Mike Shaw

VIP

EP

2

And so ends the Netflix/Marvel experiment. This may be the most disappointing final season of a great show of all time. Not because it is of poor quality- far from it, in fact. With a satisfying ending that leaves the characters dealing with their respective evolutions, the fade to black in episode 13 made me mad that this was (probably) the last that we'll ever see of this cast, most especially Krysten Ritter as the titular sarcastic, hard-drinking, self-destructive P.I.

After a lackluster season 2, Jessica Jones rebounds with a complex, taught third (and final?) effort. The choice to put Jessica up against a brilliant, non-powered serial killer - played deliciously by Jeremy Bobb - made the show even more grounded, and the introduction of the evil-detecting Erik as a potential love interest was inspired. My one quibble with the plot is that there could have been some non-connected mysteries woven into the story (a-la Veronica Mars). After 6 series, it's also starting to become unbelievable that the other show's main characters aren't showing up more- even in passing. A quick cameo from one of them in the final episode only serves to hammer the point home. When they say, "Turn on the news these days and it's 50/50 whether you're on it," it makes their absences more pronounced.

All that said, the story does move along nicely. The head-fake from one villain to another, while totally predictable, is satisfying to watch thanks to Ritter's standout performance. She is the most natural fit for any of the Netflix/Marvel characters (though Jon Bernthal is a very close second for his incredible Frank Castle). The rest of the cast keeps up with her- for the most part. I absolutely loved Malcom's journey, and Eka Darville shines along the edges of the plot. Rachel Taylor continues to be the weakest link in the cast (though she'd be a stand-out player in many lesser shows). Her Trish Walker goes through quite a lot over the season and it's only in the final episode where we get a glimpse of the kinds of things she could do if the story had been allowed to continue. While this was the first 13-episode Netflix/Marvel show that didn't feel artificially drawn out, it could have definitely been better with 11 or 12.

Savor the good stuff here, and let that final line from Killgrave sink in, because this is the end of the line for Jessica Jones and all of the Netflix/Marvel characters. And that sucks.

The best thing that you can say about Iron Fist season 2 is that, like the first season, it is nowhere near as bad as its reputation. For my money it's not even the worst Netflix MCU show (Luke Cage gets my vote there). But it is decidedly not great.

The Original Sin of the Netflix MCU shows was casting Finn Jones as Danny Rand. He remains the weakest link among all of the Defenders + Punisher leads; and while his acting is still pretty pedestrian, he does make noticeable improvements to his fight choreography in this follow-up effort. The writers, as well, make improvements, as the secondary characters - namely the Meachum siblings - have much more to do and they doesn't feel wasted at all. And Jessica Henwick somehow shines even more than she did in season 1, with a storyline that is more grounded and a payoff that feels earned. Her budding friendship with Simone Missick's Misty Knight is fun to watch and offers promise of more to come from them. (Which, of course, we'll probably never get to see. Stupid Disney.) But best of all is the fact that this season is just 10 episodes long. This means less fluff & fewer filler scenes, and the plot moves along at a much better clip. And the ending? Wow. Probably the best final scenes of any Netflix show... with the disappointing knowledge that nothing will come from them. But still, such a great send -off.

Jon Bernthal is back at his intense, mesmerizing best in this follow-up season of The Punisher. Unfortunately, Netflix's second go-round with Frank Castle doesn't reach the heights of its first- or even the first half of the 2nd season of Daredevil. This time the writers fall into the too-many-episodes trap, and if it wasn't for Bernthal's heartfelt ferocity the entire season could have felt like a waste. The pacing falters and the two main storylines are so hopelessly disconnected that when the protagonists from one are the main focus, the characters from the other feel like wasted space. What could have been a tight 4 episodes for each arc back-to-back get woven together and are drawn out to absurd lengths, with the final confrontation getting a 2-episode run-up that is lousy with filler scenes.

All of that said, the show still looks and feels amazing. The action is tight and every scene is shot perfectly. Netflix has done an incredible job of building out its corner of the MCU's New York. Handled carelessly the character crossovers, event shout-outs & other easter eggs would do little more than make nerds like me giggle; but the production team here skillfully uses them to ground the show in what feels like a complex reality. You don't have to have seen Det. Mahoney in Daredevil to appreciate his story arc in this show, but his choices in the final two episodes make even more sense if you have. It's a net trick that (as of Dec. 2023) Disney hasn't been able to replicate with its own MCU shows.

On balance, any fan of the first season - or any of the Netflix shows - will enjoy the second season, but you might feel a bit let down towards the end.

Jon Bernthal proves that his incredible turn as Frank Castle in Daredevil season 2 was no fluke. He brings an intensity and emotional depth to the role that is as relentless as Frank's thirst for revenge. His simmering hatred for all those responsible for the death of his family is always just below the surface and is made all the more believable by the moments when his pre-tragedy kindness flashes through- especially when we see the struggle that he goes through to keep that part of him hidden. It's a mesmerizing performance that sets him apart from almost every other performance in the MCU to date, TV or film.

With a nice balance of action, mystery, and conspiracy, the plot and pacing are great. There is very little whining and forced-conflict-for-drama's-sake nonsense, making for few stretches when you feel like the story is dragging or that a subplot is acting as filler. Even better, the supporting players all give really good performances. (Special shout out to the don't-blink-or-you'll-miss-her appearance by Mary Elizabeth Mastrantonio as an ambitious, morally pragmatic CIA administrator, and to Ebon Moss-Bachrach for his turn as the desperate, tortured Micro.) The action is impeccably directed, and there's nary a bad shot to be found. It's as well-constructed a piece of television that you have any right to expect. The only reason why I don't rank this as my #1 season of all MCU TV is that while everything hits hard and lands true, it just doesn't have the emotional complexity of Jessica Jones' first season. For example, the subplot where they explore PTSD and the havoc that it can wreak on people and society is interesting and well-done, but it's obviously an add-on. As good as he is (and Daniel Webber is really effing good in the role), the former soldier who is the focus of that story is not the center of the series. At its core, The Punisher has always been about revenge (except for that crazy comics run where he was an angel). He's a heat-seeking missile whose only superpower is his stubborn refusal to die. It's inevitable that in order to tell a different kind of story the writers needed to insert a side character. This is not a knock, though. This show is what it is and never shies away from that, and that's a good thing.

Frank's last words in the final scene, "I'm scared," are a perfect coda to the season, giving us yet one more heart-aching surprise and cementing Netflix' status as the maker of the best MCU TV shows, redeeming itself after middling offerings Luke Cage and Iron Fist, and a not-quite-all-it-could-have-been The Defenders. In the end, the only bad thing about this season is that we can never hope for anything as bold and exciting from Disney+.

Oft-maligned as the weakest of the MCU's Netflix era "Defenders Saga," Iron Fist's debut season isn't as bad the internet chatter would have you believe, though it is far from great. Upon rewatch, I was surprised at how engrossing the slow burn of the first 3 episodes was. There is deliberate world-building and character development that draws you in, and a setting of stakes that is as interesting as all get out. How would a child who had been lost and presumed dead at 10 years old reclaim his life after 15 years? And what if that 10 year-old kid had been the sole heir to a multi-billion dollar industrial conglomerate? It's a fascinating concept that is thoroughly explored and fun to watch unfold. Unfortunately, as enjoyable the initial arc and the overall storyline are, the reason that Iron Fist is not remembered more fondly is that the show can never overcome its cardinal sin: The casting of Finn Jones as Danny Rand.

Jones, a Game of Thrones alum, was supposed to bring heat to the role, but he's a middling actor drowning in a heavy role, and his lack of martial arts experience is embarrassingly evident- especially when he squares off with or alongside Jessica Henwick's Colleen Wing. Henwick fights circles around him, and her acting chops are far superior. She should have been cast at the Iron Fist. (Here in 2023 We can only hope that Marvel will pick up from where season 2 left off and let her loose on the MCU with her chi-enhanced sword.) David Wenham surprises with a mesmerizing turn as the sociopathic Harold Meecham, but by the second half of the season his performance is wasted on a boring, soapy storyline involving his children. And this, beyond the miscasting of Jones, is where Iron Fist really fails. The incessant whining and contrived conflicts between characters is annoying at best. (Colleen's secret history & its clash with Danny's mission is the exception, as it's probably the best story flex of the season.) This is personified by Rosario Dawson, as her Nurse Temple, by now the Nick Fury of the Defenders-verse, is reduced to pointless contrarian nagging for the sake of generating emotional conflict to make it look like decisions and motivations are more fraught than they are. Iron Fist is definitely worth a watch; just be ready for lots of skipping through the annoying stuff.

Before Black Panther there was Luke Cage. Marvel's first project centered on a Black superhero is ambitious and promising- especially during the first 5 episodes, but its boring villains, lackluster writing, and unbalanced story cause it to quickly lose steam after a strong start. Mike Colter returns from his arc in the first season of Jessica Jones with a simmering intensity that carries the season. Even as the overall quality drops off as it progresses, his scenes all sing. (Except for the awful final action set piece. Ugh.) The music and shooting style, done mostly on location in Harlem, is a loving homage to the Blaxploitation roots of the Power Man comics, but it doesn't always quite work. And that's a shame. Also, the constant name-dropping of Black intellectuals, artists, and politicians from history starts to get to be a bit much. We get it; Black culture needs to be centered and honored, but they lay it on pretty thick sometimes. What never gets old, though, are the ways that the show depicts & explores the complex relationship between the police and marginalized communities. There's a lot to talk about there, and it's done with a raw honesty that is refreshing to see in a piece of mainstream pop culture that came (at least partly) from Disney.

Mahershala Ali and Alfre Woodard are brilliant actors who give it all they've got as the gangster Cottonmouth and corrupt politician Black Mariah, but they are hampered by stilted dialogue, an overwrought plot, and ultimately unrelatable characters. Even Rosario Dawson's Nurse Temple isn't given much to work with. Her purpose seems to be to administer First Aid and whine about how Luke needs to be the best vigilante he can be (after spending 2 season trying to convince Matt Murdock that he shouldn't be one). The brightest supporting character is Det. Misty Knight, brought to life by Simone Missick, who gives a knock-out performance. But the person who steals almost every scene he's in ends up being Frank Whaley as Misty's jaded partner, Det. Rafael Scarfe. His arc is easily the most interesting of the season, and he absolutely kills every line he's given. If Luke Cage season 1 had been 8-10 episodes long, and followed the model of Daredevil's season 2 by running both major villains' stories in parallel, it could have been a triumph. Instead, it just ends up falling flat.

There's no sophomore slump for Daredevil as season 2 amps up the action & the stakes, and with two jam-packed storylines, avoids the central flaw of most Netflix shows of this era by not feeling too long or stretched too thin. There's improvement in almost every area, with the characters evolving beyond their origin story. Even Deborah Ann Woll gets to (mostly) drop her whiney, nervous take on Karen Page and really come into her own as a person with a purpose in a plot that makes sense. The addition of the assassin Elektra is, well, electric. Elodie Yung kicks ass & cuts (emotionally) deep. Sparks practically fly off of the screen when she & Charlie Cox circle each other. But the Punisher in the room is Jon Bernthal who absolutely murders everyone in every scene he's in (save for Vincent D'onofrio). He's an unstoppable force as Frank Castle, bringing him to life in a way that is mesmerizingly raw and real. Where the show falls a little short is the utter lack of chemistry between Matt Murdock & Karen- which is most glaring when their scenes together come close to those between Daredevil & Elektra. Also, there's little to like about the lawyerly world. The trial is absurdly rushed & the courtroom scenes are laughable. And there's also the lack of a singular villain. This becomes all the more apparent when Vincent D'onofrio pops in as The Kingpin for an episode and we're reminded of how definitive his presence was to season 1. The Hand is cool, but there's no depth there. They're boogeymen- scary, but not frightening. That said, none of this detracts from the pure, unadulterated escapism of the show. This season is a fun, engaging watch, and as a bonus, it does a great job of expanding the "Defenders" universe by making connections to the other shows, yet still keeping its feet firmly on the ground.

In the early days of social media and downloadable/stream-able video (YouTube was just getting serious in 2009) SGU's "KINO" webisodes represented a fun, bold experiment in supplemental content. And it (mostly) works. In the earlier videos you can see how the creative team was playing with the "Behind the Scenes" genre, basically letting the audience take a tour of the set, only with the guides staying in character and the premise being that the Destiny & its crew are real. But the format evolves and the writers do more with the time that they have, sometimes constructing scenes that flesh out moments from the episodes, with one even tying up a major loose plot thread. All the while, you never feel like you're just watching scenes that got cut; they've got a consistent quality and look that makes these vignettes feel like they are their own unique series, yet still a part of the main show. And the actors (most of the principal cast, along with several supporters) all play it straight. There's no drop-off in quality from the main show in that regard. The one area where the KINO series falls short is the airing order. By the time you get halfway through the run it becomes clear which episodes had been produced first and which came later. It gives the series a sense of discontinuity, though it's hard to blame the production team, since this was clearly an experiment in storytelling as well as marketing. In the end, KINO is a great addition to the SGU story, and I'm surprised that more genre shows haven't adapted the concept.

Bold, complex storytelling blends with incredible performances to produce what is arguably the best single season of Marvel TV to date. (I'd even put it on the level of some seasons of The Wire or Game of Thrones.) Showrunner Melissa Rosenberg uses Jessica Jones to tackle issues of post-sexual assault trauma, emotional abuse, abortion, and more. The film noir style, and light touch when it comes to superpowers, gives the show a grittiness and reality that makes all of the emotional punches land as hard as an enhanced roundhouse from Luke Cage. Krysten Ritter's turn as the alcoholic, self-destructive Jessica is so pitch-perfect that it's impossible to imagine anyone else in the role. When she's suffering under the weight of guilt, shame, and victimhood you can see it in her eyes. Around her the supporting cast also shines, with Carrie-Anne Moss standing out in a deliciously dark role that sucks you in. All the while, David Tennant's legendary take on Killgrave creates what is arguably the best villain in Marvel Studios history- TV or film. (It's at least in the conversation.) His malevolence is tinged with just enough humanity to make him seem all-too real, which only amps up the scare factor. The season's fatal flaw, as with even the best Netflix series of this era, is its length. The story starts to drag about halfway through episode 10, though the final episode is solid. If they had trimmed it down to 12 episodes and added in one more exciting set piece, it would have been a perfectly-paced story; but even with this minor drawback, Jessica Jones' first season improves on the amazing season 1 of Daredevil, giving the Defenders Saga a pretty incredible 1-2 punch to launch their little corner of the MCU.

Pitch-perfect production design sets the right tone for this master stroke in comic book adaptation. Matt Murdock comes to life thanks to the brilliant performance of Charlie Cox, who is juxtaposed with Vincent D'Onofrio's startlingly & frighteningly human Wilson Fisk. The suppting cast is all great, with Toby Leonard Moore (Wesley) & Peter McRobbie (Fr. Lantom) standing out the most. The exception, however, is Deborah Ann Woll, who gives flashes of the depth that she showed on True Blood, but isn't served well by the season's biggest flaw, which is the whiney, repetitive and ultimately pointless quest by her to get frumpy newspaper man Ben Urich to stay on the story she wants him to write. (It doesn't help that the resolution of that plot line is the 2nd greatest storytelling mistake of the entire Netflix Marvel run of shows.) Rosario Dawson's fan-favorite turn as the Night Nurse tends to balance it out, though. Mostly. Yes, the final suit design is a little meh, but the show knows it. ("I think that the horns are a little much," Foggy says.) And it's easy to look past that since it only appears in the final episode's final act, and by then the series has earned a little corny fun.

Disney disappoints again. What starts out as vaguely interesting quickly descends into a feckless morass of lazy writing, dispassionate production design, and pedestrian directing. At multiple points the show clearly can't decide who its audience is- or if it even cares. Is it camp YA fare that should be on Freeform or The CW? Is it high fantasy? Is it a comedy? A drama? In the end it doesn't do any of these things well. (When a couple of characters show up in a medieval forest wearing denim jackets you know that the people making the show really had no idea what they were trying to do.) The story choices & dialogue were so awful that I don't think that it's fair to pass judgement on the cast's acting. They all seem capable enough, but it's hard to tell if they were giving cringe-worthy performances because that's what they had to work with, or if they just stink. For what it's worth, I tend to think that it's the former. There are a few nice moments and a couple of interesting set pieces. For instance, the montage in Episode 7 & parts of the final battle in Episode 8 look great. I even respect the choice to incorporate modern music where they did; it's a big swing that mostly works, IMO. Unfortunately, the overall lack of respect for both the IP and the audience that is evident throughout just caused those glimpses of quality to make me angry. Why couldn't they have put that much effort into the whole thing?

What starts out as a taught, well-acted thriller ultimately disappoints over its final 2.5 episodes as they slide further and further into absurdity. While the overall plot & conspiracy make sense, the last two episodes stretch it much further than it needed to go. One character in particular stays at the heart of the action well beyond the point that they should, totally blowing any sense of realism out of the water. But the biggest failure of all is the choice to ignore Jack's personal life. One of the most enduring features of the Jack Ryan character is how he is a "regular guy" who is thrown into incredible situations. It's even hammered home during the opening credits sequence. But in this season he is presented as a super spy from jump, with only a few passing mentions of his being "an analyst." And there is no mention of any other area of his life outside of hunting terrorists, shady arms dealers, and Rogue Russians. While I enjoyed watching (most of) this season, and the direction & set pieces were all fantastic, I could not help but feel a sense of disappointment when I finished my binge. Ultimately, Jack Ryan season 3 is less than the sum of its parts.