Marvel's The Punisher
Streaming TV

Boxset Monday: Marvel’s The Punisher (season 1) (Netflix)

The Punisher in all his incarnations has always been something of an accidental success. A former marine, Frank Castle turns lethal vigilante following the murder of his family by criminals, becoming judge, jury and executioner to those who would break the law. He had no powers, just his military training, a heap of weapons and a skull on his chest, and he was originally a bad guy – one of Spider-Man’s many badly becostumed adversaries in the early 70s.

Spider-Man and the Punisher

But it was that almost unique willingness to kill in comics that made him such a success that he eventually got his own comic and no fewer than three (pretty bad) film appearances, where he was played first by Dolph Lundgren, then Thomas Jane and finally Ray Stevenson.

However, his success ended for a while when a 2011 attempt by Fox to produce a TV series starring the character fell through.

But let’s now flash-forward to the era of Netflix and its Marvel superhero shows. The plan from the outset was very clear: there would be four one-season superhero shows – Daredevil, Jessica Jones, Luke Cage and Iron Fist – which would then lead into a team-up show The Defenders.

The first sign everything was going off-plan was when Daredevil got a second season. It’s hard to tell whether that had been planned from the outset; however, it seems likely given

  1. Netflix awarded Daredevil another season only a week after its first season aired
  2. The whole plot of that second season is vital to the plot of The Defenders

Nevertheless, what definitely wasn’t part of the plan was the success of guest anti-hero/baddie The Punisher in that second season. That can be put down to the ‘lightning in a bottle’ casting of Jon Bernthal. Bernthal’s always been part of the supporting cast, never the lead.

He’s Andrew Lincoln’s best bud in The Walking Dead, not Andrew Lincoln.

He’s Ben Affleck’s brother in The Accountant, not Ben Affleck.

He’s the guy Andrea Anders rejects in The Class to go back to her husband (although he ends up with Lizzy Caplan so it’s not all bad).

But as Castle, Bernthal was the undoubted star of the second season of Daredevil, a brutal match for Charlie Cox’s gymnastic lead – a blue-collar grunt to Matt Murdock’s white-collar, morally-torn lawyer.

Bernthal so occupied the role that it’s hard to think of anyone else being able to play the character and it wasn’t long before Netflix and Marvel realised what they’d got and decided to break with the plan and commission Marvel’s The Punisher, with Bernthal as its lead.

Punishing?

The question was what form the show would take. Would it follow on, for example, from the comics’, the movies’ and season 2’s general theme of a man giving ‘the punishment they deserve’ to mobsters, rapists, paedophiles et al who seem to be above the law and escaping justice? Yet, how would a white man with a lethal arsenal shooting up cities go down in an age of the alt-right, MRAs and mass-shootings by white men who feel aggrieved by society? And how would it go down against the liberal backdrop of Netflix’s other shows: Daredevil stuck up for the poor and oppressed; Jessica Jones deconstructed superheroes, male power and sexual violence; Luke Cage asked what a black man can do for his community and others against both oppression and police shootings; and Iron Fist looked at the responsibilities of the rich towards the poor and the rest of the world.

The various trailers Netflix produced in the lead up to the show’s released seemed to suggest business as usual for Frank Castle – lots of gunfire against a rock soundtrack. And yet, oddly, that’s not what Marvel’s The Punisher is. For the most part, the show is instead the white, working class male’s equivalent of Jessica Jones and Luke Cage. It’s a look at family, responsibility, friendship, parenting, class, class loyalty, what it is to be in the military and to have brothers-in-arms, the consequences of violence, and the role of government in helping the working class. And oddly, there’s very little punishment meted out.

Here are those moderately misleading and spoilerish trailers. Slightly less spoilerish review of all 13 episodes after the jump.

Continue reading “Boxset Monday: Marvel’s The Punisher (season 1) (Netflix)”

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When’s that show you mentioned starting, TMINE? Including Les témoins and Veszettek

Every Friday, TMINE lets you know the latest announcements about when new imported TV shows will finally be arriving on UK screens – assuming anyone’s bought anything, of course

One new acquisition, one new airdate this week. First, remember all those shows I said last week that were coming to Walter Presents by year end? They’ve turned up today. For full details of all the shows, last week’s entry has it all but here they are on 4oD:

Also just turned up is Veszettek (Home Guards) (Hungary: Megafilm), which is about two brothers recruited by a local vigilante group who end up discovering it’s a bit hard to tell goodies from baddies in real-life.

Acquisition of the week is AXN’s Stana Katic drama Absentia, of which I reviewed the first three episodes. That’ll be on Amazon some time next year.

Belated airdate of the week is for the second season of Les témoins (Witnesses), which was on Channel 4 for its first season but is now on BBC Four, starting 9pm next Saturday (25th November). I haven’t seen it, but I’ve already covered it a bit and given Audrey Fleurot is in it, I will be watching it. Two hours of that on Saturday, two hours of Babylon Berlin on Sunday – that’s a lot to get through of a weekend…

There's… Johnny!
US TV

Review: There’s… Johnny! 1×1 (US: Hulu)

In the US: Available on Hulu

Anemoia isn’t a real word. It’s a made-up word, albeit one made up to serve a purpose: to describe that universal feeling of nostalgia for a time and place you didn’t live in. Someone laminate it and send it to Jacob Rees-Mogg.

I wasn’t alive in 1972. I certainly wasn’t alive in the US, watching The Tonight Show with Johnny Carson. A show that ran for 30 years, making its Nebraskan host Johnny Carson one of the most famous men in the country, it was also NBC’s most profitable TV show of the time.

Yet watching There’s… Johnny!, I felt anemoia for LA in 1972. Originally planned for NBC’s just-shuttered Seeso service but now available on Hulu, the show stars Ian Nelson as Andy, a Nebraskan boy whose family worships Johnny Carson and his show. One day, Andy writes a letter to Johnny to ask for both an autograph for his parents… and a job. Soon, he receives the autograph and a letter telling him his wish has come true, and before you know it, he’s on a bus to LA to live his dreams.

Dreams hit reality when he arrives, of course, and it turns out there is no job for him after all. But his sweet, naïve nature means that soon he’s being taken under the wing of Johnny’s assistant T’Keyah Crystal Keymáh (Cosby, In Living Color), as well as show co-ordinator Jane Levy (Suburgatory), and ultimately his dreams come true. But what will sex, drugs, rock & roll and 1972 all do this small town boy?

The West Wing

The show has apparently been 17 years in the making, with producer-creators David Steven Simon and Paul Reiser (yes, that one) working with the Carson estate to produce something that’s a comedy, a drama and a homage, Reiser having appeared multiple times on the show during its run so earning the estate’s trust. An almost unrecognisable Tony Danza is the only actor to be playing a real person (famous exec producer Fred de Cordova), leaving everyone else to play people who could well have existed but didn’t.

Nevertheless, those liberties and the fairy-tale qualities of the show to one side, the show feels like an authentic, behind-the-scenes look at how the Tonight Show could have been made. Taking a hint from Aaron Sorkin’s original plans for The West Wing, neither Johnny Carson nor his long-time sidekick Ed McMahon ever appear on There’s… Johnny!. Instead, they either appear blurry in the distance or through footage from the actual Tonight Show, a technique also used for the show’s guests, who in this first episode include a young George Carlin. It’s a technique that works well and also avoids the audience having to accept other actors playing two of the most famous people in TV history.

Romance

Most of the first episode is about Levy and Nelson’s burgeoning relationship, with Levy having to deal with a violent ex-boyfriend and her parents failing marriage, Nelson providing a sensitive shoulder to cry. Both do admirably well, Levy both as fierce and as funny as she was in Suburgatory and getting some decent lines from Reiser and Simon’s amusing script. There’s also the daily struggles of the writers’ room to come up with genuine gold for Carson’s famous monologues that will reward them with a wink or even a look, with moments that ring true such as a struggle to work out which is a funnier sounding petrol station: Texaco or Mobil. And, of course, we get to see Carson deliver the end result and the audience’s reaction (no, no spoilers).

The show deftly manages to walk between all these different issues, while lightly touching on the history of the period, including McGovern v Nixon and The Joy of Sex. It manages to do this without wallowing in temporal tourism, yet the beautiful recreation of the The Tonight Show studio of the time will still bring a tear to your eye, whether you were alive then or not.

There’s Johnny

The show isn’t a slam-dunk, must-watch that will have you rolling around in the aisles. But it’s a smart, loving, only slightly nostalgic slice of TV comedy about TV comedy, as well as a loving tribute to one of the US’s most hallowed TV shows, that’s certainly worth at least half an hour of your time. I’ll be back for more.

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