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The series would be centered on Jon Bernthal as Frank Castle , and was described as a stand-alone series apart from those leading up to The Defenders crossover event.
Lightfoot had a loose idea of what the "journey of Season 1" would be when he joined the series, and this was fleshed-out and altered in the writers room throughout work on the season.
What is Frank going to do? And who's going to try and stop Frank? That series' depiction was what got Lightfoot interested in the character, and he wanted it to dictate this series' direction.
The Punisher begins with a teaser featuring Castle killing the gang members that he believes are responsible for his family's death, which is a conclusion to the character's story in Daredevil.
The series then jumps ahead to the character "stuck in the past and sort of crippled by this grief". As a fan of Westerns and s urban thrillers , Lightfoot felt that the series should combine those ideas due to Castle's antihero persona being an archetype of Western films but set in the urban environment of New York City.
Lightfoot looked to films from those genres as inspiration for tone and style, ideas, and themes for the series, and also looked to s conspiracy thriller films due to Castle being a fugitive in the series and the general sense of paranoia.
The series makes a reference to Marathon Man , while Lightfoot described the first episode of the series as a modern "updating" of Shane Carrying this over to The Punisher , Lightfoot saw in Castle the idea of "a man whose family was taken from him at a young age" and that a series focused on him should be an exploration of his grief and how he responds to it.
Lightfoot felt that even audience members who did not agree with Castle's actions would be able to go on a "journey" with the character if they understood this aspect of him.
Rather than show the "beautiful" scenes of horror that were created for Hannibal , Lightfoot wanted to follow the lead of the character's fight scenes in Daredevil by not shying away from the cost of the actual actions, feeling that showing the brutal reality of Castle's actions would better convey to the audience that "This stuff hurts, and it's not OK" rather than glossing over the violence which he felt would have been worse.
We have to let the audience lose him at times and let him win them back. To just wholeheartedly be behind him wouldn't be right".
Despite this, Lightfoot wanted to convey the character's feelings and thoughts to help the audience understand the character, and often used flashbacks or dreams featuring his family since Castle does not talk much and having constant flashbacks also represented how he is unable to stop thinking about them.
Clearly, that isn't what happens. Noting that a vocal community of United States soldiers and veterans were fans of the Punisher character, Lightfoot and Bernthal ensured that the series was always respectful of the military and law enforcement despite Castle's actions being generally criminal; Lightfoot said it was an "interesting thing to be respectful of the police and at the same time, the character is beyond the law.
Lightfoot noted that the writer's room, which included both men and women, had "a lot of fun" with this idea. They also wanted the character to be of Middle Eastern descent and be as big of a patriot as Castle and an action hero in her own right.
This character became Dinah Madani. Lightfoot did not want the "spiderweb" of supporting characters in the series to be "sidekicks" to Castle, and instead have "their own narrative and their own story that was the most important thing to them".
In August , Shohreh Aghdashloo was revealed to be portraying Farah Madani, Dinah's mother, in a recurring role for the season.
In addition to several actors portraying war veterans, including Mahome, the series also cast real-life war veterans as extras and supporting cast for scenes such as support group meetings.
Mahome, whose father served in the military, found this to be a powerful experience and helpful for his acting in the series. Stephanie Maslansky, who served as costume designer for the first seasons of Daredevil , Jessica Jones , Luke Cage , and Iron Fist , had the choice between designing for The Defenders or for The Punisher due to a scheduling conflict between the two productions, and chose to work on The Defenders.
Visual effects supervisor Greg Anderson and vendor FuseFX returned from the first season of Luke Cage to create the visual effects for The Punisher , creating visual effects shots across the season.
Their team changed in size for each episode, but generally consisted of 15 to 20 people. As an example of the work Fuse did during fight sequences, Anderson discussed the scene where Russo and his men attack Micro's basement.
Though practical prop weapons were used for the fight, Fuse had to augment the action with computer generated blood, knives, and muzzle flashes, as well as a computer generated head that is blown apart by a shotgun.
The sequence was thoroughly storyboarded and pre-visualized to plan out the exact visuals required. Because the scene, like many others throughout the season, required a dark environment the visual effects team had to work with the cinematography department to decide where the low-light should be practical and where color-grading could be used to alter a more brightly-lit set given it is difficult to integrate visual effects with dark images.
Conversely to this scene, a sequence such as when Russo blows up a hideout required minimal visual effects work because the explosion was shot practically, with Fuse mainly just adding some windows to the building that were removed for the explosion.
The most technically difficult scene of the season to create was in the first episode, where Castle shoots someone from across the Mexico—United States border.
Anderson estimated that the scene was 90 percent digital, with the environment between Castle and his target created entirely by the visual effects department.
This involved Moore wearing a green sleeve over his leg and Fuse replacing it with a stump. The company also had to recreate the background behind Moore's actual leg which was often the most difficult part, such as when he is getting out of bed and realistic-looking digital cloth needed to match with the actual sheets that were on set.
The special effects department created a mixture to look like cement for use while filming the scene, but it ultimately did not look realistic on camera and had to be changed digitally.
On this style, Bates said, "The rough edges and broken nature of [music like this] leaves a great deal of space for emotion and interesting color—and a bit of an attitude.
Otherwise it's not going to be an authentic expression of the idea. There's a darkness in there that I'm happy to tap into. All music composed by Tyler Bates: .
Bernthal and Woll appeared at New York Comic Con in October to officially announce the start of production on the series and the latter's involvement,  while Bernthal presented exclusive footage from the series at San Diego Comic-Con Andrew Liptak of The Verge said it "sets up The Punisher with its own distinct tone that's different from the other Marvel Netflix shows.
Robot , but with more gunfire. Ashley felt the inclusion of " One " by Metallica in the trailer "helps paint Frank as a badass unlike any we've seen on the Marvel Netflix shows so far.
He also found it "well-cut" to the beat of the song, which he praised as "amplifying the intensity".
After revealing her login credentials in a post on Daredevil ' s Facebook page, readers who visited Page's profile found images referencing Page's research into Castle from the second season of Daredevil.
Tom Philip at GQ was not very enthused with the trailer, saying it was "hard to get super jazzed about another gritty, ultra-violent, gun-loving, non-superhero show right now.
Philip also felt the addition of Moss-Bachrach was "curious", and said "at least [the series is] a swing for the fences from a TV studio that tends to play it astoundingly safe.
Mendelson felt this shift in the marketing strategy could have been in response to the Las Vegas shootings. The first season of The Punisher was released on November 17, on the streaming service Netflix, worldwide.
In early September , Dominic Patten and Denise Petski of Deadline Hollywood commented on the lack of specific release date for the season at the time, calling it "an unusual" and "rare move for Marvel and Netflix, who usually give a lot of lead-up to the launch" of their high profile series.
The pair felt with the increased marketing of the season, it would release "sooner rather than later".
Regarding the decisions made concerning the New York Comic Con panel and the season's release, Loeb said that they were made "specifically because it was a week after a horrible, horrible incident.
It hasn't changed the television series, the show is not predominantly about gun violence, and in fact it shows you the problems that occur in that world.
Bernthal hoped that these two shootings and the release of the season would together help further the discussion on gun violence , with "all sides of this debate" represented in The Punisher.
The site's critical consensus reads, "A rocky start can't keep The Punisher from pushing the boundaries of Marvel's TV universe with a fresh take on the comics-derived action thriller.
The Washington Post said that Netflix had finally gotten the franchise "right" in a live-action in a way the prior three movies had failed to please fans.
It gave the credit to the "soul" of the show and Bernthal as "one of Marvel's great casting gets" and made the show "a definitive adaptation that doubles as Netflix's best Marvel show to date.
Esquire called the first season "a compelling and complex horror story about the military. Vanity Fair wrote that "What the series neglects to examine, of course, is the fact that the Punisher is just as wicked as the villains he targets.
Lightfoot defended the amount of violence in the series, reiterating that he did not feel that it was any more violent than Daredevil , that he believed it would be worse to not show the violent repercussions of Castle's actions because that would be "flippant" and not convey the real-life cost of the violence, and that Castle never "just blithely walk[s] away" from the violence as it always takes a physical or emotional toll on him.
This extended to the repeated depictions of the death of Castle's wife, which Lightfoot did not think was in bad taste because it was about visualizing Castle's feelings, something he would not talk about; the deaths evolve through the season until they show Castle as the one killing her to signify that he blames himself for her death, which Lightfoot felt was important relationship building between Castle and the audience rather than just gratuitous violence.
Collider ranked the season as the fourth best among superhero series of From Wikipedia, the free encyclopedia.
Season of American television series. That relationship to violence really interested me, not just the fact he has the ability to use it but also the cost of it.
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S1, Ep7. Lewis struggles with the ramifications of his actions. Frank and Micro pursue another face from the past. Madani and Sam go bug hunting.
S1, Ep8. Russo opens up to Madani about his past, Sarah shares her concerns about her son with Frank, and a decoy operation takes a turn.
S1, Ep9. Following a deadly explosion, Karen lands in a bomber's crosshairs -- and Frank isn't happy about it.
Meanwhile, Curtis makes a grisly discovery. S1, Ep An attack on a high-profile politician is examined and reexamined through different perspectives.
Madani faces a painful truth. As danger knocks on Sarah's door, Frank takes his quest for vengeance to the next level with some help from an unexpected ally.
Frank makes a damning confession. A shootout leaves Sarah wondering what to believe. Rawlins goes in for the kill, once and for all.
As the authorities close in, an exhausted but unbroken Frank vows to put an end to the war that has consumed his life.
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