Skip to main content

Disney's Already Floating the Idea of Reviving Netflix's Canceled Defenders on Disney+


#LukeCage #Daredevil #JessicaJones #Defenders #Marvel

Try to be surprised. Really, just try. But it’s not quite as simple as you might think, even if you were surprised.

In the endless hell year of 2018 the fact that Netflix turned to Thanos and asked him to watch in awe as it decimated its own Marvel roster feels like it was ancient history. The cancellation of Iron Fist, Luke Cage, and then Daredevil seemingly out of nowhere left fans not only asking why but also assuming that these shows—and presumably Jessica Jones and The Punisher, whenever those eventually join their comrades in the canceled pile—were being primed for a splashy return on Disney’s own upcoming streaming service, Disney+.

And while it’s not a certainty quite yet, it seems like that could be an option on the table—at least, according to Kevin Mayer, Disney’s chairman for its direct-to-consumer deals. Speaking to The Hollywood Reporter in a wide-ranging interview this week, Mayer didn’t exactly confirm that it would happen—in fact, he noted explicitly that nothing has happened yet—but teased that the House of Mouse is at the very least having thoughts about reviving the Netflix-Marvel universe on Disney+:

They are very high-quality shows. We haven’t yet discussed that, but I would say that’s a possibility.

It’s basically the “so you’re telling me there’s a chance” scene from Dumb and Dumber, in Disney Executive quote form.

Nothing’s likely been discussed quite yet given that we also recently learned that part of Marvel and Netflix’s deals over the shows allegedly includes a waiver that, should they be canceled, the characters involved could not appear in another Marvel-produced show for at least two years. So even if Disney were more interested than they currently are—beyond the merest possibility that Mayer mentioned—they’d have to wait a while before they could even begin the process of reviving those shows, anyway.

And two years is a very long time—for both fans to be a little less aggrieved that the Defenders were cut down in their prime, and for Disney itself to move on and be intrigued by other new Marvel projects, like the Loki and Vision/Scarlet Witch shows. By the time that waiver ends, there could be a lot less interest in bringing these shows back. But for now, at least, Disney would very much like to tease the possibility while dangling a subscription to Disney+ in your face, though.


By James Whitbrook

Comments

Popular posts from this blog

FLIGHT FACILITIES (Hugo) b2b TOUCH SENSITIVE in The Lab

#Deep_house #HouseMusic #HouseGrooves #Melodic #Electronic #djset #FlightFacilities #TouchSensitive An immaculate selection of disco and killer house grooves by Hugo (Flight Facilities) and Touch Sensitive. website: http://www.flightfacilities.com Youtube http://smarturl.it/SubscribeFF Facebook: http://www.facebook.com/flightfacilities Twitter: http://twitter.com/flightfac Soundcloud: http://soundcloud.com/flightfacilities Instagram: http://instagram.com/flightfac

Homecoming: A Film By Beyoncé | Official Trailer | Netflix

#Beyoncé, #Coachella, #Homecoming, #Netflix, This intimate, in-depth look at Beyoncé's celebrated 2018 Coachella performance reveals the emotional road from creative concept to a cultural movement. Premiering April 17. Only on Netflix. Published on Apr 8, 2019

Kate Bush, The Dreaming : A Pitchfork Review

#KateBush # WutheringHeights # Lionheart # NeverforEver #TheDreaming In 1982, Kate Bush’s daring and dense fourth album marked her transformation into a fearless experimental artist who was legible, audibly very queer, and very obviously in love with pop music. In 1978, Kate Bush first hit the UK pop charts with “Wuthering Heights” off her romantic, ambitious progressive pop debut The Kick Inside. That same year, her more confident, somewhat disappointing follow-up Lionheart and 1980’s Never for Ever had a grip of charting singles that further grew her UK success without achieving mega-stardom—she barely cracked into American college rock. What is truly amazing between the first chapter of her career and the new one that began with 1982’s The Dreaming is how consistently Bush avoided the musical world around her, preferring to hone and blend her literary, film, and musical inspirations (Elton John, David Bowie, and Pink Floyd) into the idiosyncratic perfection that was 1985’s Ho