Netflix’s DAREDEVIL should be Cast Out (part 2)

This is part two of “Netflix’s DAREDEVIL should be Cast Out” (read part 1 first! It’ll make more sense!). Do I still think that since I wrote part one? Well, as I wrote both parts as one giant thing over the span of a few weeks, yes. Of course. This is not because I felt the acting was bad or the production or anything else was bad–aside from the script.

If you haven’t already read part one, go read it now. It includes a nice little spoiler-free mini-review that covers the basics of the mess that I think Netflix’s DAREDEVIL really is. It also covers:

Spoiler-rich, What Worked in Netflix’s Daredevil
Netflix’s Daredevil is a Man without Sense
Time to Pick a Couple Nits
My Problem with the Kingpin of Crime

In part two, we will cover:

Enough with the Origin Stories, Guys!
What really got my Blood Boiling About Daredevil
World Building and How Daredevil Screwed it Up
How I would have Written the first season of a DAREDEVIL show

OK, here we go with part two! Remember This is a SPOILER-RICH ZONEYOU HAVE BEEN WARNED.

Enough with the Origin Stories, Guys!

What is probably the biggest problem Netflix’s DAREDEVIL has, is that it’s lead character’s arc is too long and too boring.

How many times do we need to watch Matt Murdock get the crap kicked out of him before he becomes the character called “Daredevil”? When the final reveal comes for Fisk’s sinister plot, it’s like really not impressive. So, I don’t know why we had to wait so long to have Murdock put on the red suit. Clearly they were trying to go for something symbolic between Daredevil and Fisk, but their arcs simply did not parallel at all. Fisk was already the flawed but brilliant mob boss with his plan already in motion, while Murdock was still stumbling in and out of fights while everyone called him “The Devil of Hell’s Kitchen” instead of what they should have been calling him: “Daredevil” and/or “The Man Without Fear.” (Again, I don’t care if that’s the way the comic was–in the live action show, it’s a weak choice and, as a viewer, frustrating to wait through.)

I mean, come on. The guy’s name is in the title, right? He’s called “Daredevil” NOT because of his connection to Hell’s Kitchen (though the irony is nice), he’s called “Daredevil” because his super-power allows him to be a daredevil. The way the Netflix version handles his origin story would be like having Peter Parker be called “the wall crawler” for 13 hours of screen time. Does that make ANY sense at all?

And those 13 hours are LONG compared to most other shows. I think they seem even longer when you watch them back-to-back. It’s just the same fights over and over. I mean, sure, they’re all gritty and stuff, but there’s nothing emotional invested in the fights. It’s always Murdock’s life that is at stake or some unseen innocent. And after the first couple of fights, I could not care less about Murdock because he was dumb enough to go into fight after fight without reasonable weapons or armor. In an age of competent Marvel heroes, Daredevil was very taxing to watch.

I think this may be the thing Netflix genre shows do wrong–there is a TON of redundancy here and nothing makes you feel it more than when you binge-watch the entire series over the span of a few days. The Wachowskis have the same problem with their SENSE8 Netflix series. So, I’m worried that it’s a trend.

Maybe if each episode had been released a week apart, redundant scenes would be OK and would function as reminders (like how it worked with Sony Playstation Network’s POWERS series). But all of the episodes available at once really hung a lampshade on the fact that the first 6 episodes should have been compressed into the first 2. There just isn’t enough interesting to stretch out across all those episodes. As a result, the entire first season is a failure as a “Year One” style story.

Sadly, that’s not the end of my problems, either. However, these final two issues are more subjective than my other points, but I think I have good technical reasons for my advice to be taken on them. First, let’s talk about the one that gives me away as a big old Marvel fanboy…

What REALLY got My Blood Boiling About Netflix’s DAREDEVIL

This is a huge fanboy thing, but, killing off Ben Urich broke my heart. I am not kidding you. If it had happened any earlier in the series, I’d have stopped watching. Period. The show was dead to me when they killed off Ben Urich. I only kept watching because there was only one episode left.

The thing is, Ben Urich is a fairly major guy when it comes to non-powered characters in Marvel storylines. I think he shows up in all of the more gritty NYC-based comics. I remember him from SPIDER-MAN and DAREDEVIL, but I checked his Wikipedia page and found that he was involved in the CIVIL WAR storyline, which the MCU will be doing in the movies, soon.

This is where I bring it back to the technical side of things. If Ben is used a lot in the comic-version of CIVIL WAR, then he’s going to be missed in the MCU version. But, even outside of that, having a classic, old-school, hard-boiled reporter around is great for telling stories of the big city, whether you are telling those stories inside the MCU or the Marvel comic universe or anywhere else. He’s like a film noir detective only with stronger morals. The archetype Ben Urich represents is kind of invaluable in telling urban-based stories. And now he’s dead to the MCU.

And Ben Urich was my favorite thing about Netflix’s DAREDEVIL.

I LOVED that they cast a black guy as Urich and Vondie Curtis Hall WAS GREAT! The scenes between Urich and his wife were so wonderfully sad and made me tear up almost every time! I understand that his death is supposed to be a tragedy, but the script has already provided us with enough tragedies. Mrs. Cardenas, Karen having to shoot that guy and feeling terrible about it later (LOVED that, by the way), and just everything being so gritty. We did not need to lose the strongest part of the show.

World Building and the MCU, How Netflix’s DAREDEVIL Screwed it Up.

This brings me to the final big problem I have with this show. I don’t think it fits into the MCU or the real world. First, with the killing-off of Urich. Instead of using the time-wise and life-weary Ben Urich (well established in the comic), the heroes involved in the CIVIL WAR arc in the MCU movie, will have to rely on the journalistic skill of some other reporter in the Marvel universe more obscure than Urich, or one just made up for the movies. Urich was a strong part of the comic universe and to kill him off just seems like a really weak choice. What the MCU has been doing right this whole time is keeping things fairly close to the comics. It’s not like the comics did a lot wrong. I mean, sure, they’re not perfect, but the comics have been around for half-a-century. They’re certainly doing enough right to keep people reading.

So, stick to the books, folks!

Then, there’s the fact that Hell’s Kitchen, in the real world, isn’t the hell-hole it was in the original DAREDEVIL comics. Since they shot it in NYC, we constantly see the real NYC, the clean NYC, the safe NYC, the NYC that exists for anyone who visits or lives in the real NYC. Full disclosure, I lived in Hell’s Kitchen for two months when I first moved to NYC and would have loved to have stayed in that neighborhood if I could have afforded it. It’s a great area and is pretty damn safe. The Hell’s Kitchen in the real world hasn’t been the Hell’s Kitchen Matt Murdock grew up in since the 80s. So, the first thing, Netflix’s DAREDEVIL should have done was establish that this is a wrecked Hell’s Kitchen, a different Hell’s Kitchen from the one in the real world. This is an important structural thing for any setting in any show or movie. The rule goes: show, don’t tell. So, let’s see the thing you keep insisting is real rather than just telling us about it over and over.

The most we get toward the establishment of a truly hellish Hell’s Kitchen is a lot of general talk about how it’s a hell-hole and how the entire area got wrecked during the Battle of New York. The thing is, we never saw how it got wrecked during the Battle of New York or even how it is wrecked. In the first AVENGERS movie, we are only treated to the partial destruction of random buildings around Grand Central. The movie never establishes how, or even that, Hell’s Kitchen is damaged. The producers of the very enjoyable AGENT CARTER series actually included footage from CAPTAIN AMERICA: THE FIRST AVENGER movie in some of the episodes to help establish Agent Carter’s place in the MCU. That was great because it helped the series feel more a part of the MCU. We needed something like this for DAREDEVIL–both to establish its context inside the MCU and to show how Hell’s Kitchen is as bad as the dialog keeps claiming. This is like screenwriting 101 stuff.

I’m sure I’m partially biased because I know the real Hell’s Kitchen, but I was looking for visual cues that told me this was a horrible place and I just couldn’t see any during the exterior scenes. When we visit Mrs. Cardenas apartment, sure, that place was horrible–but that just made me wonder why she wanted to keep living there.

In the end, this show just didn’t feel like it was existing within walking distance of a major alien invasion.

OK, Pete, Dare to Tell the Class How You Would have Written DAREDEVIL

First off, I’d ditch the whole “year one” structure. Pretty much everybody hates origin stories these days and stretching one out to 13 episodes is really hard to do well. While CW’s ARROW managed to do it for 3 seasons, they literally balanced that origin story with the much more developed Arrow character in the present-day scenes outside of the flashbacks. Beyond ditching the YO structure, I’d establish the show as a show that is one-part action and one-part lawyer. Daredevil is NOT Batman. He has to work to eat. In the Netflix version, I had no idea how any of them could afford to keep their lights on or afford to pay their booze bills (and they did drink a LOT–what the hell was that about? Doesn’t anyone play video games to escape anymore?).

I’d make sure everything starts off really well for Murdock, both as Daredevil and as a lawyer for the little guy. But, pretty quickly, I’d start his descent into hell. As the first season progresses, I’d have him start losing more and more cases due to corrupt judges, cops, etc, and more and more lives due to mob violence. In the beginning of the series, he’s a one-hundred-percent competent hero (with his fully developed radar sense from the comics) leaping off buildings (like in the comics) and busting heads, but the more his lawyer-life falls apart, the more distracted he becomes as Daredevil until he loses everything by episode 10 or 11. Then he gets his ass handed to him in a fight and finds himself at St. Agnes’ Orphanage, where a nun discovers him and nurses him slowly back to health. From there, he wages a final battle, of sorts, with Fisk. He ends up winning, but only barely (Fisk hires actual bad-asses from the comic, like Bullseye and/or others). Back at the orphanage, the same nun is very relieved to see that he survived, though he did take a beating, and once again starts to nurse him back to health. The mini-climax comes after the big fight climax, and is when he tells the nun about his life story. He senses her heartbeat and notices that it skips whenever he refers to never knowing his mother. He then realizes the nun is his mother. But there should be no dialog. It should only be on Matt’s face that he’s finally found her.

The stinger at the end (every MCU project needs a stinger at the end) somehow shows that Elektra (the assassin from the comics) has arrived in NYC.

In Conclusion…

Do I really think Netflix’s DAREDEVIL should be cast out of the MCU? Yeah, I kind of do. Though now, it’s not just because of Urich’s death, but also because, in the great scheme of the MCU, this show was just a big fat “so what.” It doesn’t connect with the MCU in any meaningful way and doesn’t have much interesting to say on it’s own. Honestly, it left me longing for a SPIDER-MAN TV show, which I know, I’ll never get.

Was Netflix’s DAREDEVIL entertaining? I suppose so. Some people liked it. But wouldn’t it have been better my way? You know, with an actual story instead of just really uninteresting character arcs?

Netflix’s DAREDEVIL should be Cast Out (part 1)

OK, that title may be a bit strong, but I do feel that way, if for just one reason. I’ll get to that one reason in a bit. Other than that one reason, I still think Netflix’s DAREDEVIL series is a mess. Obviously, it entertained a lot of people, but for this comic book reader, it was tedious and meandering and, honestly, pretty misleading.

As this is a series that is effectively 13 hours long, there is a LOT to say. So, I’m breaking this up into two posts. This post will cover the following:

My spoiler-free mini-review
Spoiler-rich, What Worked in Netflix’s Daredevil
Netflix’s Daredevil is a Man without Sense
Time to Pick a Couple Nits
My Problem with the Kingpin of Crime

Part two will explore:

Enough with the Origin Stories, Guys!
What really got my Blood Boiling About Daredevil
World Building and How Daredevil Screwed it Up
How I would have Written the first season of a DAREDEVIL show

Already read Part 1? Check out Part 2 which is live now!

Spoiler-Free Mini-Review

My mini-review is that, as an action show, it was really well made. The action sequences were realistically staged and felt more like real life than anything else in the Marvel Cinematic Universe. The acting was nearly perfect. I had a few issues with both Charlie Cox and Vincent D’Onofrio’s choices, but I stopped caring about the ones with Cox as the show progressed and the ones with D’Onofrio only got worse as the show went on. More on that, also, in a bit.

Honestly, I was left a little flat by the show, both as an adaptation of the DAREDEVIL comic and as a TV show. When I said it was misleading, earlier, I meant that this show is called “DAREDEVIL” but it really should have been called “MATT MURDOCK” because of how not like the comic character he was.

I’m not a huge fan of the comic, but I read it for a few years back in the late 80s/early 90s. I know the character’s abilities and origin story and really thoroughly enjoyed how he was a kind of blue-collar Batman. To be clear, I am no expert on the comic character. That said, the show does stray from the comic that I remember in many places, so using “that’s the way it was in the comic” should not be used to excuse a weak choice in the Netflix version. Honestly, I found the comic book version much more fun and intriguing. His powers were much more developed and understandable in the comic than in the Netflix version. I understood how he could be fearless. In the Netflix version, he just came off as kind of an idiot.

I know Daredevil got his ass handed to him a LOT in the comic. The thing is, somehow the Netflix version didn’t manage to make him seem dauntless, so much as stupid. To go into more detail, I need to take you into a spoiler-rich zone. You have been warned.

SPOILER-RICH ZONE BEGINS NOW: Enough with the Comic Comparisons, What Worked with Netflix’s DAREDEVIL?

I loved the relationships. I got where everyone was coming from and genuinely enjoyed seeing them interact as humans. The really nice thing about the Netflix-model for episodic storytelling is that you don’t have to break for a commercial. You can let your scenes run a little longer and it’s great. In the first few episodes I LOVED Matt’s discussions with Claire and Foggy. I really dug D’Onofrio’s choices early on. Loved loved loved them. More than that, I ADORED Vondi Curtis Hall’s take on Ben Urich. Urich is probably my favorite non-powered Marvel comics character (SPOILER ALERT: it is how the show treats this character that makes me think Netflix’s DAREDEVIL should be tossed in the trash and done over–more on this in part two of this review).

I don’t have a problem with the general idea of the series–to be a sort of DAREDEVIL: YEAR ONE kind of thing. The problem with that is, it ultimately doesn’t work. And that’s my biggest general problem with Netflix’s DAREDEVIL. It was the most boring, repetitive origin story EVER. It made me long for the runtime of Ben Affleck’s DAREDEVIL movie. My wife, at one point, looked up the Netflix DAREDEVIL hashtag on Twitter and found many tweets echoing the following sentiment:


“JUST GET TO THE GODDAMN SUIT!”

See, he goes into every fight scene wearing, what looks like, a black, skintight, Uniqlo Heattech shirt and cargo pants but brings with him no actual weapons. Sometimes he uses sticks (similar to the baton(s) he uses in the comics), but not often enough.

I know I said I wouldn’t mention the comic again, but I will for just a sec. In the comic, he can “see” pretty clearly, but in a sort of 360-degree view of his surroundings. As I recall, this is referred to, as his radar sense. In the Netflix version, he doesn’t have such a clearly fleshed out power. In fact, the Netflix version makes one brief mention of him seeing “a world on fire” and we see just a single shot from his point-of-view, but the show never really establishes the mechanics of how he is able to see. Effectively, the chemicals that made him blind as a child really didn’t do anything for him, as they did in the comic. There are loads of stories about blind bad-asses in modern myth, and those guys didn’t have special powers to be bad-asses. I’d bet Netflix’s Daredevil would get his ass handed to him by Zatoichi, the legendary blind swordsman from Japan.

Now ZATOICHI,  he’s a man with no fear. Netflix’s Daredevil is a man without sense.

So, for the first 6 or 7 episodes of the series, we see Daredevil go into fight after fight, coming out with stab wounds, gun shot wounds, covered in bruises and blood, and worse. In one scene he is dragged across the floor by a hooked blade. The only explanation for his survival each time is that he meditates and therefore can heal faster. Sorry, that’s ridiculous. First, because he takes no time to actually heal on camera–we never actually see him doing his meditation to heal.

The second reason “speedy-healing-thru-meditation” is a ridiculous explanation, is because it would be so easy to explain it away by saying, simply, that the same chemical that made him blind also strengthened his body’s ability to heal itself. We don’t even need to see anything on camera for that explanation, but to say he meditates to survive his repeated beatings and then not even show him doing it? Honestly, him surviving and healing so quickly really dilutes the realism of the fight sequences. Especially, when you factor in the following.

Along these same lines, we also have the question of “why no protection?”

We see that he does have some protective gear, but none of it is actual body armor. When Claire asks him why he doesn’t wear armor, he says “it slows me down.”

That’s just as ridiculous as the “make-boo-boo-go-bye-bye-via-meditation” explanation. It slows you down? So speed up, idiot! What’s worse? Getting stabbed in the armor because you were too slow or getting stabbed in the flesh because you weren’t fast enough?

And Netflix’s Daredevil is NEVER FAST ENOUGH.

He’s the most incompetent fighter there is. Batman studied martial arts in Asia for years and still fights using gadgets, a cowl and a cape. Matt Murdock spends a couple months training with the white Zatoichi and then heads over to Uniqlo and Sports Warehouse to gear-up. Good plan. Oh, you’ve got some red on you… and sadly, that’s not your costume.

So, you can probably see how I had real trouble sticking with Netflix’s DAREDEVIL at this point.

Sad thing: I’m not done yet.

Let’s Pick a Couple of Nits

I’d like to go into some depth on Charlie Cox’s American accent for a moment. Now, I know a lot of people didn’t even notice it wasn’t precisely spot on, but I did–especially in every scene he had with Rosario Dawson, who is a native of New York City. Now, he didn’t need to sound like he was from Brooklyn or whatever, but he really needed to sound like a New Yorker. I kept hearing those little tip-offs that an actor from one side of the Atlantic was pretending to be from the other. It’s the way they pronounce the “r” sound. It’s like it’s just way too enthusiastic. It’s not pirate-talk, but it’s distracting around other American characters and especially other New Yorkers. Then there’s the thing where he says something like “evrathing” instead of “everything.” It doesn’t happen often, but it does happen.

Ultimately, it’s a minor complaint, but accents are important to a character that really can’t live anywhere but the Big Apple. It’s part of who Daredevil is as a person. Matt Murdock is a New Yorker. Period. Yet, in this show, he sounds like he spent a ton of his formative years in New England. Or old England.

Somewhat ironically, he’s supposed to be a ginger and of Irish descent but Cox is English and has brown hair. Whatevs… I could have easily looked past both of these things if it weren’t for me getting stuck on the REST of this show. Let’s drop the nits and continue with…

My Problem with the Kingpin of Crime

My problem with the Kingpin of Crime was that he wasn’t in this show. Well, he was and he wasn’t. I mean, was there a reason no one called the Kingpin “The Kingpin”? Was it one of those things like how they had to use the name “David Bruce Banner” on the 70s HULK TV show, because “Bruce Banner” sounded gay? (This is actually what Stan Lee says happened and not any homophobic editorial commentary on my part.) Or is it because the name “The Kingpin” went with the rights to SPIDER-MAN, when Sony bought them? Regardless, I started out really loving D’Onofrio’s Kingpi–I mean–his Wilson Fisk. He was really perfectly cast. I often found myself flashing back to D’Onofrio’s truly astounding performance in FULL METAL JACKET. He made Fisk instantly likable and fascinating yet sinister at the same time. It was like in FMJ, where you just knew his character has a ton of scary in his head and it’s just a matter of time before it gets vomited out.

So, I loved Fisk for a long time–that is, until the script went and ruined it. The writers made the mistake here of thinking Fisk needed to be humanized. He did not. D’Onofrio’s performance already made him plenty human. I’m guessing that the writers didn’t realize this would happen and, so, we are subjected to the most boring, cliched origin story ever. I read SPIDER-MAN comics from childhood but stopped in the early 90s when they did that whole stupid clone plot. I don’t ever remember reading about Kingpin’s origins. He was always plenty fascinating to me and he was one of my favorite bad guys in the Marvel universe. So, I don’t know if the origin story they gave him in Netflix’s DAREDEVIL is taken from the comic or not. All I know is that it sucked.

Having an Abusive Dad does not Make You the Kingpin of Crime

So, in order to humanize Fisk, the script employs these flashbacks (I know, ugh, everyone and their uncle is doing flashbacks these days–remember when everyone used to agree that flashbacks were always bad ideas? I miss those days). In thede flashbacks, we learn that young Wilson murdered his wife-beating father. This is supposed to be the key to his personality and totally distracts from the honestly brilliant use of the blank wall. See, when Wilson got in trouble as a child, his dad would give him a time-out and make him face a blank wall. Later in life, he stares at similar blank-wall-like things to help him deal with every day stress. It’s a great device and is really the only good thing that the flashbacks bring to the table. Everything else is cliche and distraction.

It wouldn’t ruin things if his origin story was still killing his wife-beating dad, but to waste screen time on it was, I believe, a mistake. Especially since it really doesn’t tell us why he’s such a violent man or why he wants to remake Hell’s Kitchen/NYC, according to his own vision. There are plenty of people with violent dads in the world and you don’t see all of them turning into crime lords. What makes Fisk go in this direction? There is a vague suggestion there, but the malevolence he feels toward some characters is not explained. I don’t we need it to be explained, which is why I feel it’s odd that they tried.

The final problem I had with Fisk was not D’Onofrio’s fault, any more than the flashbacks were, but this may seem, specifically, like a dig against D’Onofrio. After the flashbacks started, the script starts to give him these laboriously long speeches where he just goes on and on, forcing poor Vincent to ACT through all of them. At this point in the series I stopped flashing back to Pyle in FULL METAL JACKET and went further back to Sydney Greenstreet in, well, any movie where he sat around chewing on scenery. When Fisk’s penultimate scene arrives in the police van, and he starts to tell the entire story of the Good Samaritan I think I literally yelled at the TV screen: “OH, SHUT UP!”

Seriously, that was the worst bit of spoken subtext since I watched, well, any sitcom on the Disney Channel.

It was bad enough he was basically admitting he is an evil guy (who does that?!?) but to do it in a long, drawn out way, it’s just kind of insulting to the audience. I mean, like I yelled, SHUT UP already. Jeez. You’re a giant bald gangster. We get it, you’re a badguy–you don’t need to hang a lampshade on top of another lampshade.

That’s all for this post! Tune in next Tuesday for part two when I will talk about the following:

Enough with the Origin Stories, Guys!
What really got my Blood Boiling About Daredevil
World Building and How Daredevil Screwed it Up
How I would have Written the first season of a DAREDEVIL show

Thanks for reading! Please don’t stop and please tell your friends about Pete Saves! THANKS!!

Just Posted my take on #Netflix’s DAREDEVIL over at PeteSaves.NichollsPete.com!

It’s been a LONG time in the works, but finally, I have part one of my take on Netflix’s DAREDEVIL TV show posted and sadly, it ain’t pretty (big surprise). Here’s a taste:


OK, that title may be a bit strong, but I do feel that way, if for just one reason. I’ll get to that one reason in a bit. Other than that one reason, I still think Netflix’s DAREDEVIL series is a mess. Obviously, it entertained a lot of people, but for this comic book reader, it was tedious and meandering and, honestly, pretty misleading.

As this is a series that is effectively 13 hours long, there is a LOT to say. So, I’m breaking this up into two posts. This post will cover the following:

My spoiler-free mini-review Spoiler-rich, What Worked in Netflix’s DaredevilNetflix’s Daredevil is a Man without SenseTime to Pick a Couple NitsMy Problem with the Kingpin of Crime

Part two will explore:

Enough with the Origin Stories, Guys!
What really got my Blood Boiling About Daredevil
World Building and How Daredevil Screwed it Up
How I would have Written the first season of a DAREDEVIL show

I’ll post part two at noon on Tuesday, June 30, 2015 and update this space with a link to that post, then.

Spoiler-Free Mini-Review 

My mini-review is that, as an action show, it was really well made. The action sequences were realistically staged and felt more like real life than anything else in the Marvel Cinematic Universe. The acting was nearly perfect. I had a few issues with both Charlie Cox and Vincent D’Onofrio’s choices, but I stopped caring about the ones with Cox as the show progressed and the ones with D’Onofrio only got worse as the show went on. More on that, also, in a bit.

Honestly, I was left a little flat by the show, both as an adaptation of the DAREDEVIL comic and as a TV show. When I said it was misleading, earlier, I meant that this show is called “DAREDEVIL” but it really should have been called “MATT MURDOCK” because of how not like the comic character he was.

I’m not a huge fan of the comic, but I read it for a few years back in the late 80s/early 90s. I know the character’s abilities and origin story and really thoroughly enjoyed how he was a kind of blue-collar Batman. To be clear, I am no expert on the comic character. That said, the show does stray from the comic that I remember in many places, so using “that’s the way it was in the comic” should not be used to excuse a weak choice in the Netflix version. Honestly, I found the comic book version much more fun and intriguing. His powers were much more developed and understandable in the comic than in the Netflix version. I understood how he could be fearless. In the Netflix version, he just came off as kind of an idiot.

I know Daredevil got his ass handed to him a LOT in the comic. The thing is, somehow the Netflix version didn’t manage to make him seem dauntless, so much as stupid. To go into more detail, I need to take you into a spoiler-rich zone. You have been warned.

SPOILER-RICH ZONE BEGINS NOW: Enough with the Comic Comparisons, What Worked with Netflix’s DAREDEVIL?

I loved the relationships. I got where everyone was coming from and genuinely enjoyed seeing them interact as humans. The really nice thing about the Netflix-model for episodic storytelling is that you don’t have to break for a commercial. You can let your scenes run a little longer and it’s great. In the first few episodes I LOVED Matt’s discussions with Claire and Foggy. I really dug D’Onofrio’s choices early on. Loved loved loved them. More than that, I ADORED Vondi Curtis Hall’s take on Ben Urich. Urich is probably my favorite non-powered Marvel comics character (SPOILER ALERT: it is how the show treats this character that makes me think Netflix’s DAREDEVIL should be tossed in the trash and done over–more on this in part two of this review).

I don’t have a problem with the general idea of the series–to be a sort of DAREDEVIL: YEAR ONE kind of thing. The problem with that is, it ultimately doesn’t work. And that’s my biggest general problem with Netflix’s DAREDEVIL. It was the most boring, repetitive origin story EVER. It made me long for the runtime of Ben Affleck’s DAREDEVIL movie. My wife, at one point, looked up the Netflix DAREDEVIL hashtag on Twitter and found many tweets echoing the following sentiment:


Read the rest on Pete Saves (Hollywood).

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