u/Sarang_616

Interview Article

Jon Bernthal describes how Frank Castle has put himself on a fresh path in the franchise. He stressed, "I hope so. I mean, that was certainly the idea. I think the idea, and I hope we are able to do it in a way that doesn't feel spoon-fed or too kind of on the nose."

He commented on how Frank thinks "through the course of this day with that little girl sort of giving him the gift that she does, and for him to go pass that along and put that trinket of hope, that trinket of life, of gratitude, of love on his daughter's grave, it's the first time he hasn't put a trinket that belonged to somebody that he killed for his daughter. And so maybe by helping other families stay together, by fighting for justice, by keeping people safe, maybe he can honor his family that way. And I think that that is a real big step for him."

Bernthal says, "I think that's exactly where Frank is. I don't think Frank will ever be in a place of love or light or comfort or ease. I don't think that that's something that he's ever been, that he's looking for, but I do think he'll find different ways to honor them." However, he concludes that "I do think that there are ways now after this special that we can find him in a place where I'm not going to tip off what's coming. But what I will say is I think you're going to get a version of him going after the bad guys, going after the people that are causing harm and havoc to good people. I think he's going to be able to start personalizing that. And with Frank, when he personalizes something, it's something to deal with".

Full Interview (from Source Article) :

>Question : "We all know [the Punisher is] going to be in Spider-Man: Brand New Day. Can you talk a little bit about how you feel that this special, by the time it finishes, perfectly sets the character up to be in that adventure with Spider-Man?"
>
>Reinaldo Marcus Green: I love it. I mean, I feel like we're coming in at the right time. I think, just as a fan of The Punisher and a fan of Jon [Bernthal], I want to see him more on screen. That trailer looks amazing. Destin Daniel Cretton is an incredible filmmaker. So just to know that I got Frank first, which is cool to get there before everybody else did, which, selfishly, is really great, and set him up... And we [now] know his psychological state before he goes into Spider-Man. I couldn't have asked for better timing for us. >
>So I think it's just, it's a lot of fun. I think people who are fans and people who are non-fans can still appreciate the special. You know, someone like my mother has never seen The Punisher, I think she can appreciate where Frank is in his headspace, and then maybe she'll become a fan and then go watch Spider Man. So I'm hoping that we, we can get some new audience members.

>Question :"The special goes to some very dark, mature places, which is different than a typical Disney released project. What were the conversations with Marvel Studios and or Disney about how to handle this more extreme adult subject matter [and] did anything specific need to be tweaked?"
>
>Reinaldo Marcus Green : To be fair, I think those conversations happened before I came on. I think Jon [Bernthal] wasn't going to have it any other way. I think he spoke about it publicly, that it was go hard or go home, so to speak. And you know, he wasn't going to do a special that was going to hold punches. And so when he approached me, there was already a lot of that darkness in the character, in the journey of the character. He had already been thinking about this draft and the structure of the early drafts. >
>So, it came to me, and it was already kind of loosely pre-approved in that sense. And I knew that at least as far as I was concerned, Disney was on board, which I thought was bold and daring and fun. And I think that's what makes it really cool, that it is a Disney+ special, because it's not what you expect to see on that platform, and to see Frank Castle come back in this way, I think, was exciting because it's a whole new audience for us.

>Question : "Can you talk about filming the awesome Punisher action sequence throughout the apartment building [and] the New York City war zone, and also just offer your thoughts on what really made all of that unique compared to anything else that we've seen from the character up to this point?"
>
>Reinaldo Marcus Green : Well, look—kudos to John, because he's a terrific stunt man himself, on top of being a terrific actor. So that helps to have someone who's willing to set himself on fire and jump from buildings safely. But certainly having an actor that's willing to do all of it is super helpful. We also had an amazing stunt team, an amazing stunt supervisor and choreographer, Jude Poyer, who had done 'Gangs of London', which I saw and thought was terrific. We worked with David Conk and some of Jon's long-standing stunt men. So we had an incredible design team to help us kind of execute that.

On Locations for this Special Presentation :

>Reinaldo Marcus Green : I think the locations that we found were terrific. We found [an] apartment complex, which I was sort of inspired—I had done a TV show years ago called 'Top Boy' and it was sort of in London, and the apartment complexes have the interior and exterior spaces. And it really lent itself to that storytelling when he's on the rooftop, and he's seeing sort of the chaos in the courtyard. It was just like a terrific location that really helped us in the design of that. So I think the locations drove a lot of what the action was going to be like.

On the Foundation for the show, Green says :

>Reinaldo Marcus Green : Obviously, the story was what was driving all of that action to kind of make it feel grounded. And then, obviously, we work with an incredible DP and Robert Ellsworth, a cinematographer, one of the greatest to ever do it. So just that [and the] combination of having a very willing and talented actor who understands the character better than everybody in the universe, I think, was a foundation for making really, really, really good action sequences.

One Fun Tidbit from Production :

>Reinaldo Marcus Green : We also had access to real military [people] on set, you know, ex-military who were also not just part of the fight sequences, but also part of the psychological character of where he was at that time... We had some guys who were really, really helpful in sort of making sure that Jon was doing all the tactical stuff with precision. And it's all about stopping the threat. It's never killing for the thrill of killing. It's killing to stop the threat and what's at his disposal when he's out of bullets. What does he use? When does he use a knife? When does he use a pipe? When does he use a bat? All of those things were designed in the character, you know, the study of who Frank is and where he was at the time.

Interview Article (Archived)

Quotes from the Article :
>Daredevil : Born Again Season 2 doesn’t feel like it shares a city with Thunderbolts* or any other Marvel movie.
>
>According to Wilson Bethel, that’s just how showrunner Dario Scardapane likes it. Bethel explains : "Dario talks a lot about how, even though we are technically part of the larger MCU now, this street-level world still sort of occupies its own corner of the ecosystem. I do think that is very much to the benefit of the show as it continues to evolve.”
>
>Still, Bethel admits it would be “very fun to get woven into the larger world” at some point. Bullseye’s choice to leave New York with Mr. Charles opens up a trove of possibilities for his character, so Bethel is willing to leave things on a coy : “We’ll see.”

Amelia also worked on the upcoming Disney+ live-action Marvel series, Vision Quest. Her other projects include : Westworld, Echo, Dune: Prophecy

Marvel Studios is in talks with Wagner Moura for the role of Sebastian Shaw in the upcoming X-Men film. The film will paint a wide picture of the mutant world, introducing Shaw as a significant player moving forward. He’s a grand actor so I’m here for it. It sounds like the first movie will build the mutant world introducing many characters which will have bigger parts in subsequent chapters. Very exciting. #MutantAndProud

Marvel Studios could reveal the Defenders and Elektra on stage at Disney’s 2026 TV Upfront presentation in NYC on Tuesday

I'm hearing the current cut of the 2nd ‘SPIDER-MAN: BRAND NEW DAY’ trailer includes : More shots of Sadie Sink (including a face reveal shot), FIRST look at Tombstone, and more Scorpion footage

Timestamps :
6:25 Co-Writing "The Punisher : One Last Kill"
8:16 Starring Alongside Tom Holland in "Spider-Man: Brand New Day"

Kelly Clarkson : Let’s talk about your Punisher Special on Disney+; you co-wrote this as well, right?
Jon Bernthal : I did, yeah. I had to do my writing early in the morning before the kids got up, because once they are awake, they don't care about my process. I wrote a lot of it alongside the help of Nick Kumalazzos, who is a Marine Raider and an unbelievable guy.

Kelly Clarkson : So, what can you tell us about that? It’s the same character, but different?
Jon Bernthal : I think look, I think it’s going to be the most psychologically complex and the darkest version of the Punisher that you’re going to see. I believe it’s what the fans want. We also had Cody Alfred, a Marine Raider, and Colton Hill, a Green Beret, on set and in the special. They really wanted to do something for the veterans community, especially for the "tip of the spear" guys who are suffering while trying to enter back into the world. That is very much at the core of Frank’s story.

Kelly Clarkson : You also return as the Punisher in Spider-Man: Brand New Day. What was it like working with your friend Tom Holland?
Jon Bernthal : Tom is the greatest to ever do it; I’ve known him since he was 17. Back when we were in Ireland doing a movie, I made his Spider-Man audition tape and he made my Punisher audition tape. Now, more than 10 years later, to be together and do this and we got to do back-to-back movies with The Odyssey and Spider-Man, it was a real gift.

Kelly Clarkson : It's so cool that you're doing this with a friend.
Jon Bernthal : It was important to us that one Punisher could walk off one set and walk on to the other. Tonally, the two projects couldn't be more different, but I hope we were able to achieve that consistency. It comes back to being able to work with friends that you really get to create and play with.

Jon Bernthal to Liam Crowley

Judith Light confirms her role in 'The Punisher : One Last Kill'

Everything to Know About 'The Punisher: One Last Kill'

Interview with Lee Sung Jin (Archived)

https://xcancel.com/MCUFilmNews/status/2052954965593997793

Question : You and Jake [Schreier] also worked on Thunderbolts* together, and you’re working on the new X-Men movie. Do you have a personal connection with X-Men comics ?

Lee Sung Jin : I wasn't planning on doing another Marvel thing because I do have a lot I want to explore in my personal projects. But Jake is one of my best friends, and when he comes calling with X-Men…come on, you drop everything for that. I grew up waking up every Saturday morning and turning on the cartoon. I watched every single episode. When they came back with X-Men '97, I devoured that. The original Claremont run of the comics is near and dear to my heart.

What I'm excited about with Jake's vision for the X-Men—and [Marvel president Kevin Feige and co-president Louis D’Esposito] are fully aligned with his vision is that he wants to get back to focusing on the characters first. These are amazing characters with very rich backstories full of so much emotion. There are so many intra-team dynamics and relationships. There's soapy stuff. And sure, there are political themes baked into the DNA of X-Men too, and those are evergreen, but we want to get back to character-first storytelling. We've been in the lab every day. I've been going into Marvel every day. We're doing long writing sessions. Kevin and Lou are in there with us. It's me, [co-writer Joanna Calo, who is the showrunner of The Bear], Jake [Schreier], Kevin, and Lou. We're in the trenches together and it's invigorating. We all love these characters. I'm excited, and I think true fans will be excited too. I don't take it for granted. This is the privilege of a lifetime. It's the coolest IP out there, in my opinion.

Podcast Interview with 'Daredevil: Born Again’ Cinematographer Hillary Fyfe Spera

Cinematographer Hillary Fyfe Spera says she won't return for Season 3 of ‘Daredevil : Born Again’ : "A new DP will be working on the episodes alongside Season 2's cinematographer Jeffrey Waldron."

SUMMARY (Full Interview is not transcribed below) :

David Elliott : To start off, could you tell us a bit about your background and how you first found your way into cinematography?
Hillary Fyfe Spera : "I actually first came to cinematography through still photography. What eventually drew me into film and television was my love of collaboration, which is such a huge part of the filmmaking process compared to working alone as a photographer."

David Elliott : You’ve been with Daredevil: Born Again since the very beginning. How did this project first come to you?
Hillary Fyfe Spera (Hillary discusses the process of how the show came to her in the interview). (For Daredevil : Born Again) "I ended up shooting the pilot, the Finale, and seven out of the nine episodes in the first season. I also returned for the second season, where I shot half of the episodes, including the first two episodes."

David Elliott : What were some of the primary visual influences you looked to when establishing the look for Hell’s Kitchen?
Hillary Fyfe Spera : "We wanted a grounded, cinematic look for Matt Murdock’s return. We were heavily informed by classic 1970s New York films, specifically titles like Taxi Driver and The French Connection."

David Elliott : There is a very distinct visual contrast between the worlds of Matt Murdock and Wilson Fisk. How did you approach that?
Hillary Fyfe Spera : "We created specific visual rules for both. For Daredevil and the vigilantes, we used a style that was more handheld, human, and street-level. In contrast, Wilson Fisk’s world is portrayed as much more controlled, symmetrical, and oppressive. These rules evolved over the two seasons and would often shift if a character moved between those worlds or began to lose control."

David Elliott : One of the most interesting aspects of Daredevil is his heightened senses. How did you represent something non-visual on screen?
Hillary Fyfe Spera : "We used a practical, in-camera technique we called the "sensory grande". This involved using multiple cameras, different lenses, specific movements, and even aspect ratio changes to translate his sensory experience to the audience."

David Elliott : The action in this show is incredible. How do you balance the stunts with the cinematography?
Hillary Fyfe Spera : "It’s about working closely with the stunt team to keep the fights grounded while still being cinematic. I always feel that the best action sequences need emotional pauses; they shouldn't just be about relentless punching."

David Elliott : Are there any specific sequences in Season 2 that stood out as particularly challenging?
Hillary Fyfe Spera : "The East River Ship "Oner" in Season 2 was a massive undertaking. It was shot at night and required drone lighting, complex choreography, and dealing with all the practical challenges of the location. We also saw the BB Report segments change visually as the story progressed throughout the series."

David Elliott : Finally, what are you enjoying watching right now, and is there a dream project you’d love to tackle in the future?
Hillary Fyfe Spera : "I’m a big fan of The X-Files. As for a dream project, I’ve always wanted to do a Western."

https://www.instagram.com/p/DYAWa4sm3xp/

Krysten Ritter (on Luke Cage's Return) :
>"I was so excited. We were talking about it on set with Sana Amanat [Marvel's Executive Producer]. It was just like a whisper of an idea at the time, and I loved it so much that I was like, 'We have to do it and the scene should be like this and I'm gonna call Mike right now and tell him to do it.'"
>
>"Originally, the Born Again finale scene was gonna be a slightly different shape. We didn't know if it would be Mike Colter or not, but I was so excited because it sets up what's to come and gives us a little bit of a window into where their story could go."
>
>Ritter also points to Jessica Jones reopening Alias Investigations. "Jessica and Luke Cage have this amazing history and this amazing chemistry and seeing him walk in the door, it was emotional".
>
>Dario Scardapane calls the act of scheduling the team's "biggest bugaboo". He further adds : "There's the story that we worked out in the writers' room about what Mr. Charles [Matthew Lillard] was doing with people like Luke and Bullseye [Wilson Bethel], and we were able to fold that story together in this reunion of Danielle and Luke and Jessica. It's one short scene, but it holds an entire seed packet for seasons going forward". He concludes : "The questions and the story that starts there with Jessica, Luke, and daughter Danielle plays into season 3, absolutely."

Speaking with Variety for Inside the Frame, Daredevil : Born Again Cinematographer Hillary Fyfe Spera narrates how they shot the sequence (on the ship) :

>Spera's first reaction was : "We’re sinking a ship in New York Harbor.” Her next question was how they were going to pull it off.
>
>The waterways of New York were familiar territory to Spera, and she knew collaboration was key. Her first port of call was finding a real tugboat and cargo ship company in Staten Island that provided water vessels for shooting around New York City.
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>"We used them to collaborate as to what our possibilities are because we wanted to shoot this on an actual ship in the East River, in the harbor that would be somewhere between Brooklyn and Manhattan.” The Manhattan backdrop would anchor the storytelling and tell audiences where they were. The view of the Brooklyn Bridge at night was a cherry on top.
>
>As with Season 1, the creatives wanted to shoot everything in-camera as much as possible, and aside from filming on the waterways, they would shoot on the deck of a real cargo ship. But that posed logistical challenges. "We’re shooting on a live waterway. We can’t shut it down. It’s at night. There are tides, wind and currents” Spera says.
>
>On the day of the shoot, Spera and her team loaded the camera gear on the ship and floated the ship from Staten Island to the river, docking it at an angle to have the background that they wanted.
>
>Her proudest feat was getting a building on the East River to change its light display. “It’s a glass building that has a concert venue on top, and I’ve been looking at it for years. We were looking across the river. And I thought, ‘It would be cool if we could ask them to put all red on that building when we shoot.’” And they obliged. “This one source has a little hint of red that reminds us that we’re in the world of ‘Daredevil,’ and that lends to the story."
>
>Lighting posed another challenge. Spera and her gaffer, Charlie Grubbs, looked at real ship lighting. “We mounted a lot of practical sources on the ship so that we could shoot in almost 360.”
>
>But the lightbulb moment was when they realized how they tackled aerial lighting. There was no way they could light from the water side, so they decided to “fly lights on drones.” She explains, “We needed it because it was a continuous oner and had the light travel with us.”
>
>Spera and her team worked with Monster Remotes in New York and their drone division. But there were restrictions. “There were weight restrictions, and you could only go 12 minutes per flight.” The sequence was five to six minutes. “We trained the drones on the path of the choreography, trying to get the backlight throughout as if it’s coming from Manhattan or from the bridge.” Spera adds, “We did five or six takes.”
>
>In prepping for the scene, the show’s action director and stunt coordinator, Philip J. Silvera, also returned after working on Season 1. “His prep is extensive in a way that’s very camera-friendly” Spera says of their collaboration. “He builds worlds out of cardboard boxes, and he knows what every box represents, and walks me, the operators and our lighting team through it.”
>
>As for her camera and lens choice, Spera used the same camera and lens package from the first season: the ALEXA 35 with G-Series and T-Series Panavision lenses. “We used a macro anamorphic 55 prime lens. It’s got a beautiful singular flare ability that’s very warm and allows for very close focus.” That allowed her to get close to her subjects to create an intimate and personal feeling. She adds, “The idea of shooting the show anamorphic was to give it scope and scale and evolve it from the look it previously had.”

In an exclusive interview, Earl speaks about Cole North with a clarity that mirrors the character’s own internal struggle. It becomes evident is that this performance is not built on abstraction but on lived understanding.

Sgt. Cole North is often portrayed as someone who operates in moral gray areas. How did you personally define his sense of justice, especially in a city like New York where the lines between hero and vigilante are constantly blurred?

Great question. Believe it or not Cole North and myself are very similar. I’m also from Chicago and I’m also a retired police officer, from said area, city of Markham which is south of Chicago. So I basically have so much in common with the character itself our sense of justice kind of aligns. I believe there’s a little bit more grey into it but I think Cole North, you know, is someone who stands firms when it comes to his beliefs on law and order and I think that’s the turmoil that kinds of messes with him because he’s watching his side do horrible things and watching the vigilantes try to stop them from doing these things; in turn he’s conflicted but you know where it all comes from is from the same place is where I come from and as far as how I see justice and everything else.

I understand why you can’t have vigilantes because that’s showing people that the system doesn’t work and if the system doesn’t work then everything falls to pieces. So I guess that’s kind of his view of it as it blurs, you know, as we continue on.

Cole North has a complicated relationship with power and authority. In Born Again, how does his position within the police force shape his worldview compared to someone like Matt Murdock?

I wouldn’t call it a complicated relationship. I think his relationship with power and authority, he doesn’t mind because he’s in a paramilitary organization, which is the police department. I think his problem comes with power or with super power beings that are outside of the law and in this case how vigilantes are outside of the law but they yield certain abilities and powers that maybe he doesn’t have.

So I think that’s the caveat in that particular part of the question but as it pertains to Matt Murdock who has the anonymity of being Daredevil so that when something doesn’t work right in Matt Murdock’s life, Daredevil can go in and enact the justice that need to be enacted. It’s funny because they do see things in black and white whether its right or wrong but I think Cole North is just tied down to other institutions that won’t allow sometimes the right thing to be right. Matt Murdock doesn’t operate on that pendulum at all.

Across Seasons 1 and 2, how do we see Cole evolve emotionally or psychologically? Was there a moment in the script where his trajectory really clicked for you?

His trajectory really clicked is when I believe, I’m just doing my job. He’s walking Nikki through the detention center and I tried to play it where he’s just not into it. He’s just not into it, he’s not drinking the Kool-Aid like he used to, and I think he’s questioning why he really came back, because what he’s been witnessing and what he’s seeing off screen isn’t what he signed up for.  So I think in that moment with Nikki was the moment as far as for me in the script where it’s like ok, now where just going to start to kind of take this arc and try to maneuver it a little bit and involve emotionally and psychologically. I think in episode seven, when he’s on trial and testifying, it’s the first time he’s really questioned — specifically, whether what he knows is just what Powell told him.

So for him he’s not realizing that Powell possibly lied to him about the situation and caused him to kill White Tiger. So you know you are dealing with those kind of things so I think those elements are coming up to the season finale and the 7th episode. So yea that’s where it is for me. He’s evolving as we see him evolve and basically starting to realize, I might have made the wrong choice.

Daredevil: Born Again taps into larger conversations about policing, accountability, and systemic justice. How aware were you of those real-world parallels while building Cole North?

It’s funny because when I was doing season 2 and stuff like that, some of the stuff was written before things parallel, and reality started happening, so that was kind of funny.  But understanding the world and understanding the point of where the two meet and understanding the parallels between the two it’s still the same thing when I’m trying to figure Cole North.  Its like, yea he’s still a Black man, he’s still a person that’s into the justice system but he still believes in it for whatever his reasons are because he’s too afraid not to believe into it because without it there’s chaos. 

So it’s the thing, but also understanding that things in reality or in the reality of the show are off and amiss and I tried to play that in very minute moments. I try to play it so that, if you’re really paying attention, you notice a small moment where he does something that feels slightly off, something that makes you uncomfortable. That’s Cole’s way of showing he doesn’t truly want to be part of what’s happening, even though he’s still there. This is his group, this is his team, and this is what he chooses to do.

Do you see Cole as someone who believes he’s doing the right thing, or is he aware that he might be part of a broken system?

I think Cole North always knew that he’s a part of a broken system but his job is to try to make that system the best that it can be, first and foremost but at the same time, I think he’s also a person that prides himself on doing the right thing, even if it’s the hard thing so you take back to White Tiger, he felt that he was doing the right thing because a cop was killed by this person in a way that he believed it happened. So to him, he’s doing the right thing because why should they get to kill us and nothing happens to them and that’s pretty much my answer to that question. But I think he’s firmly aware that he’s a part of a broke system but that drives him to want to be on the straight and narrow even more to kinda show that the system can work.

What do you hope audiences, particularly those skeptical of law enforcement narratives, take away from your portrayal?

This is an interesting one. Honestly I hope that they kind of see that police officers and law enforcement you know are also human. They come with their own prejudices, they were brought up how they were brought up, but they are human at the end of the day and humans will make mistakes and humans will act off emotion and they say cops we’re not supposed to, you got to put that on the back burner and just deal with the facts and everything else but it’s hard for some people and it’s harder for other people.

That’s not taking away any injustice that you know bad cops do but ultimately I’ll hope that they look at this and say this has been a cool slice of a television that’s enjoyable and that’s been entertaining. As far as real police and how that looks and how what I want people to walk away from being skeptical of the police, I look at that as man that’s a case by case basis. It really is. So tread wisely.

Did you have any particularly challenging scenes this season, either emotionally or physically, that pushed you as an actor?

Not really. It was pretty straight forward. I guess trying to build a story not really using many words, I guess is the hard part. It’s being reactive to certain parts of the scenes that if people are looking at me in those particular moments they’re seeing something happening, they’re seeing a shift in the story, or at least in Cole’s story in how he’s um interacting or trusting or believing the world around him. But other than that, physically no I think I’m pretty tough kid you know what I mean, so it’s been a great ride all around.

I haven’t seen the finale episode yet, but will we expect to see your character return in season 3? Can you tease anything about your future in the Daredevil universe?

I cannot tease anything. I mean, I think after you see this season finale you will have an idea of Cole North’s fate at least in the quick future but ultimately I don’t know what to expect. I don’t know what Marvel is going to do next. I do believe that Cole North has stabled himself into the MCU as a character that’s dynamic and useful and very useful in other ways so you know we’ll just keep our fingers crossed and hope that you know the writers see it that way and the people upstairs are like, “Hey you know what, we like Cole North let’s keep him around a bit”.

Dario Scardapane :

>Is “One Last Kill” a continuation of Punisher escaping Kingpin’s prison at the end of “Born Again” Season 1, the ending of his Netflix “Punisher” series or a prologue to him showing up in “Spider-Man: Brand New Day”?
>
>"I don’t know a ton about what goes on in “Brand New Day,” and I know very well where we left him at the end of “Punisher” Season 2. I think this tells the story of what happened next after “Punisher” and before and during the events of [“Born Again”] Season 2."

*'The Punisher: One Last Kill' sees Frank Castle wrestling with his journey of revenge as he’s dragged into a battle with a rising criminal empire.

Jon Bernthal teases about 'Punisher : 'One Last Kill' :

>“We really tried to honor the comic and the comic book fans. The directive from day one was pretty simple: it was how do we get Frank from this place in his life where he is reeling and spiraling out of control, a man who is set on absolute vengeance, to a place where he can find some meaning, where he can find something new to fight for? But he does find a bit of purpose, and I think that is an exciting new take on the character.”

Source Article

Interviewer : Talking about the last half of the season and getting into spoilers before the finale, what is a small detail about Bullseye this season compared to the Netflix seasons that fans might not notice but you really love that you brought to the screen?

Wilson Bethel : One thing I brought back from the Netflix show is a small detail regarding the way Bullseye moves a coin through his fingers. I did it at the diner and in another scene; it was an idea I had during the Netflix days because his hands are so essential to who he is as a killer that he is always honing his dexterity. There was also a scene that unfortunately got cut in episode four where Daredevil comes to Dex’s apartment and they fight. Dex was wearing a Discman, which was a throwback to the old tapes he used to listen to in the Netflix show.

Interviewer : When Bullseye tells Matt he killed Foggy, there is no remorse in that conversation—it's just a fact. Is that how he processes it, or does he understand the weight of what he has done to someone who cares about someone else?

Wilson Bethel : Empathy is not really part of Dex’s skill set. He might understand it on an intellectual level to a degree, but the emotion in that conversation is coming from Dex’s own struggle and has nothing to do with what Matt is going through regarding the death of his best friend. He is so in his own world that what happens in other people’s minds or hearts doesn't register on his radar. He operates through his own specific lens, which means his perception of reality is extremely skewed.

Interviewer : You’ve had some great scenes this season with Deborah Ann Woll. What was it like sharing that emotionally charged scene where there is a literal push and pull as she has a gun to your head?

Wilson Bethel : Deborah is a powerhouse and the emotional heart of the show; when her character is dropped into moments where she is feeling so much, it draws the whole narrative together. I loved doing that scene because the emotional stakes were so high and there is so much history now between these characters. When Dex wakes up from his semi-coma and his first words are "Hello Karen" anyone who has watched since the Netflix days knows those words mean a lot and are quite chilling.

Interviewer : Throughout the season, Matt refuses to let Bullseye kill Fisk because it would make Fisk a martyr. Do you think Bullseye understands that long-term thinking, or is he just in his own element?

Wilson Bethel : I don't think it concerns him because he has his own firm point of view and is not logical. To be clear, Dex is a mentally ill person, so it's not that he doesn't have a heart, but his brain is so clouded and afflicted that he cannot see things clearly. I think there are moments from when we first started the series where his heart is visible, which is why people respond to him; he doesn't register as a traditional "robot killer" villain because he is clearly human.

Interviewer : When Bullseye cuts through Fisk’s fake Bullseye team and takes the sniper position, it felt like he was reclaiming his identity. Did you approach that as him correcting an imitation or saying, "This is who I am"?

Wilson Bethel : I didn't actually think of it that way when I was shooting it, but I like your version, so if anyone else asks, that is Bullseye reclaiming himself.

Interviewer : By the end, Bullseye is on a plane with Mr. Charles (Matthew Lillard), and there is an Easter egg of Mr. Charles speaking to someone [Valentina]. Do you want the audience to feel like he’s being rescued, recruited, or reassigned?

Wilson Bethel : I think that is a very fair assumption to make. We know from the comics that Bullseye has worked for the government in shady capacities or acted as a straight-up hitman for hire. It is not out of the realm of possibility for a government to be the one that comes up with the money to hire him.

Interviewer : Does going from working under Vanessa to potentially working with Mr. Charles feel like progress for him, or a new cycle under a different boss?

Wilson Bethel : It depends on the terms of the arrangement and how much freedom he gets. In the Netflix show and season one of Born Again, Dex was operating from a weakened position of leverage; Fisk manipulated him, and he made a deal with Vanessa essentially to get out of an institution. I like to think that if he is making deals now, he is doing so from a position of power, which gives him more freedom.

Interviewer : What does that ending suggest to you about Bullseye’s future in the MCU, and is there a character you’d love to see him go up against?

Wilson Bethel : This character would operate well in many different scenarios. He wouldn't function well against someone like Galactus, but it would be a hell of a lot of fun to see him against Spider-Man, Hawkeye, or Punisher. There are a lot of different avenues for the character, and I hope Tom Holland decides to do another Spider-Man movie so I can be a part of that.

Starts 32:40

Toward the end of the main interview segment with CBR for the 10th Anniversary of Captain America : Civil War, the discussion shifted to the Russo brothers' return to the Marvel Cinematic Universe for their upcoming Avengers' projects Doomsday and Secret Wars.

Interview Quotes :

Interviewer: "MCU fans always kind of assumed that you guys would come back at some point and for a while it was rumored to be an X-Men movie. I am curious how far along you guys ever got into returning for the X-Men" ?

Joe Russo : "We never even discussed X-Men. It was always Secret Wars or Die, you know, Secret Wars or Bust. Because that was the first comic I read as a kid. And that was the comic I fell in love with. I read the whole run in one reading in about 2 hours."

About scripting for the upcoming Avengers' movies, Joe Russo further said :

"We asked ourselves, What's the story? And it took us a long time to figure out a story that we thought was worthy to tell, coz if we are going to come back, then you've got to be sure that you know you're gonna meet the expectations, and you know that Endgame was so well received and so the pressure was enormous for a return. But I got to be honest. I feel like Doomsday is my favorite of the bunch and I'm ecstatic that you know it all worked out because it's got something that the other movies don't have in a way there's a there's a tone to it that is really unique".

Tatiana Maslany :
>Speaking with Mike DeAngelo on The Playlist’s Bingeworthy podcast while promoting her new Apple TV series “Maximum Pleasure Guaranteed” Emmy winner Tatiana Maslany was asked whether Jennifer Walters could work in something as big as an Avengers story, or whether the character makes more sense in her own corner of the universe.

>Maslany didn’t rule it out, but she suggested the character would need the right creative hand guiding the transition. “Yeah. I mean, I don’t know" Maslany said. “I think it would take somebody like Jessica Gao to weave her into that world because she knows that character so deeply and loves her and gets her tone, but there is something about She-Hulk being the star of her own show that makes sense."

>"Do you know what I mean? Because of the direct address, she is our narrator. So, I think it would be a real cool challenge to see her in some other context, but I do think like the sort of joy of She-Hulk is in the singularness of it.”

>When asked what she thought was more likely, a second season of “She-Hulk” or a crossover appearance somewhere else, Maslany answered with the kind of self-effacing bite that made the show’s relationship with fandom so sharp in the first place. “I don’t know" she said, [further adding] “I think people would be so mad at me being on their screens again.”