Explained | Marvel's massive TV makeover: Will this reinvention save the day?

Marvel Studios, the entertainment juggernaut renowned for its cinematic dominance, is undergoing a monumental transformation in its television approach, as outlined in a recent report by The Hollywood Reporter. While the temporary halt in production of Daredevil: Born Againdue to a writers' strike served as a wake-up call, it signifies a more extensive overhaul of Marvel's TV strategy. But what instigated this creative overhaul, and can it lead to a successful new direction?

The pause in production, precipitated by the writers' strike, significantly disrupted Marvel's TV division. With less than half of the series' 18 episodes filmed, the existing footage delivered a clear message: the show wasn't meeting expectations. Consequently, head writers Chris Ord and Matt Corman, along with the directors, were let go, marking the inception of a substantial creative reboot for Daredevil.

This transformation is part of a broader initiative within Marvel's television division. In recent years, the studio embarked on an ambitious quest to expand its footprint in the television realm. The success of WandaVision, an Emmy-winning series, acted as a catalyst for Marvel's foray into television. Their objective was clear: to replicate the cinematic universe's magic on the small screen, a concept akin to mass-producing Grandma's secret cookie recipe - great in theory but challenging in execution.

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Marvel's TV approach, however, has been unconventional. They eschewed the conventional TV production model, skipping pilot episodes and filming entire seasons on the go. Showrunners were conspicuously absent, with film executives leading the way, and post-production and reshoots were the tools used to rectify issues. It's akin to attempting to build a rocket without blueprints, trusting duct tape and elbow grease to reach the moon.

Initially, this approach yielded some success. WandaVision provided a glimmer of hope, but as time passed, critics and audience metrics began to raise concerns about creative challenges and diminishing returns from Marvel's TV offerings. The Daredevil reboot is one instance of the studio pivoting towards a more traditional TV production approach. It's similar to realising that the "innovative" square-shaped bicycle wheels you designed don't make for a smooth ride.

Brad Winderbaum, Marvel's Head of Streaming, Television, and Animation, succinctly summed up the change in an interview with THR: "We're trying to marry the Marvel culture with the traditional television culture." Think of it as a superhero wedding where you invite all your comic book buddies to join in on the fun. The aim is to tell television stories that truly honour the source material.

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What Marvel's new approach to TV entails

The new direction for Daredevil exemplifies Marvel's desire to get back on track. The previous version of the show, as aired on Netflix, was heavy with action and violence. However, the previous head writers fashioned a legal procedural that didn't align with this tone, prompting Marvel to reconsider the show's original intent while retaining some elements from the prior series for continuity. It's akin to merging a high-speed car chase with a courtroom drama - two great tastes that don't necessarily mix well.

Daredevil isn't the sole example of Marvel's evolution in the television landscape. The studio grappled with creative differences, tensions, and the struggle to find a balance between its control and the vision of its creative talent. It's akin to baking a cake with too many cooks in the kitchen – one person wants chocolate, the other wants vanilla, and somehow, you end up with a broccoli-flavoured cake. The departure of show creators and writers in projects like Moon Knightand She-Hulk: Attorney at Lawreflects the challenges. The studio's "fix it in post" mentality, where directors sometimes feel sidelined, further complicated the process. It's like trying to build a sandcastle, but you keep knocking it down and starting over when things don't go your way.

As Marvel continued to ramp up its television production during the pandemic, it began to embrace outside talent, departing from its tradition of internal promotions. However, the production of Secret Invasion showcased the growing pains. Kyle Bradstreet, a writer and executive producer for Mr. Robot, had spent about a year working on the scripts before being let go as Marvel chose a different direction. This led to a major reshuffle, with new writers and directors stepping in to salvage the project.

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In response to these challenges, Marvel is now making concrete changes to its television production. The studio is actively seeking showrunners to provide creative guidance, recognising the importance of their role. Additionally, Marvel plans to have dedicated TV executives rather than individuals straddling both film and television responsibilities.

A pivotal change is the revamping of the development process. Showrunners will now write pilots and show bibles, marking a departure from the previous method of shooting entire seasons before addressing any issues. This shift towards a more traditional development process is expected to bring more stability and creative cohesion to Marvel's TV projects.

The future for Marvel television also looks different. The studio intends to move away from the limited-series format to multi-season serialised TV. This approach allows characters to develop over multiple seasons and foster deeper connections with the audience, rather than being a mere setup for crossover events.

Marvel's upcoming projects, such as Echo and Wonder Man, are indicative of this shift. These shows promise to deliver more personal, character-driven stories, prioritising character development, and audience connection over the need to tie into larger cinematic universe events: like a series of short stories can be just as satisfying as a massive epic novel.

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Will this new approach work for Marvel?

First, the departure from the "fix it in post" mentality is a step in the right direction. Marvel is realising that planning and foresight are essential in creating a successful television series. This shift towards a more traditional development process, where showrunners write pilots and show bibles, is akin to using a recipe when cooking rather than throwing random ingredients into a pot and hoping for the best. It's a move towards structure and organisation, which should result in more coherent and well-crafted storytelling.

The decision to actively seek showrunners is like recognising that a ship needs a captain, not just a bunch of sailors with different maps and no clear destination.

Additionally, having dedicated TV executives rather than individuals juggling both film and television responsibilities is a wise move. With dedicated TV executives, Marvel can focus more on the unique demands and opportunities of television, allowing for better decision-making and creative direction.

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