Limited Episodes, One Season, and Too Much Money

A commentary on Disney+

When Disney+ was announced, it also followed a wave of plans to release TV shows that weirdly consists of a small number of episodes (6–8 episodes), which only has one season, following the footsteps of HBO’s small number of episodes and Netflix’s methods of giving series 1 seasons without promising a second one. Of course, the ramification is in order and now had been felt by watchers and critics alike. The problems of writing, corporate dictation, and unnecessary cameos became the main culprit of the discourse.

The mixture of differentiating opinions, ranging from positive utter zeal from fans who adore shows with jokes and explosions to the negative critiques towards its writing and inherent purpose to cash-grab and expand the lore that translates to more money. Might as well give Disney a place in history for its success in grabbing not only Marvel and Star Wars zealots into the cinema and TV shows but also the uninitiated to be socially pressured to follow the ‘trend’.

Yesterday, although, marks a momentous moment, the show Moon Knight excels at adjusting to its limitation by creating an engaging story that is loaded with mythology, complex characters, a tense build-up to its mystery, and a great set-up for a character in a vast universe.

The Irony of Consequentialism of WandaVision

The problem of Wanda Vision lies within the non-consequential writing that MCU harbors. As a TV show that studies grief and the effects of grief––not just towards the ones you love and towards all around you––it should give a sense of finality to the characters when they die but with MCU’s and characteristics of comic books, finality might be unachievable. In turn, teaching the true form of moving on and acceptance as its message will not be conveyed.

Some might argue the show did just that but I believe it did the opposite. The fact that MCU wanted to always grow the lore and consequentially grow its cast of characters from its comic books (Wiccan, Speed, and White Vision) deters that message. As an example, the literal white-washed Vision possesses the memory of the original Vision, making his death unnecessary as his replacement is right around the corner when the writer needs him to show up.

I loved the weirdness of the show that questions which reality is true but the show doesn't end it on that note. Although my love for it, I still believe it’s unnecessary to its grand reveal and plot. To add more, rather than making Harkness a grey-area villain, it only plates her as a power-hungry-world-dominating character, in which we know she will be defeated with never-explailed powers. Unlike Avatar The Legend of Aang, which explains the technicalities and limitations of bending, the show doesn't serve any tension because we know she will win.

The Mandalorian Season 2: A Cameo Galore

The Mandalorian sets shock waves to the fans, not only seasonal fanatics but also the neophytes of the galaxy far far away. Originally, the show is about The Mandalorian bounty hunter. Some feel the show is a side-quests after side quests ala RPG video games but others feel it’s a realistic depiction of a bounty hunter’s life. Then like Rick and Morty fashion, the show always connects itself to a grander narrative of Din Jarrin and Grogu after its side-quests.

For Season Two of the outing, unlike its debut season, it doesn't catch as a video game nor world-building, rather it's executed as a cameo galore. The existence of Ashoka Tano's necessary segway, another segway of Bo-Katan, Boba Fett's return, to Luke Skywalker’s savior moment, undermines the original characters that are made for the show. Really, these cameos felt misplaced and undermined the protagonist in solving problems.

Understanding in its entirety is viable for Ashoka, Bo, Fett, and Luke to pitch in, but I still believe it’s better to make these cameos fewer as it creates a bad precedent of expecting cameos rather than creative problem-solving.

Do I feel happy about the cameos? Of course. Any Star Wars geeks will agree but execution and their roles can be better or be spread out through future seasons rather than forcing it into one season.

Anybody But Hawkeye

I take great personal hatred for this show as it promises a personal story for Hawkeye and its successor but again like Mandalorian Season 2, it focuses too heavily on other characters that shape the show as an origin story for its cameos.

Three characters and three problem arises. The first is Echo. The first MCU representation of a disabled female assassin. Secondly is Yelena, a predecessor character of Natasha’s Black Widow. And lastly is the return of Kingpin.

Wheterornot her conclusion is for Disney’s political representation purposes or not, her character was made just for the introduction of Kingpin and her own show. I believe it would be better if Kingpin was revealed sooner or at the same time as Echo, for the sake of effectiveness.

The inclusion of Yelena was also an unnecessary personal challenge for Hawkeye. The drama between her and Hawkeye was a mere misunderstanding which leads to no consequences or lessons for both Yelena and Clint.

In summation, the show is unfocused. It doesn't explore the situation of a non-superpowered hero living in an always-world-ending scenario whilst resolving his grief and reasonings for being an assassin.

Would it be amazing if it focuses on Clint Bishop and Kate? I imagine there is a multiverse that exactly does this.

The Quasi-Book Of Boba Fett

The return of the silent bounty hunter of the original Star Wars is a hyped one. Fans were clamoring for his new story–– a monumental departure from its original character. The new Boba wants to rule but needs to understand the complexity of ruling the post-rebellion Tatooine, filled with various of families and ravaged by chaos and crime.

In my research and my pursuit it writing fiction, it seems less is more is the correct philosophy, especially in a limited series in a limited episode of the season. The show takes the shoe of a lot of characters which are The Mandalorian, Grogu’s Jedi training, an unnecessary cameo of Ashoka, Krrsantan, and the surprising return of Cad Bane (Ala Hawkeye’s Kingpin).

I and others take notice of how similar Hawkeye and TBBF are. The cameos are jarring, to a point they missed one episode in its totality as one episode is occupied by The Mandalorian or a pre-season of The Mandalorian season 3.

The very first weeks of the show it was amazing, though. It explores the embedded culture of the Tusken Raiders tribes, the power struggles of families that ruled, and how drugs had or may ruin the area. But with the occupation of the Din Djarin, too many bombastic actions and no exploration of politics and how difficult it is to lead and control makes it as a disappointment. If executed ala Game of Thrones, it might be an intriguing struggle for the ex-bounty hunter but sadly it failed in expanding other stories and its execution.

How Moon Knight did it better, if not, best

I’m glad that people hold the same sentiment that I have. This show is self-contained, personal, and focused. The show excels in exploring the mystery of the character’s Dissociative Identity Disorder (DID), the trauma-invested past the characters have and the vast lore Marvel provides, and its connection to real-world Egyptian mythologies.

The benefit is apparent in the reception of the watchers and critiques alike are mostly positive. It exemplifies how TV shows don't need cameos to be good––such as what the source material did–– it just needs well-thought-out writing that feels necessary.

In my personal experience, I felt unease at how they're going to reveal the third personality that has been teased constantly in the stories with only have 1 episode left. And I was met with satisfaction. It doesn't not only perfectly captures the manipulation nature of Konshu as his employer to serve justice but also teases another season that still stays true to its psychological roots ala Mr. Robot.

The fact that the writers don't have any clear sign there will be another season, their writing still acts like that. It is the perfect way for a series to keep the mystery going (not resolving everything they plate in a limited series)

One of the anthesis, I believe, is Stranger Things season 1. The premise of children in the 70s that came across sci-fi horror beings was interesting but when written only for one season, again unlike Moon Knight, when resolved there was nothing else. The second season was too much to build and was too much to resolve.

The art of writing is a complicated one. We write in the interim realm of reality and fiction that demands believability of the real world but requires exploration of the unknown. The fact that these writers have creative restraints and were dictated by corporations that constrained them in their responsibility, more specifically to Marvel’s and Star Wars' interconnected and vast universe, makes the job harder. But with the instance of Moon Knight, it can be said it is feasible.

Personally, a series that promises and titled itself as the main character should be focused on them and their subsidiary materials, without needing to piggyback and leeching-off to others. And if you want to make a series or movie about another character, sometimes their backstories should not be featured there, as it's unnecessary to do so.

I wish Ashoka, Kenobi, She-Hulk, and Ms. Marvel, a household name in the extended universe of Star Wars and Marvel, should follow this route as an absolute satisfaction to us, the zealous fans.