Several weekends back, I had the displeasure of watching The Defenders from Marvel Studios on Netflix. It had been a while since I watched a TV show or streaming series that left me furious due to its lack of quality. The writing, acting, lighting, cinematography, and fight choreography are so bad that it’s offensive to all the senses. But, to be honest, it wasn’t surprising it turned out terribly. Not just because of the travesties that were Daredevil’s second season (or at least the non-Punisher half) or Iron Fist — Marvel Studios has been awful for a while now.
Let me repeat that: Marvel Studios is awful. They have been for a long time already.
Online film reviewer Confused Matthew once had a video that, save for some particularly mean barbs directed at director James Gunn, was spot-on when it came to a lot of their dubious creative decisions and behind-the-scenes behavior. Unfortunately, he later took it down. Why? He hopped aboard the same bustling bandwagon that continues to beat the putrid, decaying dead horse that is Batman v. Superman: Dawn of Justice. Even as the flesh has fallen off the bone, almost threadbare at this point, after being angrily pummeled with a truncheon one too many times.
I agree it’s not a good movie in the least — far, far from it — but part of me wants to be contrarian and defend it or the somewhat entertaining but still awful Suicide Squad. They’re not just failures that future filmmakers can learn from, but they’re memorable as failures. Marvel Studios’ overall output is both obsessively formulaic and so easily digestible that the films are becoming interchangeable with one another — they will not stand the test of time. To me, that’s worse than being bad. Mediocrity never warrants a second thought the way something truly amazing or haphazard does.
One might make the assumption that I must not like the comicbooks or had a hatred of Marvel Studios from the get-go, based on my current distaste with them. Well, you know what happens when you assume? It makes an ass out of you and me (but mostly you). I’m quite fond of the comics though I don’t follow them religiously like others do — I tend to prefer the non-superhero work you see from publishers like Image (seriously, read East of West or Black Science) or Oni Press (seriously, read The Sixth Gun or Letter 44)— and I love cinema even more. Having a father who worked in the film and television industry, reared on the stuff since I was born, has made me far more partial to that medium and the format that has been used for decades already. I’m always excited to see something new or interesting, something that hasn’t been done before, something that may make movies better as a medium both technically and creatively. If anything, I was ecstatic to see these comicbook characters come to life — the storytelling potential, making such material live-action, was unimaginable.
Thing is, though, Marvel Studios couldn’t give less of a shit about creative integrity or has any interest in evolving cinematic storytelling. Its interests are the same as every other creatively bankrupt, vapid studio executive in Hollywood: more money to line their already overflowing pockets and justify another unsustainably large budget for the next over-bloated, homogenized piece of fluff that no one will remember a decade or two from now. They’re continuing the worst kind of practices in the industry and, yet again, almost no one seems to notice this as they wear the rose-colored shades sold to them.
It isn’t just Confused Matthew, several others critics whose work I’ve enjoyed immensely over the years — that include Robert Chipman and the guys at RedLetterMedia — seem to soft-ball these Marvel movies than give the acerbic criticism that came with the aforementioned BvS or Suicide Squad or, well, any other movie. It’s as if their critical faculties had been overpowered by some form of powerful hypnotism, to become as gullible and rabidly consumeristic as gamers drunk on hype after another masturbatory E3 convention (but aren’t they all?). Like the AAA videogame industry and its underhanded methods, Marvel Studios knows how to condition an audience to become addicted in order to fork over money for each and every installment of theirs’ — no matter how middling or subpar it actually is — convinced that they want or even need it. This isn’t a revolutionary change in narrative structure, as wonderful as that’d be, but a modernized version of selling snake-oil. Do you know why con-men are called “con-men”? It’s because they make you feel confident enough to let your guard down and fall for their bullshit…
If you think that sounds far-fetched, I have some unfortunate news: you are already under the sway of advertising and may not even realize it.
We like to think advertisements don’t affect us, that having some product pushed onto us with a TV spot or internet pop-up or billboard is something we’re immune to, yet being inundated with enough ads still make people buy products they don’t want or need but nonetheless feel they should purchase anyway. What makes advertising so insidious is being ostensibly innocuous — all while planting seeds of interest into your subconscious. Maybe, after some time, you’ll have the sudden urge to eventually buy those products and not quite sure why you did. If you’re perceptive enough, you’ll recognize those ads had an effect and kick yourself a few times over it. Others lacking such observational skills, on the other hand, will convince themselves they “chose” to buy those products of their own “volition.” Much like a puppet who simply ignores the strings attached to them, avoiding the sad realization their individuality is just an illusion within this capitalistic society…
As Mad Men had pointed out several times, advertising firms have a keen eye for small details and their effectiveness along with an understanding of social psychology. They know what sells a product isn’t the product itself — it’s the sense of personal validation that comes from buying that product. Advertisements are meticulously crafted to invoke a sense of want or need, with use of certain imagery or subtle musical cues that make you feel all warm and fuzzy on the inside when thinking about that product. If not that? They’ll make you feel like a pathetic piece of shit for not having already bought it.
This That Mitchell and Webb Look sketch, from years back, summarizes it pretty well too:
That’s what makes me hate Marvel Studios: their films aren’t really films, not anymore anyway — they’re in-house ads that sell their next product under the ever-thinning veil of being entertainment. Much in the same way almost every U.S. military film, as once stated by David Sirota in Back to Our Future, effectively functions as pro-military propaganda in order for a production to be given any kind of consultation or support. It took me a while to notice because, like so many others, I wore those rose-colored shades. I fell head over heels for the hype. I chased that carrot dangling at the end of the stick and, at this point, it’s made me weary. I gave Marvel Studios the benefit of the doubt for years, I continued to give them leeway under the promise they’d take chances and yet they never have despite having every opportunity to do so. They have grown so successful that taking risks would still yield some kind of return, and would be somewhat refreshing, but they are far too craven to give up their method of endless iteration.
But that’s just the tip of this sordid iceberg!
I found it impossible to explain everything I find wrong with Marvel Studios within a single essay — the issues attached to them go beyond simply being avaricious or creatively lazy. Were those my only issues, I may as well talk about Michael Bay’s Transformers series but even those movies seem inconsequential compared to the damage Marvel Studios has done and still doing. It contributes to the lowering of standards for quality narrative and corroding the concept of self-contained storytelling.
Over the next few weeks (or months) — I will write one essay apiece detailing, convincingly I hope, a specific problem with Marvel Studios as an entity. While most will deal with their creative decisions, which can be downright stupefying, I will occasionally delve into the behind-the-scenes tomfoolery they’ve done that (for example) left us without an Edgar Wright-directed and -written Ant-Man. Much of which, to my dismay, I’ve barely heard from anyone else of note. Maybe they were too busy creaming their pants over Scarlett Johansson’s ass in skin-tight leather or something.
Next time? I’m talking about Luke Cage…
[Originally posted on 10/28/17 @ Medium.com]