By Arturo R. Garcia
Enough time has probably passed that most of us can now consider Marvel’s new Daredevil adaptation in full — both the good and the bad. And make no mistake, the good has been very good at times.
In fact, I suggested on the Lawyers, Guns & Money podcast that this show, along with Orphan Black, The Flash and arguably Arrow, has introduced enough non-mainstream “prestige” shows that calls for a set of separate sci-fi/fantasy Emmys should be taken seriously.
But, like a hurdler tripping and landing chin-first near the finish line, Daredevil’s 12th episode closes on a note that is less “shocking” than it is disappointing. And par for the course with the comics industry in all the wrong ways.
SPOILERS under the cut.
By Guest Contributor Keith Chow, cross-posted from The Nerds of Color
Yes, I am proposing that a major comic book institution change the race of one of its popular characters as it transitions to a new form of media. In this case, I want Marvel Studios to cast an Asian American actor to play the lead in the upcoming Iron Fist show it is developing for Netflix. It seems logical enough to me, though as always, there are fans who are urging Marvel to resist changing his race.
Now, I know the topic of cross-racial casting has come up time andtime again here at The Nerds of Color. And while there are a contingent of fans who don’t think such things matter — or worse, arevehemently opposed to such casting choices — I can’t help thinking that Iron Fist gives Marvel a chance to add even more diversity to its interconnected cinematic universe. Not to mention that this is a case where changing the race of the character has the potential to actually add layers of depth to the story of said character.
By Arturo R. García
The cast of “Arrested Development.” Image via jta.org
Like a lot of people this holiday weekend, I powered through all 15 episodes of the fourth season of Arrested Development. (Apparently I’m one of just 10 percent of viewers who finished the whole run by sundown. I don’t know if this is an honorific or a red flag.)
And as it turns out, there’s quite a bit to go through as regards the series’ treatment of people who aren’t the Bluths. But I want to try something a little different from our open threads — I’d like to crowd-source some reactions to some of the various depictions we saw this year. Spoilers and general guidelines under the cut.
By Guest Contributor AJ Christian, originally published at Televisual
The New York Times has an interesting interactive feature out that maps the top 50 rentals for 2009 based on the Netflix queues from a dozen US cities: New York, Boston, Chicago, Washington, Milwaukee, Dallas, Miami, San Francisco, Los Angeles, Altanta, Seattle and Denver. The list is a bit skewed because these are all fairly cosmopolitan areas — Benjamin Button and Changeling are at the top of the list — though that probably reflects what I assume is Netflix’s popularity in urban and suburban communities to begin with.
The list reminds us films have long lives. The press focuses almost solely on opening weekend box office returns and forgets films go to the rental market, DVD sales, pay-cable and OnDemand. Often these venues are great for films that couldn’t get people in theaters but are nevertheless intriguing or enjoyable. Movies by and about minorities sometimes can find audiences unwilling to shell out $6-$12+ for ticket (the gay film market has operated for years on this assumption).
I was surprised to see Traitor on the list — in the middle, but still before many popular Hollywood films. Traitor, a Don Cheadle-starrer about an alleged terrorist who may or may not secretly be working for the United States, made a paltry $27 million in theaters, just $23M in the U.S. Don Cheadle doesn’t have the Box Office pull of a Will Smith or Denzel Washington, despite his role in the Ocean’s Eleven films. Yet in the rental market, it seems black communities have taken a small liking to the film. The New York Times‘ map has it markedly popular in Atlanta — with a strong presence in the middle class/Morehouse area inside the perimeter — in D.C. and in neighborhoods like Bed-Stuy in New York.