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Watching the Marvel Cinematic Universe from the beginning...
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<blockquote data-quote="Mel O&#039;Drama" data-source="post: 329312" data-attributes="member: 23"><p style="text-align: center"><strong><span style="font-size: 22px">Daredevil</span></strong></p> <p style="text-align: center"></p> <p style="text-align: center"><em><span style="font-size: 18px">Upstairs/Downstairs / Revelations</span></em></p> <p style="text-align: center"></p><p></p><p></p><p>One aspect of these series I haven’t mentioned too much has been the scores. But how could I not mention the terrific work John Paesano is doing with <em>Daredevil</em>. He’s surpassing himself with Season Three and is another of the many reasons this is such a great season. It has a great energy and wonderfully combines classical and contemporary sensibilities. At times it’s Herrmannesque with its horns or frenetic strings. Then it goes into something more poppy and it works perfectly. Even the title music sounds better than ever. I don’t think it’s been re-recorded (though I’m not sure), but the heartbeat sounds at the end are more prominent the way it’s now edited which makes it feel beefier and more complete.</p><p></p><p>Corruption within organisations who are there to serve and protect has been a key theme in the entire Netflix saga. If these series are to be believed, nobody - no matter how official, senior or powerful - is to be trusted. While Fisk’s hold on the F.B.I. is, on paper, a variation on this theme, the execution is so well-done that it doesn’t <em>feel</em> that way.</p><p></p><p>Following Nadeem as we have this season, I found myself seeing through his eyes and I was as surprised as he was when the boom was lowered and we realised how well-staged his setup had been. Nadeem’s superior, Hatley, showing her true colours was one of those moments that pulled the rug out from under the viewer, not only because it wasn’t telegraphed at all (not to me, at least), but also because of Jennifer Lynch’s direction which didn’t reveal what had happened until it was practically over, allowing us to experience it subjectively.</p><p></p><p>During the three-person meeting at Hatley’s home, which is being audio-recorded for the record, we see only Winn in frame as he is shot (by a fourth person from outside the triad, I assumed). Then we hear Hatley screaming for Nadeem to put down the gun he has just wordlessly handed over to her. Somewhere in the chaos we move past Nadeem to reveal Hatley holding the gun while wearing vinyl gloves, having just shot Winn but still screaming as though she’s witnessing Nadeem carry out a shooting. Then the penny drops that she’s corrupt and Nadeem is being framed. And with a damning recording - and the potential testimony of a powerful superior - as leverage, Nadeem, like Hatley and Poindexter, is in Fisk’s pocket and set up to betray Matt. It’s a tightly woven skein, to say the least.</p><p></p><p style="text-align: center"></p> <p style="text-align: center"></p> <p style="text-align: center"></p> <p style="text-align: center"><em>continued…</em></p></blockquote><p></p>
[QUOTE="Mel O'Drama, post: 329312, member: 23"] [CENTER][B][SIZE=6]Daredevil[/SIZE][/B] [I][SIZE=5]Upstairs/Downstairs / Revelations[/SIZE][/I] [/CENTER] One aspect of these series I haven’t mentioned too much has been the scores. But how could I not mention the terrific work John Paesano is doing with [I]Daredevil[/I]. He’s surpassing himself with Season Three and is another of the many reasons this is such a great season. It has a great energy and wonderfully combines classical and contemporary sensibilities. At times it’s Herrmannesque with its horns or frenetic strings. Then it goes into something more poppy and it works perfectly. Even the title music sounds better than ever. I don’t think it’s been re-recorded (though I’m not sure), but the heartbeat sounds at the end are more prominent the way it’s now edited which makes it feel beefier and more complete. Corruption within organisations who are there to serve and protect has been a key theme in the entire Netflix saga. If these series are to be believed, nobody - no matter how official, senior or powerful - is to be trusted. While Fisk’s hold on the F.B.I. is, on paper, a variation on this theme, the execution is so well-done that it doesn’t [I]feel[/I] that way. Following Nadeem as we have this season, I found myself seeing through his eyes and I was as surprised as he was when the boom was lowered and we realised how well-staged his setup had been. Nadeem’s superior, Hatley, showing her true colours was one of those moments that pulled the rug out from under the viewer, not only because it wasn’t telegraphed at all (not to me, at least), but also because of Jennifer Lynch’s direction which didn’t reveal what had happened until it was practically over, allowing us to experience it subjectively. During the three-person meeting at Hatley’s home, which is being audio-recorded for the record, we see only Winn in frame as he is shot (by a fourth person from outside the triad, I assumed). Then we hear Hatley screaming for Nadeem to put down the gun he has just wordlessly handed over to her. Somewhere in the chaos we move past Nadeem to reveal Hatley holding the gun while wearing vinyl gloves, having just shot Winn but still screaming as though she’s witnessing Nadeem carry out a shooting. Then the penny drops that she’s corrupt and Nadeem is being framed. And with a damning recording - and the potential testimony of a powerful superior - as leverage, Nadeem, like Hatley and Poindexter, is in Fisk’s pocket and set up to betray Matt. It’s a tightly woven skein, to say the least. [CENTER] [I]continued…[/I][/CENTER] [/QUOTE]
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