Best of Comic TV 2020: The Rankings!

Remember that time John Oliver did a deep-dive into the US bail system, and how it’s weaponized to keep lower-income people, especially African-Americans, in jail? The best way to combat that right now is The Bail Project, a charity committed to paying the bail of those who can’t afford it, so that, say, being arrested for protesting police brutality doesn’t financially cripple you. Visit them at https://bailproject.org/, spread the word, and if you can spare a donation, they can always use it.

Back to it.

Okay, here we go… 21 shows ranked! And let me say… this might have been the highest-quality season since I started doing this. Shows that would have made the top ten easily in previous years, if not the top five, are down where we used to find shows I’d make fun of. There are some very high highs, but none of the low lows that marred previous years. No Iron Fists or Inhumans, or even bland Cloak and Daggers or wildly inconsistent Gothams. The worst we have is “Okay, but not nearly their best work.”

But first, press F to show respect to the following fallen shows.

In Memorium

  • Arrow. How crazy is it that the grand mack-daddy of all superhero crossovers, Crisis on Infinite Earths, got adapted on network television all because of the success of a show about Green Arrow, of all people? Arrow wasn’t always the best Arrowverse show… actually according to these annual rankings, it wasn’t ever the best Arrowverse show from the first year there were other options… but, as the name suggests, without it, there wouldn’t be an Arrowverse. No duelling speedsters, no spaceship full of time travelling misfits, no annual crossovers putting Defenders to shame over and over… no Beebo. You did good, Arrow.
  • iZombie. In the general scheme of things, five seasons was pretty much just right for their overarching storyline of the zombie outbreak and subsequent conflict with humanity. In another sense, five seasons was never going to be enough time to spend with Liv, Ravi, Clive, Major, Payton, and even ne’er-do-wells Blaine and Don E. This show was a delight, and I’ll miss its core cast for a long time. You were the least faithful to your source material of any show I’ve covered, lacking even a character in common with the comics, but you were special while you lasted.
  • Krypton. I admire Krypton’s dedication to self-improvement. From halfway through the first season, they did their best to find more interesting takes on their story. And they delivered a decent Lobo, a solid General Zod, and by second season a really interesting Brainiac. They were just way too confident they’d have as much time as they wanted to tell the story, and that was not the case. So… are we done with shows about the pasts of famous heroes named after the place they’re from? Smallville lasted a decade, sure, and Gotham made it half that, but Krypton is over after twenty episodes and Metropolis seems to have died in development. So… we’re done?
  • Legion. Some shows can’t run indefinitely. Some shows need a set plan. And Legion was one of those. Noah Hawley brought us a three-act story told over twenty-seven mesmerizing episodes, with a stellar cast and visual flair like nothing else. There has never been a show like Legion. There may never be again, because you can’t be Legion if you’re trying to be like something else.
  • Preacher. To my chagrin, I think Preacher’s legacy will be how weirdly unbalanced the pacing was. The slow-burn first season and the final season’s race for the finish line almost feel like different shows. They spent three years really digging into key moments from the comic run, then when AMC said they had one year to wrap it up, they had to slam on the gas to get to the climax. Still… they delivered an amazing, gonzo yet character-driven adaptation, one which provided some key lessons (including not taking your time in early seasons) for the even-less-probable Garth Ennis adaptation The Boys. I wish it had run another four years, but I’m glad I had it while it lasted.
  • Swamp Thing. We hardly knew ye, Swamp Thing. You delivered the exact Swamp Thing series we needed, a perfect fit to the R-rated tone of every other DC Universe show they’d made (prior to Stargirl). You had great takes on a lot of DC’s magic characters, characters I’m mad I won’t get to see again. Apparently, the only people who didn’t think a dark, horror-themed Swamp Thing was the way to go were the people running your network. Idjits. Here’s hoping the CW reairing it in a desperate bid for fall programming leads to a revival.
  • Watchmen. Series creator Damon Lindelof brought us a collision of the dark side of America’s history and the possible future of Alan Moore’s world of masked crimefighters, twisted masterminds, and one living god with a broken view of time, mixing real-life atrocities and racial tensions with the aftermath of the Watchmen graphic novel, and it was great. He poured every idea he had into this one season… meaning he had nothing left in the tank to keep it going. Like Alan Moore before him, he never envisioned a follow-up. So for now at least, Watchmen ends again as one self-contained story, and we should be thankful we got it.
  • Marvel TV as we knew it. For the past half-decade, there were two sides to live-action Marvel entertainment… Marvel Studios, as run by Kevin Feige, reporting directly to Disney; and Marvel TV, run by Jeph Loeb, reporting to Feige’s former boss Ike Perlmutter. And while fanboys clung to the hope that the Marvel TV characters would appear, or at least be referenced, in any of the movies, people paying attention (such as me, hello) could tell they were very clearly separate worlds that would never mingle. But now Feige has been put in charge of the movies, TV and comics, so Marvel TV as we knew it now yields to Feige’s empire, and everything from before is cancelled. And maybe that’s for the best, because while we might lose the smaller, street-level stories like Daredevil or Runaways, frankly Jeph Loeb brought too much of Smallville’s old “No flights, no tights” aesthetic to Marvel TV, leading to an apparent fear of seeming “comic-booky” that made the whole franchise a little… bland. Basic. Routinely embarrassed of their source material. (Google, find a supercut of Marvel Netflix characters hating their costumes from the comics–no? Damn it.) The fanboys are waiting for the Defenders, Runaways, Agents of SHIELD, and Inhumans to find their way to new seasons on Disney+ or Hulu, but… I wouldn’t hold my breath on that. Expect, at best, reboots. Eventually. Probably best to say goodbye to them all now and beat the rush later. So farewell, Cloak and Dagger; bon voyage, Runaways; via con Dios, Agents of– what’s that? Still on? For how many weeks? Huh. First to arrive, last to leave, I guess.

Honourable mention: I don’t include animated series in these things because a) that feels like a hole with no bottom and there are already 21 shows on the list… again…; b) I don’t know how to find most of them; c) I’d mostly be comparing cartoon shows made for pre-teens to Preacher and how do you even do that, even Riverdale was a stretch. But all of that said, if you can find a way to watch Harley Quinn, then do it, because oh my god it’s so hilarious, and also weirdly heartfelt. Do what you have to, but check it out.

Now let’s do this thing.

Next page: The Also-Rans

Best of Comic TV 2020: The Best Characters!

Apparently YouTube videos whose ads donate to BLM charities are a moving target, as YouTube pulled the last one right after I posted it. I’ve replaced it with this one, which hopefully also works, so give it a spin, and while you’re doing that, check out this list of ways you can help fight racism. Find something that works for you, then meet me in the next paragraph.

No, really, I’ll wait, go do that. Done? Okay, let’s get going.

Alright nerds, we’re through the technicals, into the performances. Some of the most brutal, hard to call categories coming at you, ’cause there was some talent this season.

Let’s see if I can do them in a sensible order for once.

The Wentworth Miller Award For Best Guest Star

Putting aside series regulars and major recurring characters, who brought something special to their limited appearances, as Wentworth Miller did on The Flash as Captain Cold?

These people did!

Honourable mentions: Haley Joel Osment as a formerly famous child hero on The Boys was just perfect casting; Neal McDonough made one last appearance as Damien Darhk on Legends of Tomorrow, and was delightful as always; and of all the alumni they brought back for Arrow’s final season (damn near all of them), the one who most reminded us what they brought to the show, and how much they’re missed, was Paul Blackthorne as Quentin Lance. His brief reunion with Oliver and Earth-2’s Laurel Lance was particularly emotional.

Bronze: The Crisis Cameos, Crisis On Infinite Earths

And that’s just episode one.
Images: CW

Really all I can do here is present a complete list, except for the dozen and change that were pretty clearly recycled footage from DC Universe streaming shows.

Robert Wuhl reprising Knox the reporter from 1989’s Batman; Burt goddamn Ward reprising Adam West’s sidekick Dick Grayson; Wil Wheaton as a doomsayer; The Tick’s Griffin Newman hosting a trivia night; Erica Durance as both Supergirl’s Alura and Smallville’s Lois Lane; Johnathon Schaech reprising Jonah Hex; Tom Welling back as Smallville’s Clark Kent (punching out Lex Luthor, no less); Kevin Conroy from Batman: The Animated Series bringing his iconic Batman voice to live-action for the first time; patron saint of this category, Wentworth Miller, as the voice of Leonard Snart on an alternate-Earth Waverider; Tom Ellis bringing Lucifer Morningstar to the Arrowverse, face to face with John Constantine; Ashley Scott back in costume as the Huntress from the short-lived Birds of Prey series; John Wesley Shipp reprising his 1990 Flash one last time; Black Lightning finally joining the crew; Ezra Miller giving us a brief meeting of the cinematic and television Flashes; and original Crisis author Marv Wolfman hitting Flash and Supergirl up for autographs (he loves the team-ups, you see).

Is that everyone? I think so? And each one delightful.

(If I had to pick one, it’d be Tom Ellis by a nose, but I don’t so I won’t.)

Silver: Thomas Lennon as Mr. Mxyzptlk, Supergirl

The mischievous imp, less travel-size than the classics.
Image: CW

A quick lampshade-hang about why they’ve swapped out the original actor for someone less dreamy, and Mr. Mxyzptlk came back to Supergirl, and he came back doing what Mxy does best… being an adorable trickster and screwing with the fourth wall. And Thomas Lennon excelled, always finding the humour in Supergirl’s 100th-episode trip backwards through the past four seasons, as Mxy and Kara tried to find a moment to tell Lena Luthor the truth about Kara that maybe wouldn’t destroy either their relationship or the world. Some of them destroyed the world.

I could really go for an annual Mxyzptlk appearance, if that’s an option.

Gold: Jemaine Clement and Jason Mantzoukis as Oliver Bird and the Big Bad Wolf, Legion

Legends square off.
Image: FX

I feel like we discussed this episode and it’s rhythmic climax plenty last time. So for now I’ll just say that it was an immense delight seeing Jemaine Clement back, and the only thing that improved it was having Jason Manzoukis show up as the (symbolic) Big Bad Wolf, shouting to Oliver not to wait before teaching the baby about syphilis.

And then they rap battled. Come on.

Such a great episode, and these two (with help from Jean Smart) really anchored it.

The Tricia Helfer Award for Rookie of the Year

What new characters on an established show really brought something special, like the way Tricia Helfer’s Goddess Charlotte kicked Lucifer up to the next level?

Honourable mentions: Switch on Legion made the entire season three story possible, but she sometimes felt like more of a device than a character; Connor/Superboy was a fun addition to Titans, but he more created his own subplot than added to what had been the main story; Natalie Dreyfuss was great fun as Ralph Dibny’s long-awaited true-love-to-be Sue Dearbon on The Flash, but was only in three episodes, and due to reasons probably won’t be back.

Read on!

Bronze: Iain Glen as Bruce Wayne, Titans

He’s a dark knight but a silver fox.
Image: DCU

I’m not a big fan of “middle-aged Batman” in general, and I’m not sure what Glen was going for with that Brooklyn accent… sometimes it seems “neutral American” is too tricky an accent, so actors from, in this case, Scotland, aim for something more regional… but damn having Bruce Wayne around was a good and necessary addition to this show. Given how much of Titans revolves around Dick’s difficult history with his complicated surrogate father, never seeing him throughout season one was kind of awkward. Whether Bruce was there in person, or an illusion created by Raven, or a hallucination brought on by Dick’s guilty conscience*, Bruce added a lot to the season, and if you could roll with the accent, Glen was kinda killing it.

*That last one was actually pretty great, and involved Bruce Wayne doing the Batusi with burlesque dancers, and it was amazing.

Silver: Naomi Ackie as Bonnie, The End of the F***ing World

There aren’t many stalkers on TV this enjoyable to watch.
Image Netflix

Series one of The End of the F***ing World was about James and Alyssa running from their traumas; series two was about having to confront the consequences. And so it made sense to have the consequences of their crime-ridden road trip personified in Bonnie.

The End of the F***ing World has always been about broken people finding inadvisable ways to face their traumas, and series two brought a new style of trauma to the mix in angry, confused, vengeful Bonnie. “I learned about punishment from a young age,” she tells us. Bonnie was raised with abuse and discipline instead of love, and now she has them mixed up in her head. Led astray by what she thought was love, she was personally wronged by the events of series one, and has come to deliver punishment to James and Alyssa. Poorly thought-out, at times hilariously inept punishment. Bonnie makes our road-tripping duo into a trio, and was a welcome addition.

Gold: Shayan Sobhian as Behrad Tarazi, Legends of Tomorrow

Sure he’s been in the gang for two years, but… had he been in the gang for two years yesterday?
Image: CW

In the third season finale, hacker and freedom fighter from the future Zari Tomaz finally altered her past/our present enough that her dystopia never happens… which means that her family was never hunted by a government that hated metahumans and also Muslims (I think we know any fascist American regime, fictional or currently-in-progress, is gonna come at Muslims), so her brother Behrad was never killed by ARGUS agents, so she never inherited the Zambesi air totem from him… and never joined the Legends. And also her last name is Tarazi now? Don’t fully get that last bit. But anyway, the last moments of the previous finale saw Zari erased from the team’s history… and replaced by Behrad.

So that left Shayan Sobhian with a bit of a trick to pull off… make this new character feel like a long term part of the team, make his relationships with the other Legends feel lived-in, and make us like him enough that we’d be invested in him sticking around instead of checking our watches wondering when “Internet Celebrity Zari” was going to blow over and things would go back to the way they were last season.

And damned if he didn’t nail it.

Behrad instantly felt like an old friend. Whether he was being best bros with Nate and Ray, or revealing that he’d had a secret tryst with Charlie the shapeshifter (which they probably kept on the DL since her primary form looks exactly like Nate’s ex), or dealing with his vain, shallow older sister Zari finding out he’s a time traveller, Behrad was a welcome addition from episode one, and I was quickly frightened something bad was gonna happen to him since he was only credited as a guest star.

And his presence let them do something fun and new with Zari, which was neat.

Next page: The supporting players

Best of Comic TV 2020: Here we GO!

Before we get started… I’ve been sitting on these blogs for a week, because given all of the everything… this felt horribly frivolous. But as protests continue, we all need an occasional break, so I’m taking a piece of advice from someone more knowledgeable than I am in these matters (keep listening, keep learning)… release your art, but also take a moment to point people to ways they can keep helping ensure that Black Lives Matter. Today, I present this: this playlist is a way to support bail funds if you can’t afford to donate. Just throw this video on while you read, and make sure you’re not blocking ads because the ad revenue is going to a good cause.

And now, on with the show.

Another TV season comes to an end, and once again I’ve spent twelve months devouring all (well, many) forms of comic book TV, and I’m here to share with you what my exhaustive research tells us is the best of the best! Who had the best fights, elicited the biggest sobs, featured the best casts, and many more!

Specifically of shows that ended their seasons between July 1st of 2019 and June 3rd, 2020. With these specific exceptions.

Walking Dead: I don’t wanna and you can’t make me.

The Riverdale of it all: I am not the target audience of Riverdale. That’s fine. I don’t have to be. There is so much media that is geared specifically towards me that it’s fine that some of it isn’t. But it hardly seems fair to rank shows meant for a younger female audience against shows weirdly targeted right exactly at me, so I’m leaving out all of the Riverdales. That includes Riverdale Prime, Spooky Riverdale (The Chilling Adventures of Sabrina), and Sex And The City Riverdale (Katy Keene, which could not be less targeted to me).

With that in mind, here’s what we are covering, with links to reviews where they exist.

Sadly, due to Plague Times (or lack of vision by the DC streaming service), a few of those shows didn’t get proper season finales. Which I’m trying my best not to hold against them, but maybe they had a lot of plots going on and maybe I was really eager to get to the point where they started connecting in a more clear way and I don’t know I would have liked to see how they stuck the landing.

Anyhoo, let’s get into the technical awards, starting with what I keep telling you is one of my favourites.

Next page: Biff! Sock! Kapow!

Locke, Key, and Magical Kid Adventures for Grown-Ups

When Spy Kids came out way on back in 2001, I thought “Man that looks pretty dumb.” And then a wise friend said “Sure, but I’d have watched the heck out of it when I was ten.” And I thought, sure, yeah, me too. That was the sort of story I grew up on. Kids my age (or close to) getting into high-stakes adventures with monsters and pirates and other sci-fi/fantasy/espionage elements. Monster Squad, Time Bandits, The Lost Boys, IT, The Neverending Story, and of course the chairman of the company, The Goonies. Sure Spy Kids wasn’t being aimed at me, but why shouldn’t the next generation have similar movies to latch onto?

(As well as The Goonies, of course, it is for all generations.)

That said… I wasn’t the only one who grew up on these magical kids’ adventure stories. And if there’s one thing the entertainment industry thrives on, it’s milking nostalgia in an attempt to squeeze money from audiences.

And so a new genre seems to be forming… 80s-style magical kids’ adventure stories, but designed to appeal to adults and youths alike.

The very obvious example, one that may have sprung into your mind the second I brought this up, is Stranger Things.

Featuring at least one literal magic kid.
Image: Netflix

Stranger Things is both loved and criticized for the way it weaponizes nostalgia in its narrative, creating a pastiche of the Goonies and the Loser’s Club and having them battle otherworldly monsters alongside a magic girl, using Dungeons and Dragons and sometimes dressing as Ghostbusters. It’s a sci-fi fantasy conspiracy thriller that uses 80s nostalgia to flavour the story the way a fancy cocktail might use simple syrup*, and its a little hacky, but I love it.

(*I did just finish a course on cocktails, why do you ask?)

And on the far side of the spectrum, we have this lot.

Twenty-Something Titans GO!
Photo Credit: Brooke Palmer / Warner Bros. Entertainment Inc.

Titans is about literal magic teens being mentored by 20-something former teen heroes. It would be perfectly aligned for a teen audience… except they curse like they’re out of a Tarantino movie, the fight scenes are often brutal and bloody, and yeah, in season one they go to Pound Town (if a non-graphic suburb of Pound Town) more often than any other superhero show save for Watchmen. (Sister Night and her husband have a passionate and fulfilling sex life and good for them.)

Or in other words, they act exactly like young people would in their situation. Hand-to-hand fights aren’t clean, they get in situations that frankly require frequent cursing*, and I’ve been reading comics about Nightwing almost as long as there have been comics about Nightwing to read, and I am here to tell you, Dick Grayson fucks.

(*I’m not mad that the Titans swear, I’m mad that Gotham wasn’t allowed to. Given what happened in an average season, Harvey Bullock should have been dropping F-bombs like it would cure cancer.)

It is… it is still a little weird that they took almost the exact lineup from successful kids’ show Teen Titans GO! (save for Cyborg, last seen hanging with the Doom Patrol) and made a hard-R curse-filled punchfest, instead of saying “All those TT:G fans are teens now, let’s make it a blend of action and YA romance, you know, like the entire Arrowverse, which one of our producers created.” But here we are, magical teens and ex-teen sidekicks in a show clearly aimed at adults that teens probably still watch, I mean it’s not the 80s anymore, teens find stuff.

And in between these two, we find Locke and Key.

Based on the graphic novel by Joe Hill and Gabriel Rodriguez, Locke and Key finds the Locke family (mother Nina, high school students Tyler and Kinsey, and kid brother/possible oops-baby Bode, which against all logic is pronounced Boh-dee) moving from Seattle to small-town New England for a fresh start after family patriarch Rendell Locke is killed by a troubled classmate of Tyler’s. They move into the Locke family estate, Key House… a place Rendell and his brother (Smallville’s Fake Jimmy Olsen, Aaron Ashmore, playing a character who maybe will be important in a later season?) have avoided for years.

Tyler meets a girl he likes, but she’s passionate about causes and he’s only passionate about self-destruction; Kinsey meets some new friends who want to make a horror movie; Bode befriends a neurodiverse teen with a similar affinity for GI Joe. That would all be great, except for two little issues. One, Bode discovers that Key House is filled with magical keys (go figure), each with their own power; and two, there’s a sinister woman at the bottom of their well who wants the keys for herself, and it does not seem like it’s for a good reason.

The Locke siblings must find and decipher the keys, unravel their father’s past, and also try not to let their teenage melodramas distract them from the fact that a murder ghost is targeting their family to steal magical keys.

And the result is… good. Quite good. Really gripping. Yes, the leads can be frustrating, but they’re teens (and one pre-teen) coping with a horrifying tragedy, one of whom has some pretty strong PTSD and one of which thinks it’s his fault, you can’t entirely blame them for not being their best selves all the time. It’s close to the kids’ adventures I remember, but felt much darker and less… kiddy.

So let’s look at Locke and Key and how they built an adult-friendly magical kids’ adventure story, with Stranger Things* as our exemplar and also touching on Titans because it’s weirdly thematically similar, and also Titans really upped their game this season and that’s worth noting.

(*We’re three seasons in, either I don’t need to explain Stranger Things to you or you’ve decided you don’t care about Stranger Things and no explanation will matter.)

Geronimo.

Next page: What makes a magical adventure? (Hint: magic)

Best of Comic TV 2019: The Rankings!

Okay. Here we go. But first… one piece of new business.

In Memoriam

Every year, some show in the rankings has been in its last season, but never enough to keep the list from growing from seven to twenty-two. But we’ve hit a point where there are enough that they’re killing themselves down to a more sustainable level. Thus, some farewells.

  • The Tick. Oh, The Tick… like always, maybe you were just a little too cult to live. But while you lived, you were nailing it. Wait– you had one fewer episode overall than Iron Fist? No wonder God has forsaken us.
  • Gotham. You were never the best show, not by a wide margin, but there were flickers of greatness… well, pretty-good-ness… that meant you weren’t the worst, either. Well, okay, sometimes you were the worst, but not recently.
  • The Gifted. You may have been the Agents of SHIELD of Fox’s X-Men universe, the red-headed stepchild not allowed to play with the other kids, but you did your best. Still, that Disney buy-out was your death. And come on, man, you did not have the ratings to be ending on a cliffhanger.
  • Literally all of Marvel Netflix. In the beginning, you set a high bar for comic TV, but you never quite matched those first seasons of Daredevil and Jessica Jones. Until the end you struggled with pacing issues, unnecessary side characters, inability to pick a main villain, and a refusal to do anything too “comic booky.” And yes, you bungled the big crossover. Still, the franchise had more good than bad overall. Even Iron Fist was starting to get its act together. Was Jessica Jones’ third season a fitting send-off for the entire franchise? No, and that’s irrational, it couldn’t have been, that would have required a second, hopefully better Defenders series, maybe involving the “Who can stop Luke Cage, King of Harlem” fight they kept teasing, but “proper send-off” wasn’t on Netflix’s agenda. Disney+ was your franchise’s end. Via con Dios, Defenders.
  • The idea that the Marvel movies and TV shows share a universe. Not even Agents of SHIELD, which is normally first in line to name-drop any event from the movies, acknowledged the events of Avengers: Infinity War. And given when season six takes place, and when Endgame takes place, it would have to. So… guess that’s over.

Now, on with the show! (I apologize if the last two posts maybe drained some suspense out of who’s taking the top spot.)

Next page: From “I can’t be bothered with this” to “Good, not great”

Best Comic TV 2019: Characters!

Okay! Let’s get into the best superheroes, supervillains, and other comic-related characters of the season!

Honourable Mention: Real talk… few of these characters delighted me like the one character who defies every single category I have: Doom Patrol’s Danny the Street.

YOU HEARD ME.
Image: DC Universe

Danny’s a sentient, teleporting, genderqueer street that houses a community of misfits and outcasts, and they’re delightful, and I was so happy the writers embraced the Grant Morrison weirdness of the Doom Patrol franchise enough to include Danny. Their debut episode, “Danny Patrol,” was a blast.

(I may eventually need more non-gendered categories, especially if one of these shows casts Liv Hewson or Asia Kate Dillon or another non-binary actor of their caliber… but not today.)

Anyway, on to characters a little easier to categorize. So easy they don’t even need introductory paragraphs to explain the categories.

Best Female Supporting Character!

Honourable mentions: Carrie-Anne Moss and Rachel Taylor had some good spirals into self-destruction on Jessica Jones; Yara Martinez remained fun as Miss Lint on The Tick; Julie Ann Emery had great edge as Featherstone on Preacher.

Bronze: Rachel Taylor as Trish Walker, Jessica Jones

If you think she finally gets her superhero name this year, you don’t know Marvel Netflix.
Image: Netflix

For the first two seasons of Jessica Jones, and a bit of The Defenders, Jessica’s best friend and adoptive sister Trish pushed Jessica to be a better hero, to use her gifts to help people and fight evil. But after the events of season two, Trish finally has powers of her own. She can finally be the hero she’s always wanted Jess to be. Sure the process that gave her powers has a slight history of also causing homicidal rage, and yes, her need to feel powerful caused all sorts of bad choices in season two, but this should be easy! Right?

Trish’s journey over season three is a rollercoaster, I tell you what, and Rachel Taylor came to play.

Silver: Tala Ashe as Zari Tomaz, Legends of Tomorrow

Even if there were other snarky hackers from the future on TV, she’d still be the best.
Image: CW

Playing a character whose classic hero name they can’t really use anymore, Tala Ashe’s dry wit was a welcome addition to Legends last season, and it remained so this year. But we also got to watch Zari’s tough shell begin to crack, as her survival instincts from the ARGUS police state future she came from began to relax. Her gradual, mutually awkward flirtation with fellow Legend Nate Heywood (spurred by something simple: pretending to be a couple for a heist and then thinking “Huh, we’re both hot, we could just do this”) was consistently adorable, and led to both one of the year’s best musical numbers (see last entry) and an emotional finale where she has to risk having her entire history rewritten to save Nate.

Plus she cut loose on some witch hunters (emotional), impersonated a 70s DJ (funny), and got turned into both a cat and a puppet (legendary). And if all of that weren’t enough, she opened the season with a powerful monologue on how fear took over her society, ending with one small but killer line. Lots of shows tackled fear and hate this season, but few managed as simple and powerful a moment as Zari watching her hijab-wearing mother smiling and laughing with young Zari in a playground, and asking “How could anyone be afraid of her?”

This season may have had slightly too little time for all of its character arcs, but Zari always shines.

Gold: Katie McGrath as Lena Luthor, Supergirl

Pretty please with cherries on top don’t turn evil?
Image: CW

There is a marvellous subtlety to Katie McGrath’s performance as Lena Luthor. She went through a lot of unpleasantness this season, loss and heartbreak and betrayal and more betrayal and a global hunt for her brother, and Katie McGrath managed to convey all the pain and sorrow Lena went through without dropping the cold, hard exterior she’s had to develop as both a successful businesswoman and a Luthor. Not the most open and loving family. Katie handled Lena’s bleak year with incredible nuance.

Katie is masterful at this role. Lena’s heading to a dark place, but I’m hoping she doesn’t go full-villain, because I don’t think I can bring myself to root against her.

Best Male Supporting Character!

Honourable mention: Jay Ali’s take as the tortured Agent Nadeem on Daredevil; most if not all of the male cast of The Umbrella Academy. Unless you consider all the Hargreeves kids to be leads, in which case just Hazel and Hargreeves Sr, I guess.

Bronze: Jesse Rath as Brainiac-5, Supergirl

Seen here using his “Save the makeup department some money” disguise tech.
Image: CW

Last season, Jesse Rath swiftly won me and others over as Querl Dox, aka Brainiac-5, the Legion of Superheroes’ resident super genius. In season four, he takes the departed Winn Schott’s place at the DEO, working as both a DEO agent and secret superhero ally to Supergirl and her band of alien do-gooders when relations between the two groups deteriorate.

Rath’s always done a good and amusing job at portraying Brainy’s alien, calculating nature, existing somewhere between and to the left of Data and Spock, but as he began an awkward flirtation with Nia Nal, who he swiftly recognized as an ancestor of his old teammate Dream Girl, Brainy found new levels of cute.

But what really gets him on the podium came late in the season, as the alien-hating Children of Liberty accidentally unleashed Brainy’s dark side. As anyone familiar with Superman’s rogues gallery knows, the Brainiac line is not filled with pleasant people, and under torture, Brainy lost control of his ancestral memories. After an emotional moment, a darker, crueler Brainiac was unleashed, and Brainy went from cute to chilling.

I miss Winn sometimes, but damn Brainy’s fun to have around.

Silver: Robin Lord Taylor & Corey Michael Smith as Penguin & Riddler, Gotham

TV’s best frienemeses.
Image: Fox

There were definitely a few things Gotham did well, in the sea of things they did poorly. The art design, cinematography, at least half of their villain creations. But if I were to point to one thing that kept me going through all 100 episodes, one facet of the show that made coming back worthwhile through all the Mad Hatters and Jeromes and Jim Gordon never bringing backup, it was Robin Lord Taylor’s performance as Oswald Cobblepot. There is a time and place for restraint in acting, and Taylor understood that Gotham is not it, throwing every inch of himself into every scene he had. But he worked best when part of an unexpectedly great double-act.

Because when Penguin’s plots linked up with Ed Nygma’s? Magic. As begrudging allies, best of friends, or sworn enemies, their scenes together routinely popped. As we bid farewell to Gotham, it seemed fitting to give a final tip of the hat to their two best and most consistently entertaining villains.

Gold: Pip Torrens & Joseph Gilgun as Herr Starr & Cassidy, Preacher

Another “don’t make me choose” incident between costars.
Images: AMC

Last year I talked about how perfectly Pip Torrens captures the cold, vicious, and utterly captivating Herr Starr, chief enforcer for the Grail, Earth’s secret rulers. Well, I’m not going to do that this year.

Because if anything he is surpassing his comics counterpart.

The chilling calmness with which Starr goes through his bloody business is always riveting to watch, and often hilarious. It’s at the point where I’ll be sad to see his joust with Jesse come to an end. And not just because I wasn’t ready for the show to be over after next season.

Meanwhile, Cassidy had some big moments this year, from fighting his best pal Jesse (a few times) over Tulip, even taping himself back together to go an extra round; to a quiet, sad, moment of choice where he realizes there are lines he can’t cross to keep Tulip; to his discovery of Les Enfants du Sang, a group of vampire wannabes led by the first fellow vampire Cassidy’s met in decades. Gilgun found new depths to Cassidy this season, and nailed them all. And he keeps the humour of the character, if his debate with the Enfants over how to kill a Grail infiltrator proves anything.

Starting around 1:46

Next Page: The Captain Cold and Charlotte Richards awards

Best of Comic TV 2019: We Begin!

A tiny slice of the selection.

It’s that time again! Time to look through a season’s worth of comic book TV shows, look at who did what best, and deliver a conclusive ranking, based on my highly scientific standard of “Which ones I liked more, and also you didn’t watch them all so you don’t know I’m wrong.”

So, here are this years’ competitors, with links to blog posts if posts there do be:

(Why are the two seasons of Cloak and Dagger ranked separately but not Sabrina? Because Netflix ordered twenty episodes of Sabrina then released them in two chunks and a Christmas special, while Cloak and Dagger did ten episodes then had to get renewed before they made ten more.)

TV shows are constantly being released. Krypton and Legion started up new seasons in the past couple of weeks, and The Boys is coming up fast. So I have to draw the line somewhere. As such, I’m only including shows that ended their season between July 1st 2018 and June 30th 2019. This means some personal favourites are off the list this year because their finales are still a few weeks or months out, and Game of Thrones reminds us not to build monuments to the living, for they can still disgrace the stone. Or in other words, any show can trip over its own feet at the finish line.

So this year doesn’t include the latest seasons of Agents of SHIELD or Krypton, the final seasons of iZombie and Legion, or what is apparently the only season of Swamp Thing.

Or Walking Dead because I don’t care and you can’t make me care.

Or anything I hadn’t heard of until it was already cancelled, like whatever Deadly Class was.

Allons-y!

Next page: Certainly one of my favourite categories to start us off.

The Kids are Alright: Comic TV With Dan

This season, because I love nerd stuff more than I apparently like myself, I decided to binge my way through two shows that I had very little reason to suspect I’d enjoy. Very little. But so determined am I to keep up on any and all comic book TV series… based on comics I’ve heard of… that don’t rhyme with “Smocking Smed…” that I dove in anyway.

On the one hand, we have the Runaways.

One of them is holding a magic wand, another has glowing hands, and if you look closely one has glowing eyes, which makes them more super-heroey than every promo shot of The Defenders combined.
(Image: Hulu)

Their second season hit back in December. Their first season was… okay… (ranked 15th of 22 last year) but sluggishly paced, and didn’t really get anywhere. I described it as a ten-hour pilot, because I can’t really remember any storylines that weren’t just gradually getting pieces in place for the origins of the runaways or storylines from season two. Sure Preacher’s first season (5th of 13, 2017) did kind of the same thing, ending the season at the end-point of the first story arc, but it felt like Preacher had a lot more going on than Runaways did (hint: Preacher almost always has more going on, it’s great). Runaways isn’t the first show I’d name when describing how a slow burn can go wrong, but it’s on the list.

Also Cloak and Dagger, the other Marvel Young Adult TV show, left a bad taste in my mouth.

And in the other corner, we find Titans.

Teen Titans GO! To Hot Topic.
…Someone else has already made that joke, haven’t they. Don’t tell me.
[Image: DC Universe]

Titans, the first entry from the DC Universe streaming service (available here through Netflix), didn’t have a predecessor to compare to, favourably or otherwise, but it did have a super dark and very baffling trailer that made it look like an impending train wreck.

So we have two shows, based around younger heroes, that I had every expectation of not being good… and both surprised me. Runaways seemed to take my criticisms to heart… which, yes, heavily implies that I wasn’t the only one making them… and Titans managed to be the season’s biggest surprise so far. I came in expecting to make another “Let’s laugh at how bad Iron Fist was” post, and instead it’s… legitimately interesting?

That’s nearly all they have in common. One’s a YA series with occasional mild profanity that’s as grounded as a show with aliens and magic and a dinosaur can rationally be; the other is a hard-R, curse-filled, graphically violent tale of four damaged youths trying to learn to be a team. So I guess they both have “found family is sometimes better than blood family” going on as well, and that’s all I need to justify the joint post. And along the way, I bet we find more. Rock it.

Next page: An overview.

TV Crimes and Punish(er)ment: Comic TV with Dan

Image: Netflix

With the last cancelations now announced, Marvel/Netflix’s Defenders franchise is winding down and will end with season three of Jessica Jones.

So it kind of makes sense, at this point, to begin looking back at this sometimes great, sometimes terrible collection of shows… and it makes extra sense, because within Punisher season two, we can see nearly every way they went wrong.

Now, I’m not saying Punisher will show us why Netflix started canceling the whole lineup. We already know why that’s happening. Disney, Marvel’s parent company, is starting their own streaming service, and that soured their relationship with Netflix, which like a white man in Hollywood is probably really annoyed that they’re no longer the only game in town.

No, I’m saying that if we examine all the ways Punisher season two didn’t work, we find nearly all of the routine failings of the five series (and one mini-series) that made up the Defenders-verse.

Including the fact that it’s not connected to the films and it never was. If Kevin Feige reboots Daredevil in three years with new actors, will you all believe it then? Or will you just blame it on the Thanos snap somehow? Probably the latter.

As I go… I’ll slip in the things they did well. Unless I run out.

Let’s begin.

Next page: Back to Square One. Again.

The Details in the Devil: Comic TV With Dan

Oh hey guys. What’s up? Been a little while. Plenty to talk about. I have a nostalgia trip to wax poetic about, stories to tell about the Big Apple, and since by the time I’m done my Doctor Who rewatch series 11 will be done I guess I may as well write it up… but before I get to any of that, there’s just oooooone little thing I need out of my brain.

Let’s talk Daredevil.

Daredevil Season Three: Fall and Rise

Daredevil season three dropped not so very long ago, making 2018 the first year that Marvel Netflix released a solo season for each of the four Defenders… and, given that it came on the heels of the cancellation of both Iron Fist and Luke Cage, the last.

(Also, real quick, gonna cram in another blog topic I’m probably unlikely to get to.)

(Ahem. Dear Iron Fist. You were pretty shit in your first season, and you dragged down the first and only season of The Defenders, making this whole Marvel Netflix connected universe feel like a let-down. But damned if you didn’t at least try to bounce back. You took some of the big problems of season one… Danny has no personality beyond being the Iron Fist, Danny is bad at being the Iron Fist, Colleen was more interesting as a lead… and made them into your narrative arc for the year. Clever move that made for a better show. The show still wasn’t perfect… I never had any sympathy for Joy Meechum as a character, Colleen’s subplot got put on hold so many times I kept forgetting what it was, and your A-plot boils down to two five-episode slogs to two plot points of interest… but hey you were trying. Shame you left so much on the table for a third season that isn’t coming, but you were no longer Marvel’s worst TV show, not even the worst this season.)

(Look, I’m sorry if you disagree, but Cloak and Dagger had some goddamn flaws and maybe we could just admit that.)

So. Yes. Daredevil. A few spoilers will result, there’s really no way around that if I’m going to discuss this in any detail, and I mean to do just that.

First off, the basics, in which Daredevil has fallen but the Kingpin is on the rise. We pick up a couple of months after Defenders. Matt, presumed dead by his pal Foggy Nelson but merely missing by still-not-his-love-interest Karen Page, is in the church where he was raised after the death of his father, healing from having a building fall on him, and spiritually crushed from the whole business with Elektra. Wilson Fisk, meanwhile, begins to enact a plan to get himself out of prison and back into the heights of high society, while building a new crime empire. Matt, Foggy, and Karen each search for ways to get Fisk back in prison, but he’s worked hard to be untouchable, sets out to destroy Matt and the very name of Daredevil, and begins grooming a new chief enforcer in Ben “Dex” Poindexter, an FBI agent with lethal aim and severe borderline personality disorder.

Yes, I know exactly which comic character he is, thanks, but I’ll call him Bullseye when they call him Bullseye. Until then he’s “Dex” or “Fake Daredevil.”

It’s the follow-up to Daredevil’s great first season that season two failed to be, the Fast and Furious to season two’s 2 Fast 2 Furious. Season two, in fact, is all but scrubbed from memory. There are some lingering effects… The law firm of Nelson & Murdock remains broken up, we address what happened immediately after the season two cliffhanger of Matt confessing his other identity to Karen (through a flashback, since all of Defenders happened since then), Fisk seeming to have figured out Matt’s secret comes into play, and Elektra gets mentioned exactly once, but otherwise season two is forgotten. We just pick up on everything that’s been dangling since season one and try to pretend the Hand didn’t happen.

Which is for the best. Marvel Netflix fucked up the Hand so thoroughly there’s no real redemption for it now.

So how’d it turn out?

Good. Pretty good. Couple… couple of problems I want to get into, but first let’s cover what they did well.

The cast is stellar. Charlie Cox does solid work as the spiritually lost Matt Murdock, turning his back on his old path and considering breaking his no-kill rule to keep Fisk from hurting anyone. Vincent D’Onfrio remains excellent as Fisk, now adopting the name Kingpin (leaving him off the Best Villains list three years back remains my biggest blunder in comic TV rankings… also I seem to be the only Flash fan who liked Tom Felton as Julien Albert, but that’s another issue). Deborah Ann Woll is riveting as Karen Page. She’s been doing great, subtle work conveying Page’s guilt and torment over killing Fisk’s right-hand man Wesley back in season one, but this year it finally comes to a boil. Wilson Bethel kills it (excuse the expression) as Dex, and newcomer Jay Ali is great as FBI Agent Ray Nadeem. And Elden Henson (Foggy) doesn’t whiff his big moments as badly as he did in season two.

A more centralized arc makes for a stronger season than… most Marvel Netflix seasons. The focus on Nelson, Murdock, and Page against Fisk and Fake Daredevil means no third act collapse like early Luke Cage or season two Daredevil, and no games of villain roulette like early Iron Fist. All without spending six episodes getting to the point like Jessica Jones’ second season.

There is, however, one large problem. Let’s discuss it.

The Problem With Kingpin

In last season’s rankings, the silver medalist for “Worst Trend” was the all-knowing mastermind, and that one’s all over Daredevil this year.

Okay. Let’s assume that you, reader representing all readers, don’t watch as much comic book TV as I do. This seems highly probable because I don’t actually know anyone who watches as much comic TV as I do. So based on that, let’s further assume that you haven’t done this dance with Prometheus, Cayden James, Ricardo Diaz, Shadow King, Hiram Lodge, and lesser versions like the Thinker. That your reaction isn’t “Jesus, not this again.” Kingpin being five steps ahead of Daredevil and pals all season still doesn’t really work. Allow me to explain.

Yes I have to get into spoiler territory. I’ll try to avoid specifics but I have to talk about the season as a whole, yeah?

For twelve episodes Kingpin can’t be touched. For twelve episodes we learn again and again that his influence is worse than we knew, that he has leverage everywhere. For twelve episodes every single move Matt, Karen, or Foggy makes fails completely.

It is one thing for Ethan Hunt to be playing defence for an entire Mission: Impossible movie. Over two or two and a half hours, with action movie pacing, it’s thrilling. Over 13 hours, it’s a slog. When you’re ten episodes deep on a show, and the heroes haven’t had a win yet, and there are three episodes left, it can make pushing through a challenge. And it’s repetitive. It’s a slog and it has no levels. Daredevil’s first season managed this so much better, with Fisk’s criminal cabal of international stereotypes acting as minibosses, giving Matt a sense of progress as the season played out. Now it’s just Fisk winning more and more and the audience thinking “I don’t know, maybe Matt does need to kill him.”

And the other issue is, when Team Daredevil hasn’t managed a win in twelve episodes, it makes the wrap-up super forced and very unearned. There isn’t a thing they’ve been able to do to get Fisk one step closer to prison the entire season, their one big chance collapsed at the finish line in episode 12 because Fisk is that good, and then in the finale, they topple his entire operation with two phone calls and a viral video. Poof. Mission accomplished in one afternoon, with time to grab a slice downtown before dark. Fisk was a brilliant mastermind, constantly five steps ahead, able to counter any gambit, and then all of a sudden he wasn’t and his whole life fell apart (literally, thanks to the big final fight). That’s weak writing. Maybe if over the course of the season Team Real Daredevil had actually made progress, whittled down some of Fisk’s infrastructure and support system (like they did in the superior first season), the ending would have felt more earned. But they didn’t and it felt forced. They reached a mega-happy ending that would make a decent series finale so fast that it’ll give you whiplash. Of course, if the Marvel TV purge that brought down both Iron Fist and Luke Cage hits them next, we’ll be glad for the closure, but still.

Agent Nadeem

At first, towards the end of the premiere, when all the characters we knew disappeared and we shifted to some guy we’d never met having a party for his kid, it was a little throwing. He’s Special Agent Rahul “Ray” Nadeem, and he’d had to foot the bill for his sister-in-laws’ cancer treatments, which makes him ineligible for promotion because he’s seen as a criminal recruitment risk, or so they tell him. If you’re like me, when he takes up maybe a third of the premiere, you might think “What’s up with this guy?”

But do it with genuine curiosity in your voice, not annoyance, because he works pretty damn well.

Agent Nadeem puts a human face on Fisk’s ability to control people. The way he creates a need, provides a solution, and then leverages that to control his target. Ray’s a good guy, but he’s forced into a bad place, because that’s what Fisk does. Were it not for Ray, Fisk’s growing influence would have been even harder to choke down as a long arc, but viewing it all through Ray’s increasingly troubled eyes makes it almost work (again, all-knowing masterminds are just… they’re not as interesting to watch as people think).

And as I said above, Jay Ali sells the hell out of it, especially as he tries to dig his way back out.

Would that our actual lead was quite as well realized. However.

Matt’s Moral Code (Or Lack Thereof)

The ethics of killing are always, always a talking point in Marvel Netflix shows. The Defenders take a much harder line against bloodshed than the cinematic Avengers ever have. The morality of killing was the point of contention between Daredevil and the Punisher in the good part of Daredevil’s second season, and between Danny Rand and Davos in the second season of Iron Fist (although Davos’ willingness to kill his enemies proved to be slightly less of an issue than how quickly he was willing to classify someone as “enemy”). A desire to prevent deaths was Luke Cage’s only contribution to the main story of his second season. Jessica Jones is tormented by every death on her hands.

Of course this branch of Marvel TV also has The Punisher, a story driven by dozens of justice murders, which is kind of a mixed message, but anyway.

So the big question facing Matt this season is whether or not he’ll break his moral code and kill Wilson Fisk, assuming he can even get an opening to do so. They certainly try to make the stakes on this as high as they can, but… this hard and fast “no killing” rule they’re talking about hasn’t been hard or fast for a while. The second season, which they might want to forget but definitely happened, already established that while Daredevil doesn’t kill, if someone else is killing his enemies to help him out, that’s just fine by him and God, I guess. In the second season finale, both Elektra and Frank Castle killed a bunch of Hand ninjas right next to Matt and I didn’t see him complaining.

Man. Remember when the Hand actually had ninjas? We didn’t know when we were well off.

At first, Matt just wants to get Fisk back into prison, where the Albanian gang he betrayed to set his plan in motion can kill him at their leisure. That seems to fit with Matt’s moral code thus far. He isn’t killing Fisk himself, he’s just arranging for someone else to do it on his behalf, like Frank sniping all those ninjas so Matt could throw Head Ninja off the roof and Stick could cut his head off. Like that but less colourful and more prison-stabby. But something changes after Plan A goes awry with the arrival of Fake Daredevil. From there, Matt becomes determined that he must kill Fisk himself.

Him and him alone, it seems. Because upon arranging matters to put Fisk’s life in mortal peril (those two phone calls I mentioned), Matt then saves his life so that he can do it himself? That seems unnecessary. I guess not wanting to sully anyone else’s hands with the act seems like Matt’s endless martyrdom all over on paper, even if the hands he’s keeping clean are already drenched in blood, but letting someone else do his killing for him actually is Matt all over based on his actions in season two.

Man but season two has a lot to answer for. No wonder they’re trying to forget it happened so hard they gave Punisher a second origin.

And there’s a second failing on Matt’s part. His sin, as the Operative from Serenity would say, is pride.

Standing Alone

Despite having just made three super-powered pals (four now, with Colleen), and having a potential new friend inside the NYPD in the form of Misty Knight, Matt decides to take on Fisk’s nigh-infinite resources and unstoppable muscle all by himself, only begrudgingly turning to Foggy and Karen for help.

When Sister Maggie, the nun who raised him (and comic fans know where that’s going), asks why he doesn’t focus on healing and ask any other powered hero to take point on this, he just says “It’s not their fight.”

That is just the laziest goddamn excuse.

I’m not saying this should have become the defacto second season of Defenders, the way Captian America: Civil War was essentially Avengers 2.5. That isn’t how these things work, and ultimately it’s too easy. The real reason he never calls Luke Cage for help, even when he finds himself needing to be in two places at once, is that they needed Fake Daredevil to win his first two rounds against Real Daredevil, and Fake Daredevil wouldn’t have lasted five minutes against Luke Cage, given that being able to throw a pencil with lethal precision won’t matter to someone with bulletproof skin and super strength. But they really needed a better excuse.

Outside of the annual crossover, the Flash almost never comes to save Green Arrow, and vice versa, and nobody ever thinks to ask Supergirl to pop by and solve all of their problems (Earth-1 in the Arrowverse has maybe four villains who aren’t laughably outmatched by Supergirl). This doesn’t happen because “The Hero Bravely Asks Someone to Solve Their Problems” might sometimes be the right play, but it isn’t narratively satisfying. But at least there are reasons why this doesn’t happen. First and foremost, these are episodic shows that air simultaneously, so we can always see what the Flash is busy with that’s keeping him from popping over to Star City when Green Arrow’s stretched thin. And if necessary, they come up with other reasons. Such as in this year’s Flash premiere, when they have a time travel problem, and someone actually thinks to say “Hey, why don’t we ask that spaceship full of time travellers we know for help?” and then they do (off camera), and we’re given an explanation as to why they can’t fix everything. A made-up-science explanation but still an explanation.

Marvel Netflix shows drop months apart from each other, and we’re often shown they happen sequentially (Iron Fist season two clearly takes place after Luke Cage season two, although it’s anyone’s guess when Jessica Jones’ second season is in comparison). So while Danny Rand is probably out of town, Jessica, Luke, Colleen, Misty, and Frank freaking Castle aren’t, and I have no idea what they’re doing that’s so great they can’t take an interest in the return of Wilson Fisk. Hell, Fisk’s plan should absolutely be of interest to the new King of Harlem. And while I can’t see Matt asking the Punisher to come and help him do a murder (as we discussed above, he became really weirdly insistent on doing it himself), I can certainly see Karen Page turning to her super-violent friend for backup, or at least protection.

Not to mention Punisher vs. Fake Daredevil would be a fight to see. But the Punisher isn’t even mentioned. Jessica Jones at least had her name dropped once, if not in a flattering light.

No, all we’re given is “It’s not their fight,” an excuse so hollow it becomes a weakness of character, Matt’s pride not letting him reach out to his new friends, even if they could have tipped the scales before he suffered some hard losses. I mean come on, Matt, at least let them know you got out from under that building.

(Also why did none of them come poking around when Fisk made Daredevil public enemy number one? Stubborn idjits, all of ’em.)

Stray Thoughts

The more I think about it the less I’m on board with Matt giving up the Daredevil costume to go back to those black pyjamas from season one. His whole thing was giving up being Matt Murdock to focus on being the Devil (I know I say this a lot but this time for sure, can we be done with “The Devil of Hell’s Kitchen,” please? At least they only said it once that I remember this time), but why go all the way back to his first outfit? Sure he mumbled something about turning his back on what the costume represented, but it’s not like he completely changed methods and tactics when he put the red suit on. He’s the same hero in red he was in black, and going back to the PJs simply means less protection. Daredevil loses one of his fights with Fake Daredevil for only one reason: Fake Daredevil is wearing body armour and Matt isn’t. Matt was landing way more blows, but Fake Daredevil’s armoured suit could take the punishment better than Matt’s sweatshirt, something I could swear he learned back in season one when that ninja sliced him up like lunch meat. It feels to me like somebody decided the Daredevil suit is a little too comic booky, and that’s the mindset that turned the Hand from a ninja death cult to a multinational corporation of diverse businesspeople who also do crimes sometimes, and that’s the worst thing Marvel Netflix ever did other than hire Scott Buck to write a TV show, so to Hell with that approach. In the event that Daredevil survives the apparent Marvel TV purge, ditch the PJs and get him back in the suit.

Dex is never called Bullseye because he isn’t Bullseye yet. This is meant to be his villainous origin, with Fisk pulling him into the dark he’s spent his life trying to avoid. I just… I never really thought of Bullseye as needing an origin. And since the whole lethal aim with any object thing turns out to go back to childhood, it still kind of isn’t an origin? That skill is never explained. It’s just something he can do.

For the second time, Stephen Rider is credited as a series regular as District Attorney Something-or-Other. Beats me why. He is a minor recurring character, plain and simple, and should just be a guest star.

No Claire Temple, no other Defenders, not even Turk. I don’t know that any Marvel Netflix show has skipped a Turk appearance.

[spoiler title=’Okay so this is about the actual final climax’ style=’default’ collapse_link=’true’]I disagree with the AV Club on one thing. I thought that the big final free-for-all between Daredevil, Kingpin, and Fake Daredevil was at least thematically sound, as it involved literally destroying the home Kingpin had spent the season piecing together. It provided a physical representation of Kingpin’s downfall, the collapse of everything he’d built.[/spoiler]

Grade: B

A lot of people are doing talented work, but there comes a time when the writers have to figure out that 13-hour TV shows need more dynamic arcs than two-hour movies.