Exploring the Marvel Netflix Shows: Part Three (Daredevil Season Two)

This is a continuation of my exploration of the Marvel Netflix shows (part one and part two).  I'm a big fan of the Marvel Cinematic Universe (MCU) and out of all its current expressions the Netflix shows are my favourite--the ultimate highlight of the format.  The fan service surrounding these shows lack collated, contextualized, and expository material, so what follows addresses those elements.

SPOILERS below

Daredevil Season Two (March 18, 2016)

Just like Jessica Jones the season aired after Ant-Man and before Civil War.  The show was renewed in April of 2015, less than two weeks after the first season aired, making it the fastest Netflix renewal thus far.  Unlike season one, new showrunners Marco Ramirez and Douglas Petrie borrow much more directly from the source material for their story arcs.

This season marked the debut of both the Punisher and Elektra into the current MCU, both of whom had proven difficult to successfully bring to the screen.  Three times Frank Castle (the Punisher) has been given a feature film (1989, 2004, and 2008), none of which have been financially or critically successful; neither have the Jennifer Garner Elektra films (the 2003 Daredevil film nor her solo film in 2005).  This season was the first time either character had been attempted in live-action television, with one succeeding far above expectations and the other largely failing.

Credited Writers (with selected credits)

Returning writers from season one: Marco Ramirez, Douglas Petrie, and Luke Kalteux (credited for all or part of 6 episodes)

Mark Verheiden (Battlestar Galactica, Heroes, and Falling Skies)
John C. Kelley (NCIS and House)
Lauren Schmidt Hissrich (The West Wing and Private Practice)

Sneha Koorse (The Americans, Believe, and Constantine)
Whit Anderson (Allegiance)
Writers from season one who did not return: Drew Goddard, Joe Pokaski, Steven S. DeKnight, Christos Gage, and Ruth Fletcher Gage

1 – “Bang” Douglas Petrie & Marco Ramirez

2 – “Dogs to a Gunfight” Douglas Petrie & Marco Ramirez

3 – “New York’s Finest” Mark Verheiden

4 – “Penny and Dime” John C. Kelley

5 – “Kinbaku” Lauren Schmidt Hissrich

6 – “Regrets Only” Sneha Koorse

7 – “Semper Fidelis” Luke Kalteux

8 – “Guilty as Sin” Whit Anderson

9 – “Seven Minutes in Heaven” Marco Ramirez & Lauren Schmidt Hissrich

10 – “The Man in the Box” John C. Kelley, Whit Anderson & Sneha Koorse

11 – “.380” Mark Verheiden

12 – “The Dark at the End of the Tunnel” Lauren Schmidt Hissrich & Douglas Petrie

13 – “A Cold Day in Hell’s Kitchen” Douglas Petrie & Marco Ramirez

Notable Easter Eggs

[I've noted which episodes these occur via brackets--so (1) refers to episode one]

There are fewer easter eggs than in season one (nine versus twelve).  The biker gang The Dogs of Hell (1) previously appeared in Agents of SHIELD (AoS); a nurse mentions a "Mr. Carver" (2) which could be a reference to William Carver (Thunderbolt), a short-lived Luke Cage (and later Iron Fist) antagonist; Brett Mahoney quotes the deceased Oscar Clemons (2) who was killed by Will Simpson in Jessica Jones; The Dogs of Hell listen to "The Ace of Spades" (2) (a potential Bullseye reference, for an explanation of why see part one); the truck stolen by the biker gang has the Redfield Electronics logo on it, a corporation from the Thunderstrike comics that is connected to the villain Thermal Man; there's a connection to the character Deathlok (AoS) via an article about Cybertek (5); Roxxon Corporation is referenced again (5), along with Asano Robotics (also referenced in season one), but this time the latter as a subsidiary of the former (a show-invention); there's another Bullseye reference as Karen Page carries a coffee cup branded with playing cards (6/11); the Punisher character Micro is referenced (13) via a CD (he will appear in the upcoming series)
Characters appearing from other shows: Jeri Hogarth and Samantha Reyes (both from Jessica Jones)

Total number of overt and subtle nods to the other Marvel shows: Jessica Jones: 3, Agents of SHIELD: 2, Luke Cage: 2, Iron Fist: 1

Once again there's no direct lead-in to the next Netflix series (Luke Cage), but the appearance of Hogarth and Reyes from Jessica Jones adds welcome continuity (as do references to that show by Claire).  This season is primarily a lead-in to The Defenders with the Hand as the main villain (as well as a springboard for The Punisher series).

Selected Character Notes

Personal history: I read a great deal of The Punisher back in the day (the early part of Mike Baron's run on the main title as well as Carl Potts' War Journal); I was only familiar with the Elektra arc from Daredevil in passing (although I have since read through it all).

• Frank Castle/Punisher: the show updates his background (Afghanistan/Iraq rather than Vietnam), as well as provides some adaptation of his origin (more about that below); having a dog rescued from Irish criminals is straight out of the comics (Punisher War Journal 37); the performance is superb and the portrayal humanizes him much more than the comics typically do; Jon Bernthal was rumoured to get his own show before this season aired (something subsequently confirmed)
• Karen Page: her character arc seems to be putting her on the path to replace the role of Ben Urich, which makes a lot of sense given her development through season one
• Foggy: a much-improved depiction of the character who particularly excels in the legal-related elements
• Elektra: another race-swap, as the Greek comic book version is Thai here (clearly Elodie Yung had not been cast during season one, as Foggy references a Greek girlfriend); there are significant changes made from the comic book version, all of which don't really work (I'll delve into this more below), but in essence her motivation is off; her "death" is reminiscent of the comics, albeit not at the hands of Bullseye
• Wilson Fisk/Kingpin: reprising his role for a few episodes, we see continued growth in his character as he fully emerges as the Kingpin; he's a season highlight
• Samantha Reyes: arrives via Jessica Jones for a much more prominent role (she has no comic book precedent); she dies on the orders of the Blacksmith in an attempt to implicate Frank Castle
• Madame Gao: yet more confirmation that she is the Crane Mother (Iron Fist)
• Colonel Schoonover/Blacksmith: a Punisher character closely adapted; in the comics he did not have "the Blacksmith" identity (the comic Blacksmith was a Skrull, an alien race in the comics, who lived for all of one issue)
• Mitchell Ellison: his confrontational arc from the first season is abandoned as he's completely supportive of Karen's foray into investigative journalism--while I like this version of him, it's difficult to parse it with the season one portrayal
• Nobu Yoshioka: returns from season one and is just as cartoony as he was then
• Blake Tower: another racially swapped character (he's white in the comics); originates with Daredevil, but also has early connections with Luke Cage and Iron Fist
• Benjamin Donovan: a Luke Cage character (Big Ben) whose massive size and violent side have been ignored
• Elliot "Grotto" Grote: a Daredevil character who remains alive in the comics (rather than killed by Castle), having served different bosses (but never the Irish, whom he serves here)
• Hirochi: other than the name and the connection to the Hand he seems to have little in common with his short-lived comic book counterpart (who was also a Daredevil character); the connection to Roxxon is a show-invention
• Finn Cooley: fairly close adaptation of the Punisher character, albeit he is killed by Nesbitt rather than the Punisher in the comics
• Nesbitt: also a closely adapted, short-lived Punisher character
• Roscoe Sweeney: Daredevil character whose ending is quite different from the comic (he dies of a heart attack while fleeing Daredevil)
• Star: Daredevil character; killed by Stick in the Elektra flashback, this member of the Chaste is still alive in the comics

Dutton, Stan Gibson, and Jacques Duchamps were created for the series.

Comic Book Story Influences

There's a lot of comic book borrowing here (particularly for the Punisher)--far more than any other season or series to date.  Frank Castle's origin has been tweaked, but is a close adaptation of Gerry Conway's (Marvel Preview), with the corruption element adapted from Tom DeFalco's Punisher: Year One and the park not being cleared of civilians (ie the Castle family) from Garth Ennis' The Punisher Kills the Marvel Universe.  The rooftop scene with Daredevil is adapted from Ennis' "The Choice", with their subsequent fight via Daredevil 257 (Ann Nocenti).  There are also nods to Marc Guggenheim's "Trial of the Punisher" (albeit the show handles this completely differently), and the Punisher shooting Daredevil happened with a tranquilizer gun in Daredevil 183 (Frank Miller).  Elektra's origins (Miller's Daredevil 168 (1981)) are changed (following Miller's own retcon from "The Man Without Fear" (1993)).  There is, incidentally, an amusing Iron Fist and Luke Cage cameo in the midst of the Elektra storyline (178).  Matt temporarily losing his radar sense also occurs within the original Elektra storyline (174), albeit not at the hands of Frank Castle.

Critical Reception

Rotten Tomatoes (RT) score: 75/95
These scores aren't the be-all, end-all of assessment, but simply an indicator of critical and fan reaction.  I'd take the critical score with a grain of salt (AoS somehow has 100% each of its last two seasons).  This is the lowest critical score of a Marvel Netflix show and reading between the lines the problem is Elektra and the Hand (all the reviewers praise Bernthal and the Punisher storyline, so what's left to dislike is the former).

Assessment

Once again the directing, cinematography, and caliber of acting was excellent.  The fight choreography remains a highlight.  The writers have given us the best version of the Punisher I've ever seen (including in the comics).  Vincent D'Onofrio's Fisk is fantastic in his limited appearances.  Charlie Cox was excellent as ever, although not even he could save the disaster that was the Elektra storyline.  I wasn't a fan of Elden Henson's Foggy in season one, but he's much better here (particularly in his role as a lawyer; I can't decide if the difference is the writing, directing, or both).  I'm a big fan of Karen Page in the show and her continued evolution is interesting (she seems to be thematically borrowing from comic book Jessica Jones' time as a journalist in The Pulse).  Michelle Hurd's Samantha Reyes is given room to breath here (she basically cameos in Jessica Jones) and puts in a strong performance.

Criticism

Elektra requires so much commentary that she's discussed separately below.  The Hand continues to not work for me--I think the lack of a primary villain representing them, as well as their very unsympathetic goals, makes them incongruous from the rest of the Netflix antagonists.  It's difficult to mix something as grounded as Frank Castle's vigilante with something as comic bookish as occult ninjas.  Ellison's character undergoes an overhaul that's hard to parse with his season one version (albeit I prefer this one).   Scott Glenn (Stick) remains very wooden.  On the petty side of complaints I was sorry there were no references to Brett Mahoney's mother continuing to get gifts (cigars) from Foggy--indeed, Brett's initial hostility seemed out of proportion from where we left the character in season one.

Elektra

The best way to fully illustrate the problems with the show version is via a comparison:

Original comic book version (1981; Daredevil 168, 174-79, 181): Elektra is a young woman in university with an overprotective father (a Greek diplomat); Matt pursues her, is rejected, but his persistence pays off and they fall in love and have a long relationship together (a year); her father is then killed, with neither Matt nor Elektra able to save him--this shatters her faith in the system and makes her not want to hurt again, so she severs all attachments and disappears.  When she reappears years later it's as a remorseless assassin for hire, but accidentally running into Matt reminds her of who she was and she starts to feel emotions again.  Matt still has feelings for her and it's clear that Elektra's feelings have never truly gone away, she's merely fighting them off (but not for long, as by issue 175 she saves a dying Matt from bleeding to death).  Elektra fights her emerging feelings with the fear that Matt will send her to jail for her crimes (which indeed becomes his intent).  She winds up working for the Kingpin, but can't kill Foggy out of sympathy, giving a watchful Bullseye a chance to get back into Fisk's good books (as well as eliminate his competition) by killing Elektra.  The tragic story was meant as a springboard to Daredevil truly becoming an anti-hero with no intention by Miller of Elektra ever returning.

Comic retcon changes (1993; Man Without Fear 2-3): this storyline also includes Miller's complete retcon of Matt's origin, incidentally (the abusive father etc).  Elektra is wild, confident, and impulsive, with a violent, dangerous side (in this version it's simply her nature, rather than having a particular cause).  Unlike in her original version the pursuit isn't one-sided (she's attracted to his dangerous side, but ultimately believes she doesn't deserve him because of his moral code).  Stick (of all people) warns Matt against her (which Matt ignores, as he does Elektra's confessions to murdering people).  Her father's death (off screen in a disjointed nod to prior continuity) seals her decision to deny attachments and she departs.  This version of her then fully rejoins the original continuity above.  The rest of her show arc (with the Chaste against the Hand) is inspired by D. G. Chichester's run (322-27), but only in part (after she leaves Matt she attempts to join the Chaste, gets rejected by Stick, joins the Hand (initially to betray them, but becomes corrupted by them), before fleeing to Japan and becoming a mercenary for hire).

I think Miller's recton is a weaker version of Elektra's story--while on the surface it may seem to make Elektra 'tougher' it subverts the original motivations and weakens the emotional impact (rather than a genuine bond between the two in the first iteration, in this version Matt is seeking a thrill and Elektra moral redemption through him).  When she leaves Matt it lacks pathos, as Elektra doesn't go through any transition (she's just as violent and wild before and after).

The show version: she is Black Sky ("the bringer of shadows," essentially a doomsday device in the form of a person--this is unlike the comics), saved by an inexplicably sentimental Stick who protects her (including killing other members of the Chaste), trains her, then sends her after Matt on a mission; their relationship then echoes Miller's retcon (Matt attracted to her wild side); Matt rejects her because she tries to make him abandon his moral code by encouraging him to murder the man responsible for his father's death; when Matt rejects her she disappears, remaining an assassin for the Chaste...which she is when she (again!) pursues Matt while on a mission; their passion is rekindled somehow (I think it's supposed to be a sign of Matt's intent to alienate himself from friends so they don't get hurt, but closing inward isn't an emotional place where you find romance)--even though it's right after Matt and Karen have established a relationship; Elektra gets rejected, but stays to help deal with the Hand and dies saving Matt.

Problems: the motivation doesn't work; even though I think Miller's retcon is a poor substitute for his initial vision, the show version loses all the emotional connections needed to make Elektra's end impactful.  In the original version the death of her father is a powerful catalyst--their relationship ends with Matt wanting to make things right, but having no way to do so, while Elektra believes the world has failed her and she feels the need to cut off her emotions to avoid feeling that pain again.  In the show Matt is simply a mission for Elektra during which she accidentally develops feelings for him; in both the past and present she has to seduce him because he hates who she truly is (a remorseless killer--unlike her original depiction, where Matt remembers someone who wasn't like that, so who she becomes is a shock--in the retcon Matt's simply blinded by passion to not see who Elektra truly is).  By the show's logic she should have no appeal when Matt already has Karen (that relationship should have been placed after Elektra), but it's shoehorned in.  Stick's motivation is butchered (how can he kill season one's Black Sky so easily when he's sentimental about both young Matt and young Elektra--actions that suggest he's sentimental towards children).  There's nothing done in the show to make us like Elektra (whose flashback and present versions are interchangeable), save that she's a badass fighter--yet she pales in comparison to the Punisher (who does what she does, kill people, but has a code), and doesn't do anything to help Matt except when she dies (it's not clear if we're meant to interpret that as a sign of her affection to Matt or something larger).  Sadly she's the biggest failed character we've had in a Netflix series and I'm not sure how The Defenders can fix her problems.

[If you spot any errors or omissions, please let me know!]

This article is written by Peter Levi (@eyeonthesens)

Exploring the Marvel Netflix Shows: Part Two (Jessica Jones)

This is a continuation of my exploration of the Marvel Netflix shows (for part one click here).  I'm a big fan of the Marvel Cinematic Universe (MCU) and out of all its current expressions the Netflix shows are my favourite--the ultimate highlight of the format.  The fan service surrounding these shows lack collated, contextualized, and expository material, so what follows addresses those elements.

SPOILERS below

Jessica Jones (November 20, 2015)

The show, the second to feature a female lead (following ABC's Agent Carter in early 2015), hit the airwaves after Ant-Man and before Civil War.  Jessica Jones is the least known and newest Marvel character to be given her own series; her comic book debut was in 2001's critically acclaimed Alias  (created by Brian Michael Bendis).  She’s an interesting choice given that there are better known female heroes based in New York, along with the fact that her comic book arc leads her away from being a hero.  That said, with her connection to the other Netflix characters, as well as the reputation of the Alias comic, it was an understandable risk.  The story of the season is inspired by the comic without being a direct adaptation (much like the first season of Daredevil).  The inclusion of the character of Luke Cage makes a lot of sense given that, on her own, Jessica Jones was unlikely to be familiar to casual viewers.

Melissa Rosenberg was picked as the showrunner and five of the eight writers had worked with her before (the exceptions being Hilly Hicks, Edward Ricourt, and Jenna Reback).  There was no writer carryover from Daredevil.

Credited Writers (with selected credits)

Melissa Rosenberg (The O. C., Dexter, Red Widow, and Twilight; Scott Buck, Iron Fist’s showrunner, is another Dexter alum, as is Scott Reynolds below; Micah Scraft, Jenna Reback, and Dana Baratta worked with Rosenberg on Red Widow)

Micah Schraft (The Tomorrow People, Red Widow, and The Secret Circle)

Scott Reynolds (Dexter and The Following)

Hilly Hicks Jr (The Big C and Chicago Fire)

Dana Baratta (Red Widow, Private Practice, and Life is Wild)

Edward Ricourt (Now You See Me)

Jenna Reback (Red Widow)

Jaime King (three short films prior)

Liz Friedman (Xena, The O. C., and House)

1 – “AKA Ladies Night” Melissa Rosenberg

2 – “AKA Crush Syndrome” Micah Schraft

3 – “AKA It’s Called Whiskey” Liz Friedman & Scott Reynolds

4 – “AKA 99 Friends” Hilly Hicks Jr

5 – “AKA The Sandwich Saved Me” Dana Baratta

6 – “AKA You’re a Winner!” Edward Ricourt

7 – “AKA Top Shelf Perverts” Jenna Reback & Micah Schraft

8 – “AKA WWJD” Scott Reynolds

9 – “AKA Sin Bin” Jaime King & Dana Baratta

10 – “AKA 1,000 Cuts” Dana Baratta & Micah Schraft

11 – “AKA I’ve Got the Blues” Scott Reynolds & Liz Friedman

12 – “AKA Take a Bloody Number” Hilly Hicks Jr

13 – “AKA Smile” Jamie King, Scott Reynolds & Melissa Rosenberg

Notable Easter Eggs

[I've noted which episodes these occur via brackets--so (1) refers to episode one]

There are far fewer easter eggs than in Daredevil (I listed twelve for the first season, whereas here there are only six).  Luke Cage mentions Pops (1), who appears in Luke Cage (invented for that show); Luke jokingly mentions "Melvin" (1) eating wings at his bar, which could be a nod to Melvin Potter from Daredevil (the Gladiator in the comics); the subplot of the Eastmans trying to kill Jessica (4) is a direct reference to The Avengers; Jessica recommends PI Angela Del Toro (6) (aka White Tiger) to Luke Cage (the character first appeared in Daredevil and also has connections to Iron Fist); Hammond Labs (10) is a reference to the superhero Speedball; the first reference to IGH (12) occurs (reasonably speculated to be stand for "Inhuman Growth Hormone"), which is hinted to be responsible for Jessica, Kilgrave, and Luke Cage's powers (as seen subsequently in Luke Cage)--the company is also connected to Koslov (the doctor who provides Simpson with his pills)
Characters appearing from other shows: Claire Temple and (technically) Luke Cage

Total number of overt and subtle nods to the other Marvel shows (including characters noted below): Daredevil: 4, Iron Fist: 2, Luke Cage: 2, Agents of SHIELD (AoS): 0

There's no set-up for Daredevil season two (which followed), albeit there's acknowledgement of Matt Murdock's activities.  The show does feed into Luke Cage quite well, although there's surprisingly little carryover from Jessica Jones into that show.

Select Character Notes and Impressions

Personal history: I'd never heard of Jessica Jones until I learned about the series and went into it with zero expectations.

• Jessica Jones: borrows a lot from her comic book origin in Alias, but remains an adaptation (she doesn't kill Kilgrave in the comics for one); overall I'd say the show version is an emotionally stronger character than her comic book counterpart (also more forthright and less paralyzed by her emotions)
• Kilgrave: completely adapted for the show, with a new origin and lacking his purple skin, villain name (the Purple Man is a very old Daredevil villain (1964)), and his daughter (albeit there's a much nastier hint of that in the show); David Tennant gives a masterful performance and while his death (via Jessica) is necessary for the plot, I'm sad we won't see him again
• Patricia Walker: Hellcat in the comics, she assumes the role that Carol Danvers (Captain Marvel) has in the comics as Jessica's best friend--as a character slatted for her own movie she was unavailable to Netflix; the show drops her comic book ex-husband (who would become Mad-Dog and has connections to Roxxon--similar thematically to the Simpson romance in the show); her comic book conduit to becoming a superhero (via Beast and The Avengers) is dropped (due to the rights for the former (with Fox) and the movies for the latter), but her enthusiasm to be a hero is straight out of the comics
• Luke Cage: his origin is adapted (in the comics Reva is his fiance, not his wife, and isn't killed by Jessica); his character development in Jessica Jones is somewhat in stasis awaiting full treatment in Luke Cage; his romance with Jessica is a creation of Brian Michael Bendis (2001), long after Luke was created (1972); their first encounter (Alias 1) has been altered quite a bit, as in the comic Jessica already knew Luke and wasn't investigating him
• Will Simpson: aka Frank Simpson in the comics (Nuke; originally a Frank Miller Daredevil  villain); he's heavily adapted and fleshed out from his one-dimensional comic counterpart; in the comics he's a super soldier serum character (like Captain America), but that's not confirmed (or denied) in the show (and seems unlikely); I liked the show version of the character and I think there's a lot more they can do with him (and his relationship with Trish)
• Malcolm Ducasse: his comic book inspiration is white (Malcolm Powder); in the comics Malcolm also wants to help Jessica, but he's a far less serious character used primarily for comic relief; show-Malcolm's Kilgraved/drug-addict story of redemption is much more substantive and Eka Darville's performance is excellent
• Jeri Hogarth: the only gender-swap in a Netflix series thus far and also our only known LGBT character (another change from the comics); Hogarth originates in and is primarily from Iron Fist (where she's slated to appear in the upcoming series); her storyline is served well in the series and her performance is excellent; there's no comic book parallel to her story here (although Hogarth does have an ex-wife, Thelma, who is referenced exactly once in the comics (Power Man & Iron Fist 110), as is his daughter, who doesn't exist in the show)
• Dorothy Walker: adapted from the comics, where her domineering attitude is directed towards her husband rather than her daughter Patsy (albeit there's an utterly bizarre story where she promises the devil her daughter's soul in return for a cure for cancer and her youth, Defenders 89), another change is that rather than shepherding a child-star, she's a successful author; Rebecca De Mornay's performance is strong and she has great potential as a further irritant for both Jessica and Trish
• Koslov: has no comic book precedent, but he's partly inspired by those directing Simpson's activities in the military
• Claire Temple: there's no real character development, so it's just a cameo to tie the show into Daredevil (the tie-in serves as her introduction to Luke, but he doesn't even remember her in Luke Cage)
• Samantha Reyes: created for the show and used much more extensively in Daredevil season two
• Detective Clemons: an obscure Punisher character (2011) who is still alive in the comics
• Reva Connors: Luke's dead wife in the show (she gets fully developed in Luke Cage), she's based on a character who dies at the hands of Diamondback in the first Luke Cage comic (they are engaged when she's killed)
• Roy Healy: created for the show, Luke's bartender vanishes along with the most of the rest of the Jessica Jones references in Luke Cage

Hope Schlottman, Wendy Ross-Hogarth, Pam, Robyn, Reuben, Louise and Albert Thompson have no precedent in the comics.

Comic Book Story Influences

The origin of Jessica Jones has been modified, removing connections to Spider-Man as well as inserting the adoption element that connects her to Trish.  The core plot comes from Alias 24-28, with her battle against Kilgrave, although the show gets much darker than the comic.  Elements of Trish Walker's origin are adapted (Avengers 141-144, 147), while Will Simpson is radically changed--his experimental origin and pills are the same, but the fanatical patriotism and body alteration has been dropped, nor is he as simple-minded (Miller/Nocenti's version, Daredevil 232-237, is largely a critique of the Vietnam War and its contrast to Captain America and his form of patriotism).  The struggle to treat Luke Cage's injuries due to his unbreakable skin echoes a story in the comics (The Pulse 6), whose basic framework is used again in the first season of Luke Cage.

Critical Reception

Rotten Tomatoes (RT) score (critics/fans): 93/90
These scores aren't the be-all, end-all of assessment, but simply an indicator of critical and fan reaction.  I'd take the critical score with a grain of salt (AoS somehow has 100% each of its last two seasons).

Assessment

Directing, cinematography, and the caliber of acting was excellent; I liked the music as well.  There's less emphasis on fight scenes, but while they're generally less dynamic I think they're well done.  The show is able to tackle serious issues without being preachy, which is quite an accomplishment.  David Tennant, much like Vincent D'Onofrio in Daredevil, steals the show as Kilgrave--making him a fully realised character rather than simply the "villain".  Krysten Ritter is superb, avoiding the trap of making Jessica purely a victim.  Mike Colter does a great job as Luke Cage, albeit he's almost too understated.  Rachael Taylor avoids being just the best friend and Wil Traval does a great job dealing with Simpson's fluctuating states (the pair's relationship is fascinating).  Carrie-Anne Moss and Eka Darville are also standouts--the overall quality of acting here is the best of any of the shows thus far.  No subplot fails and secondary characters all have clearly defined arcs within the larger story.

Criticisms

As a plot-point it takes some mental gymnastics to figure out why Simpson doesn't take out Kilgrave when he's watching Jessica's house.  The only other criticism I have is that Jessica’s desire to get into Supermax comes close to absurdity.  The most common complaint I see about the show in publications is "there wasn't enough action" (implying there's some sort of accepted ratio).  This is an odd criticism because the show's focus isn't about its hero punching her way to solve problems.  Jessica goes out of her way to use the judicial system to deal with Kilgrave, resorting to violence only as a last resort.

[If you spot any errors or omissions, please let me know!]

This article is written by Peter Levi (@eyeonthesens)

Exploring the Marvel Netflix Shows: Part One (Beginnings and Daredevil Season One)

I grew up a comic book fan, beginning with Marv Wolfman's Teen Titans in the 80s, with my interests moving over to Marvel and Chris Claremont's X-Men as I hit adolescence.  Although I stopped reading comics during the early 90s (for a variety of reasons), I never lost interest in the genre and since the advent of the Marvel movies I've started reading them again.  What I like about the Marvel Cinematic Universe (MCU) is that it is designed a lot like comic books themselves, with interweaving threads of stories and characters.  Out of all the current expressions of the MCU the Netflix shows are my favourite--the ultimate highlight of the format.  The fan service surrounding these shows lack collated, contextualized, and expository material, so what follows addresses those elements.

The Marvel Netflix project was announced in 2013—five years after the MCU debuted with Iron Man, and roughly at the same time as ABC’s Agents of S.H.I.E.L.D. (AoS) hit the airwaves.  Much like the beginnings of the movie-MCU, there were many unknowns venturing into the Netflix world of Marvel properties.  Most of the characters involved were obscure and the one known property (Daredevil) had a long sequence of previous failures (in 2012 Marvel tried to make a deal with Fox that would allow them to retain the rights in exchange for Galactus and Silver Surfer).  It's not unfair to say that Netflix was the place for castaways, particularly as it was given much less direct movie support than ABC's AoS.  It's somewhat ironic that the neglected side of the Marvel TV universe has become far more successful than its network brethren.  When the Netflix announcement was made, only Daredevil was popular enough to support his own comic book (all four characters shared a connection having been members of the New Avengers (2010-12), written by Jessica Jones' creator Brian Michael Bendis).  The original Netflix plan was a solo season for each of the street-level heroes Daredevil, Jessica Jones, Iron Fist, and Luke Cage, leading into The Defenders team-up (the latter two titles were flipped in order of appearance to capitalise off of Mike Colter's popularity post-Jessica Jones).

As for the idea of The Defenders itself, it's an interesting choice, as the comic book versions of the team and its mission are radically different.  The Netflix lineup is much closer to Heroes for Hire, but it's easy to see why Marvel wanted a more dramatic team title for its heroes (especially as an echo of The Avengers).  As for the adaptation of the characters themselves, each show has stayed close to the core of its character, with changes more apparent in the stories themselves and the supporting cast.

The conceit of the MCU is that it's all connected, but there's been a disconnect between the television side and the movies.  Jeph Loeb is the head of the television arm of the MCU; because of the way Disney does things, he does not report to MCU movie mogul Kevin Feige, but rather to the much-maligned Ike Perlmutter.  It's difficult to see Perlmutter's fingerprints on the Netflix shows, unlike his interference with the movies, but I believe the acrimony between Feige and Perlmutter are at the heart of why the movies refuse to acknowledge the TV side of the MCU (particularly evident in all the drama surrounding the Inhumans).

There has been no direct crossover between the network Marvel shows and Netflix as yet, and very few references (only Daredevil has any for AoS, which is the same in reverse--the first such AoS reference of a Netflix property is explained below, another is here, and the final one is to the Punisher character Micro).  According to reports the failure to have the characters crossover is a result of red tape (although Jeph Loeb has teased the possibility).

There's a clear effort at increasing diversity in the shows, with various characters changing race (and in one case, gender); eight in total by my count, as well as plucking obscure characters from the Marvel files to better reflect actual diversity.  I think the Netflix approach is a good one in this respect--meaningful changes are made without pandering.

SPOILERS below.

Daredevil Season One (April 10, 2015)

Chronologically the show fits between Guardians of the Galaxy and before Age of Ultron in the MCU.  Daredevil is one of Marvel’s oldest characters, debuting back in 1964 (created by Stan Lee and Bill Everett).  A well-known property, compared to the other three characters he was the safest pick; both seasons of his series have felt closest to their comic book counterpart.  I believe the primary reason Daredevil was available for television adaptation was due to how poorly the 2003 Ben Affleck Fox-vehicle was received.  Unlike the other three characters, Daredevil has appeared in live action media before, such as the TV movie The Trial of the Incredible Hulk (1989, played by Rex Smith, whose ninja-like costume was subsequently borrowed by Frank Miller and is used throughout most of the first Netflix season), as well as the aforementioned film.

Originally Drew Goddard was picked as the showrunner, but he left the project to helm Sony's Sinister Six (which never came to fruition).  Steven S. DeKnight replaced him, with Goddard serving as a consultant (and writer of the opening two episodes).  Goddard has returned to the Marvel Netflix family as an executive producer on The Defenders, but although DeKnight expressed interest in The Punisher he lost out to Steve Lightfoot.  Douglas Petrie and Marco Ramirez, who served as a writers for this season, would co-run season two (as they will The Defenders and Daredevil season three).

There’s a heavy Whedon-verse presence among the writers for this season (perhaps an echo of AoS, where Joss' brother remains in charge), as both the showrunner and two other writers have that background (collectively writing seven episodes).  Daredevil also has a strong crime show element and two of the writers brought that experience to the table (Gage and Gage).  DeKnight said he wasn’t interested in following a specific comic storyline, but rather taking elements and themes and moving forward with that (I've seen people argue that this season owes a lot to "Marked for Death" (Daredevil 159-164), but other than the origin story I don't see it).

Credited Writers (with selected prior credits)

Steven S. DeKnight (showrunner; writer on Buffy; he wrote, produced, and directed Spartacus)

Drew Goddard (another Buffy alum, Lost, writer/director of The Cabin in the Woods and later screenwriter of The Martian)

Marco Ramirez (Sons of Anarchy, would become the co-showrunner for season two)

Douglas Petrie (Buffy alum who would become the co-showrunner for season two)

Joe Pokaski (comic book writer, but also a writer on Heroes)

Christos Gage (comic book writer who also wrote for Law & Order SVU)

Luke Kalteux (worked on both Hangover movies)

Ruth Fletcher Gage (Law & Order SVU, Numb3rs, and Breed)

1 – “Into the Ring” Drew Goddard
2 – “Cut Man” Drew Goddard

3 – “Rabbit in a Snowstorm” Marco Ramirez
4 – “In the Blood” Joe Pokaski

5 – “World on Fire” Luke Kalteux
6 – “Condemned” Joe Pokaski & Marco Ramirez

7 – “Stick” Douglas Petrie
8 – “Shadows in the Glass” Steven S. DeKnight

9 – “Speak of the Devil” Christos Gage & Ruth Fletcher Gage

10 – “Nelson vs. Murdock” Luke Kalteux
11 – “The Path of the Righteous” Steven S. DeKnight & Douglas Petrie

12 – “The Ones We Leave Behind” Douglas Petrie

13 – “Daredevil” Steven S. DeKnight

Notable Easter Eggs

[I've noted which episode these occur via brackets--so (1) refers to episode one]

We see Rand Corps (an Iron Fist reference) on the truck that spills chemicals on Matt Murdock (1); Carl Creel (Absorbing Man in the comics, an original Daredevil villain who had already appeared in AoS) is referenced in a poster (2); there's a nod to Bullseye via a playing card used by a sniper (6); Asano Robotics appears on a shipping container (7) and is a Steel Serpent (Iron Fist) reference; Saint Agnes orphanage (7), where Murdock is raised after his father's death, is also the orphanage where AoS's Daisy Johnson (aka Quake) grew up; the symbol and name Steel Serpent (Iron Fist) is used on the heroin Madame Gao is selling (9/12); Leland mentions "Richmond" (9), referring to Kyle Richmond (Nighthawk); there's an Elektra reference (10) that actually fails because of the casting for season two (she's clearly meant to be the Greek girlfriend Matt had); the Roxxon Corps (10) is referenced (having appeared in AoS, Agent Carter and Iron Man); Cornelius Van Lunt (Taurus) is mentioned by Owlsley (10), whose name also appears on the door of Nelson & Murdock (12); Stilt Man's legs (13) are shown in Potter's shop (another original Daredevil villain)

Total number of overt and subtle nods to the other Marvel shows (including characters noted below): Iron Fist: 4, Agents of SHIELD: 2, Luke Cage: 1, Jessica Jones: 0

There is no set-up for Jessica Jones (nor did season two link to Luke Cage); there are, however, notable Iron Fist links (originally the third series to debut).  Another oddity is that Daredevil is the only Netflix show to reference AoS (doing so in both seasons, with those efforts reciprocated).

Select Character Notes and Impressions

Personal history: despite being an avid comic reader in the late 80s and early 90s, I read very little  Daredevil at the time (during the bulk of Ann Nocenti's run).  Despite not reading very much directly about the character, I was very aware of him and came into the series knowing a great deal.  Since then I've caught up with the relevant parts of the comic book.

• Matt Murdock/Daredevil: the titular character is a blend of comic versions (rather than a slavish adaptation of a particular one); his origin is largely from Roger McKenzie's Daredevil 164 (with a change of Matt's age when it happened); the performance by Charlie Cox is excellent, only overshadowed by D'Onofrio's Fisk
• Wilson Fisk/Kingpin: an entirely new origin was created for the long-time Marvel villain (who originally debuted in Spider-Man), with nods to his comic book origin (such as Rigoletto, created by Miller in his 90s run, whose operation Fisk takes over); his powerful portrayal is matched only by Kilgrave's in Jessica Jones and I can only hope we get to see him again as the central villain
• Franklin "Foggy" Nelson: very like his comic book counterpart; he's a weak link this season (improving considerably in season two), but not so much that he hurts the narrative
• Karen Page: she has a very tumultuous comic book history (particularly in Miller's "Born Again"), but the darkest elements are smartly ignored here; the show does a good job of giving strength to a character whose purpose isn't punching people and could easily have fallen into the "damsel in distress" category
• Claire Temple: a minor Luke Cage character who became Bill Foster's (aka Giant Man) wife; here the name seems like a fill-in for Night Nurse (Christine Palmer, Linda Carter, or Georgia Jenkins), as Netflix was not allowed to use that character because one of her namesakes was appearing in Doctor Strange (Christine Palmer)
• Ben Urich: long running ubiquitous supporting character is race swapped (he's white in the comics); he's still very much alive in the comics and debuted as a Daredevil character; the performance here is excellent (Vondie Curtis-Hall) and his death at the hands of Fisk is a tough loss
• Jack Murdock: hearkens back to the original version of Matt's father (which is also Roger McKenzie's and Jeph Loeb's), rather than the darker retcon during Frank Miller's run
• Father Lantom: an obscure, fairly modern (2005) Runaways/Cloak & Dagger character with no direct connection to Daredevil (a suitable add given the Catholic element of Matt's character)
• James Wesley: simply "Wesley" in the comics, where his connection to Fisk is similar (he also has a connection to Frank Simpson (Nuke, who appears in Jessica Jones) that isn't used here); he's not dead in the comics; the performance was excellent (Toby Leonard Moore) and I'm sad we won't see more of the character
• Madame Gao (aka Crane Mother): an Iron Fist character slated to appear in the upcoming show; she's a fairly new creation (2007)
• Leland Owlsley (the Owl in the comics): originally a Daredevil villain who is still alive in the comics (as opposed to his death by Fisk); his TV son remains a possible link to the costumed version; I enjoyed Bob Gunton's performance
• Nobu Yoshioka: in part based on Kagenobu Yoshioka from the comics (who appeared twice in a little known 2004 Elektra comic--his permanent death in season two echoes his death there), but also borrows from Frank Miller's Hand assassin Kirigi (although he is destroyed by fire in the comic, which he survives here); Peter Shinkoda's performance is pretty cartoony, albeit that fits most of what we've seen from the Hand
• Vanessa Marianna: her comic book inspiration recently died (2016); she's been adapted somewhat, as in the comics she disapproves of Fisk's criminal work, whereas in the show she embraces it (a welcome change to my mind); she's more independent in the show
• Melvin Potter (the Gladiator in the comics): plenty of hints at his costumed identity; he's also an original Daredevil villain
• Turk Barrett: very similar to his comic book version (he's another Daredevil original character)
• Brett Mahoney: an obscure and fairly new comic character (2007) with no connection to Daredevil
• Mitchell Ellison: created for the show as Urich's boss (who would be J. Jonah Jameson if they followed the comics, something impossible here); I think his role as a foil for Urich is poorly thought out and makes his behaviour in season two difficult to follow
• Marci Stahl: has no precedent in the comic (Foggy has a wife he ultimately divorces, but the character is completely different); they've continued to use her in season two and I think she has potential for growth
• Josie: a Daredevil character who simply hasn't appeared enough to be compared to her comic book counterpart
• Stone: briefly seen member of the Chaste, he's a Daredevil character who we haven't seen enough of to know if his portrayal will be the same
• Randolph Cherryh: the corrupt senator is straight out of Miller's Daredevil
• John Healy: a show-creation (unless he's a nod to Hawkeye villain Oddball), I bring up this one-episode villain only because I really enjoyed the performance (Alex Morf) and was sad to see him killed off

The Ranskahov brothers, Elena Cardenas, Carl Hoffman, and Christian Blake were all created for the show

Comic Book Story Influences

There's not much direct borrowing for the main plot (Fisk's disinclination to have people say his name seems inspired from Miller in Daredevil 170).  Matt Murdock is not Frank Miller's anti-hero, although his creations the Hand and Stick appear largely as-is; Miller is also the one who made Wilson Fisk a major Daredevil villain, and many elements of his version of the character (Daredevil 170-172) are here, such as his fanatical devotion to Vanessa.  Fisk's desire for a better Hell's Kitchen is an excellent show-creation, as is his family background and presumed rise to criminal power.  Matt's origin is largely borrowed from Roger McKenzie's Daredevil 164 and Jeph Loeb's "Daredevil: Yellow", rather than Miller's "The Man Without Fear" (which includes physical abuse and Jack being a criminal).  Just like the 2003 Ben Affleck movie (and "Man Without Fear"), Jack dies while Matt is still a child (as opposed to when he's graduating high school or in law school).

Critical Reception

Rotten Tomatoes (RT) score (critics/fans): 98/96

These scores aren't the be-all, end-all of assessment, but simply an indicator of critical and fan reaction.  I'd take the critical score with a grain of salt (AoS somehow has 100% each of its last two seasons, which is absurd).

Assessment

As would be the case for all the Netflix shows, the directing, cinematography, and caliber of acting is excellent.  The fight choreography was extremely good with the hallway fight this season mirrored by all other shows/seasons save Jessica Jones.  The narrative flow and plot through-line is very effective, suffering none of the disjointedness of the following season.  Charlie Cox is unquestionably the best Daredevil to date, but Vincent D'Onofrio's Wilson Fisk is the ultimate standout.  I thought the show did a good job avoiding making Karen a damsel in distress (we see none of the craziness of Miller's "Born Again"), and this solicitude for supporting characters is another staple seen throughout the Netflix shows (albeit Daredevil doesn't have as many secondary plotlines as, for example, Jessica Jones).

Criticisms

There's not much to criticise about the season.  Elden Henson's (Foggy) performance was wooden (his best moment is in episode five interacting with Marci Stahl), as was Scott Glenn (Stick).  I wasn't a fan of Turk Barrett being involved with human trafficking, which is a step further than his typically bumbling character usually goes.  Otherwise I have no complaints.

[If you spot any errors or omissions, please let me know!]

This article is written by Peter Levi (@eyeonthesens)