirez for. It is based on the characters, and, who form the. Set in the (MCU), it shares continuity with and is a for a. The miniseries is produced by in association with, Nine and a Half Fingers, Inc., and Goddard Textiles, with Ramirez serving as.The series stars as Matt Murdock / Daredevil, as Jessica Jones, as Luke Cage, and as Danny Rand / Iron Fist, all reprising their roles from their individual series. It also stars, and, all also returning from previous series, as well as. Development began in late 2013, with Cox the first actor cast in May 2014.

Petrie and Ramirez joined as showrunners in April, after doing so for the of. Petrie left with the start of filming, which took place in New York City from October 2016 to March 2017. Cinematography and design work established the different color palettes from the characters' individual series, and combined them as the team is formed.The Defenders premiered in New York on July 31, 2017, with all eight episodes released on Netflix on August 18. Critics were mostly positive about the crossover, highlighting the dynamics between the different Defenders as well as Weaver's performance, but were generally disappointed with the overall story, pacing, and the use of as villains.

Third-party analysis indicated that the miniseries was the least-viewed Marvel Netflix series and had the largest week-over-week drop in viewership of them all, though it was the third-most ' Raced' series globally at the time of its release according to Netflix. There's a recurring theme here with people who are orphans or people who don't understand this urge but feel the need to do good and are constantly fighting inner turmoil.

Marvel's The Defenders, or simply The Defenders, is an American web television miniseries created by Douglas Petrie and Marco Ramirez for Netflix. Defenders are off-hand melee equipment that are wielded in the off-hand slot and provide positive offensive and defensive bonuses. They are the melee equivalent of reprisers and rebounders.

We didn't think about it in terms of how we’ll combine all the tones.—Showrunner Marco Ramirez on combining elements from the individual series to craft the tone of The DefendersRamirez and Petrie wanted the project to feel earned, grounded, and topical like the individual series, rather than 'a corporate mandate'. Goddard noted that each of the individual series have different tones, and said that combining them for the miniseries created a different one. Finding this new tone was the most challenging element of the project for Ramirez. Scenes in the early episodes were created to feel like the 'most optimal versions' of each individual series, using visual and sonic elements from each that are slowly combined as the miniseries goes on. Loeb cautioned against the 'easy comparison' to The Avengers, noting that lessons would be taken from that crossover such as how that team did not come together 'as smoothly as you'd like', but unlike the in the film, the Defenders do not operate out of one location such as or have matching costumes. (1967), (1954), and other films 'where characters came together who did not want to come together' were bigger influences on the project than The Avengers.Choosing an antagonist for the miniseries was another challenge, according to Ramirez.

Loeb did not want a villain like the aliens from The Avengers because these are 'street level heroes who come from a very real place', but each of the Defenders has been shown to be 'really powerful' in their individual series and the antagonist would have to prove a challenge for the four of them together. Ramirez also felt that the antagonist should be a common denominator rather than having individual villains combining from each Defender's own series.

They settled on the overarching organization of the Hand, and have the characters following individual investigations that lead them to converge on the same location. It was subsequently important to Ramirez that the Hand be destroyed by the end of the miniseries, to give it a definitive ending and to allow the individual characters, especially Iron Fist, to move on to a new 'chapter'. To give something unexpected to the audience, the focus of the story is ultimately revealed to be Elektra Natchios, and her journey of rejecting the people in her life who have told her what to do. This includes her mentor Stick and the miniseries' apparent central antagonist Alexandra, whom she both murders, as well as Daredevil.

Ramirez said that the theme of 'having to embrace the identity you want' also applies to the four Defenders. He added that Elektra murdering Alexandra made more sense than one of the Defenders doing it, as 'none of them are particularly murderous' and would ' really have to be pushed there'.Regarding where the miniseries leaves the Defenders, Ramirez compared their relationship to 'people who were on the same bus when it got in an accident. It's kind of like, 'This was a great adventure to have with you, I'd be okay with seeing you again, I'd also be okay with never seeing you again. ' The final image of The Defenders, in which Murdock wakes up with a nun by his side, is an homage to a panel from the story arc ' (1986). The nun calling for 'Maggie' is an implied reference to, which Ramirez would not confirm at the time of miniseries' release. He did note that this scene along with several others from Daredevil's story in the miniseries was a direct homage to the comics, and that this panel from 'Born Again' was one of his favorite Daredevil panels. Ramirez explained that the scene was included because a of Daredevil had already been announced, and they did not want to make the audience think they 'were trying to cheat them or convince them of something that's not happening'.

Charlie Cox, Krysten Ritter, Mike Colter, and Finn Jones reprise their roles from previous Marvel Netflix series to star as the DefendersAt the end of May 2014, was cast as Daredevil for Daredevil. In December 2014, was cast as Jessica Jones and was cast as Luke Cage for Jessica Jones, with Colter also headlining Luke Cage. In February 2016, Finn Jones was reported to be cast as Danny Rand for Iron Fist, with Marvel confirming his casting the following month.

They also confirmed that Cox, Ritter, Colter, and Jones would all reprise their roles to star in The Defenders.In March 2016, who portrays in Daredevil, expressed interest in appearing in The Defenders 'on the bad side', and said a month later that he would reprise his Jessica Jones role of in The Defenders. In September, said she would be reprising the role of from Luke Cage in the miniseries. After production began in October, Marvel confirmed that Darville, Missick, and Yung would appear, alongside Daredevil actors as, as, and as; Jessica Jones 's as; and Iron Fist 's as. Also reprises his Iron Fist role as, while returns as from all of the previous Marvel Netflix series.At in October, was announced as playing the main antagonist of the miniseries, later revealed to be Alexandra. The producers had referred to the character as 'a Sigourney Weaver type' for four months before Loeb contacted her about the project. Additionally, J. Mallory McCree recurs as Cole; and Chloe Levine portray Michelle and Lexi Raymond; and appears as police captain Strieber.

Babs Olusanmokun and Yutaka Takeuchi portray Sowande and Murakami, respectively, both being leaders of the Hand.Other actors reprising their roles for the miniseries include Daredevil 's as Madame Gao, as Father, Amy Rutberg as Marci Stahl, and Susan Varon as Josie; Jessica Jones ' as and Nichole Yannetty as Nicole; and as, from previous Marvel Netflix series. Design Director S. Clarkson, cinematographer Matthew J. Lloyd, production designer Loren Weeks, and costume designer Stephanie Maslansky worked together to create distinct color palettes for each of the characters, maintaining the looks from their individual series, rather than attempting to blend the looks of all the different series for the miniseries.

Maslansky explained that the palettes were used for the lighting, sets and locations, and costumes for the lead characters as well as extras. When the characters begin to crossover, so do the colors, and decisions were made regarding which colors come to the foreground and which are seen less on a scene-by-scene basis. External video, showcasing Elastic's design work and composer 's main theme for the miniseriesThe series' title sequence, designed by Elastic, evokes the work that the company did for the series by recreating the characters of the show out of elements of its setting: the sequence depicts the four Defenders out of colored topographical maps of New York City, showing the different areas of the city that each of them come from.

Cinematography Clarkson, who also directed for Jessica Jones, said that series is 'very dark and very steely and very blue' while Daredevil focused more on red, and so these were emphasized early on. When Murdock and Jones meet, they are in a 'steely gray-blue' room to indicate that it is Jones's world, with Knight there wearing a Luke Cage-appropriate tan color, and Murdock entering and letting red into the room to show the connecting of the two characters. Clarkson was inspired by New York-set films such as (1971), (1971), and (1973) when establishing the look of the miniseries.Lloyd began work on the miniseries several weeks before the start of filming, taking the development work that Clarkson had already done for the project and refining it; he avoided pushing the different colors so far that they made the scenes look unrealistic, and noted that red can be an overwhelming hue on camera so limited this for the Daredevil scenes by just using it as an accent.

Lloyd did not want to recreate the techniques used on the individual series that he did not work on, and instead focused on the specific looks that Clarkson desired. For Cage's scenes, Lloyd was inspired by work on (2007), and for Iron Fist he looked to 's (2013). Rather than dedicate a significant amount of time to color grading the footage for the project in post-production, Lloyd opted to try and create as much of the desired color palette look as possible in-camera so that he could send his scenes with some written notes to colorist Tony D'Amore of to complete the work while Lloyd was on set. D'Amore's work was challenging in scenes that combined multiple characters as he would have to adjust specific areas of each frame depending on where the characters were. He also had to create different color grades for the and versions of the show that are released on Netflix.After her work on Jessica Jones, Clarkson was most comfortable working in that more grounded world and instinctively knew what lighting and camera angles to use. She was less comfortable with the world of Iron Fist and portraying the more mythological elements of that series. During pre-production on The Defenders, filming on Iron Fist was taking place.

When a director from that series was not available to return to the production to reshoot a scene, Marvel asked Clarkson to direct the new take. Clarkson found this experience 'incredibly valuable', giving her a chance to work with Jones and experience the tone of his series ahead of the beginning of filming for The Defenders. Clarkson and Lloyd also learned the technical requirements for depicting the character's Iron Fist based on the process used by that series' crew, along with how the effect of Cage's abilities were created. Costumes Maslansky, who designed the costumes for the previous Marvel Netflix series, had the choice between designing for The Defenders or the of due to a scheduling conflict between the two productions, and chose to work on The Defenders so she could create the culmination of all her work on the previous series. She described the process of highlighting the individual character's color palettes as a celebration, looking to infuse the costumes with red for Daredevil, navies and lavender for Jessica Jones, olive green for Iron Fist, and gold 'Harlem colors' for Luke Cage. The characters' costumes were kept consistent with their individual series, though for Daredevil's superhero costume, which is created by Hargate Costumes in Los Angeles, the helmet was changed for The Defenders to having a matte surface that was less shiny than in Daredevil. The end of the season introduces a new costume for Iron Fist, an homage to the tracksuit that the character wears in the comics.

Maslansky felt that the full tracksuit was 'very '70s, a little too wise-guy, Italian mafia', and so designed a track jacket that used the classic design and colors of green with gold stripes, and paired it with cargo pants.For Alexandra and the Hand, the executive producers suggested the color white as a repurposing of the phrase 'the light at the end of the tunnel' given the group are immortal supervillains. Alexandra's costumes also feature metallic elements to suggest that she was more of a warrior in a past life and has that 'fierceness or a power within her'. In general, her costumes are European inspired and of 'an older world' to create 'a global feeling to her wardrobe, very lush. Her wardrobe reflects that kind of ancientness'. The resurrected Elektra receives a new costume inspired by her comics appearance. Because it would look out of place on the streets of New York, Maslansky also designed a coat for her to cover this up that was inspired by (1981) and (1999), and meant to appeal to Alexandra's taste in clothing.

Filming Marvel announced in February 2014 that the miniseries would be filmed in New York City, with Marvel Comics' stating in April that the show would be filming in areas of and that still look like the old, in addition to sound stage work. In April 2016, Cox confirmed a late 2016 start for filming, following the conclusion of production on Iron Fist in October 2016. Filming for The Defenders began on October 31, under the Group Therapy.

Lloyd previously served as cinematographer for the first season of Daredevil and the first episode of Jessica Jones. Due to the production demands, he brought his long-time second unit cinematography collaborator Jim McMillan onto the miniseries to help balance the workload for when episodes were filming simultaneously. Lloyd was the primary cinematographer for The Defenders, but McMillan is credited for several episodes on which he did the most work.Lloyd described the production of the miniseries as being more similar to a film than the previous Marvel Netflix television series due to the scheduling requirements of the larger cast and the fact that episodes would not always be shot in order due to location requirements. He noted that though the episode count was lower than the usual Netflix order of 13, the overall production schedule was not as significantly shorter as he expected due to the increased day count per episode that the schedule demanded.

Additional filming locations for the miniseries included, Hell's Kitchen, and, the lobby and exterior of ('Midland Circle'), the, the rooftop gardens at, the, in Manhattan, the Appel Room at, and the. It was filmed with the of Jessica Jones, potentially overlapping with that production. Filming on March 19, 2017.Lloyd shot the miniseries with the camera. Clarkson used a set of vintage lenses for her two episodes which she had used on Jessica Jones.

The use of these lenses created issues for the series' camera team and created supply issues with Panavision, with Lloyd noting that though the use of lenses such as these are popular, they 'do not make life easy'. So, for the rest of the miniseries Lloyd returned to the modern Master Prime lenses that he had used on Daredevil, which he said did not create a significant difference in look for the miniseries. The miniseries used a lot of work, so much that they essentially had two A-camera steadicam operators working simultaneously. Clarkson also planned out multiple cinematic 'hero' shots which required complex camera movements and a lot of work.Clarkson tried to have as much individual time with each hero as possible to help the audience understand who each character was if they had not watched all of the individual series. In addition to using color to show the characters were coming together, Clarkson tried to 'twist' the episodes such as in a moment in the first episode where Cage leaves an apartment and puts his head up, which cuts to Jones entering a flat and putting her head down. Clarkson said on this, 'I tried to do transitions that connected them.

So you constantly felt these world were eventually going to come together.' She also used trains in transitions to show that the characters were just a train-ride away from each other, and shot the characters with the same lenses and framing to indicate that they live in the same world even with different color palettes. Sigourney Weaver was praised by critics for her role in The DefendersThe early screening of the first episode at San Diego Comic-Con was met by 'applause throughout' from the crowd. Tracy Brown of the noted after 'a quick refresher on where each hero's solo story left off. There is forward progress in the narratives for each' of the Defenders, despite them not interacting in the episode.

She added that the episode included elements expected for a Marvel Netflix series, and concluded with a binge-watching-appropriate cliffhanger. 's Julia Alexander was 'stupidly excited to binge the rest of the season' after seeing the first episode, praising the 'intriguing' Alexandra and her relationship with Elektra, as well as the miniseries' efforts to focus on the individual identities of the Defenders. Peter Sciretta for called the episode 'a fine start' to The Defenders, but felt it did not succeed in introducing the characters to viewers who had not seen the individual series. He highlighted the use of color throughout the episode to differentiate the characters.Reviewing the first four episodes of the series, Katharine Trendacosta for appreciated the writers for addressing the questions viewers wanted answered and depicting moments that fans wanted to see without 'sacrificing the characters or the story'. She did criticize the amount of exposition, the unoriginal story, and the 'over-the-top' villains, but felt that 'the good of The Defenders far outweighs the bad. It's all a canvas to showcase Matt, Jessica, Luke, and Danny coming together to be more entertaining'. 's David Betancourt also gave a positive review, calling the event 'well worth the wait', enjoying the pairing of Cage and Rand and calling Weaver's 'compelling' Alexandra the 'biggest surprise' of the series.

Jeff Jensen for gave the series a 'B+',calling it 'lively genre entertainment that recharges your interest in Marvel pop'. He praised the fact that The Defenders was only 8 episodes long, compared to the 13 of previous Marvel Netflix seasons. Dan Jolin of gave The Defenders 3 out of 5 stars, finding 'enough joy' in the interactions between the Defenders to make it feel 'worth the wait'. However, he felt it falied to 'up the ante story-wise', and was disappointed that Weaver's Alexandra was 'yet another businessperson baddie whose dirty deeds are hidden by sharp suits'.'

S Allison Keene also gave the miniseries 3 stars out of 5. She felt some of the solo series issues such as pacing and narrative choices were still present, but there were still elements to enjoy including Jessica Jones and the banter among the heroes. Keene felt that the pacing issues improve once the Defenders finally unite. She criticized the focus on Rand's company, and also said that the miniseries felt less like a culmination or ending than she would have liked.

Reviewing the series for, Alan Sepinwall felt The Defenders borrowed the best elements of the previous series, such as the fights scenes of Daredevil, Jessica Jones's 'snappy dialogue, the music (particularly in Luke Cage's scenes), and Rosario Dawson. However, he felt that the pacing of the four episodes reviewed was 'yet another Netflix ultra-slow burn'. He saw this improve once the four heroes meet in the fourth episode, and hoped that in the second half of the season 'both the show and team could justify their existence as something more than a package Marvel put together years ago in the hopes everything would work out'. 's Maureen Ryan felt The Defenders was 'a workmanlike series that gets the job done with a reasonable amount of energy and a few bursts of flair. It may not offer the highest highs of Jessica Jones. and is occasionally a bit blander than an endeavor featuring deadly ninjas and elaborate costumes should be, but the eight-part drama has notable selling points, chief among them an elegant and fierce performance from Sigourney Weaver.' 's Kelly Lawler was more critical of the series, awarding it 2 out of 4 stars.

Lawler felt Rand was the 'undeniable handicap' of the series, having hoped that ' The Defenders would shy away from Danny and his petulance, but unfortunately, Iron Fist is integral to the larger plot'. She also felt the series had pacing issues, and said the Defenders as a group 'lack chemistry'. Lawler felt Weaver was 'a bright spot' but concluded 'viewers who were attracted to one or more of the Netflix series for their unique perspectives will be disappointed' by The Defenders.

Reviewing the entire miniseries, Daniel Krupa of gave it a 6.5 out of 10, saying, The Defenders felt 'uneven, hastily-planned, and ultimately like a missed opportunity'. Krupa pointed out the pacing issues and described the Hand as 'an ill-defined, confused and confusing antagonist' that did not compare favorably to previous Marvel Netflix villains such as,. Krupa did call the chemistry between the main characters 'excellent', and praised Yung as providing 'the most credible and emotionally-rich villain' in Elektra. The highlight of the miniseries for him was the Chinese restaurant scene in the fourth episode.

Accolades Cox and Yung were named 's 'Performers of the Week' for the week ending August 26, 2017. The honor was specifically for their final scene of the miniseries, as they fight and argue while a building collapses around them.

The site described the scene as an 'emotionally compelling two-hander'. YearAwardCategoryRecipientResultRef.2018NominatedNominatedBest New Media Superhero SeriesMarvel's The DefendersNominatedMarvel's The DefendersNominatedNominatedNominatedNominatedFuture In January 2015, Netflix COO Ted Sarandos said that The Defenders was 'eligible to go into multiple seasons for sure' and Netflix would look at 'how well they are addressing both the Marvel fanbase but also the broader fanbase' in terms of determining if additional seasons would be appropriate. However, in July 2016, Loeb referred to the miniseries as a one-off event rather than a season of an ongoing story. Jones said the miniseries 'feels like the end of Phase One' of the Marvel Netflix series, with the events of the miniseries leading into 'the beginning of another phase', while Ritter said she would be happy to return for more after enjoying the experience making these episodes, but 'It was never intentioned to do it again'. In mid-2018, Loeb and Netflix vice president of original content Cindy Holland both said that there were 'no plans' to continue the series.In September 2018, Netflix renamed the Facebook page for the series to 'NX', Netflix's 'new geek-friendly division of genre content'. Netflix did not alter the series' Twitter account in a similar manner.

The change left fans upset at the apparent ', with many suggesting they would have followed a separate page for NX had it been created in that manner. Kofi Outlaw of Comicbook.com felt this change was 'a pretty big indicator that Netflix is done with The Defenders as one of its original series'. In response to this, Loeb reiterated that there were still no plans for the series to continue at that time, but this did not mean that it would never be continued in the future, especially since a 'Defenders' team was not actually formed in this miniseries and future Defenders stories could then focus on different characters.

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at.

It's unfortunate that most people who go through the trouble of writing IMDb reviews are pretentious, pompous, and hopelessly opinionated. As an effort to offset their negativity and wannabe film buff nonsense, I thought I'd chip in. I took some film classes in college, so I'm not totally ignorant when it comes to filmmaking, but I'm by no means an expert.

I'll skip my criticisms altogether and just say that it's not a perfect show. Having said that, I thoroughly enjoyed it.

It was engaging, suspenseful and fun. The music, setting, acting, cinematography, etc was all pretty solid. It's a superhero show, folks.no one should expect something that rises to the level of 'high art.' There have been only 2 exceptions to that rule that I can think of: the dark knight and legion. Go into this expecting to redefine your view of the universe, and you'll undoubtedly be disappointed. Go into it expecting to be ENTERTAINED and not much else and you should be happy.

Also, if you're the type that enjoys poking holes in plots and spotting every error possible, you might have issues.but really, people.it's NOT BASED ON A TRUE STORY. Fiction and especially comic books have the luxury of telling stories unencumbered by facts. They're more like modern day Aesop's fables (which have many plot points that don't make sense btw). Enjoy it for what it is: Good entertainment.