Review: Wynonna Earp (2016 – )

 

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Review:  Wynonna Earp (2016 – )

 

Short Review:

A surprisingly entertaining supernatural, western-themed, weekly adventure show on SyFy.  Certainly an alternative to CW’s long running, more teen-focused Supernatural, but I fear it will not get the following or even half the longevity of its more established rival.  Worth checking out to see if it is your cup of tea.

 

Longer Review:

An adaptation of the limited comic series from Image Comics, Wynonna Earp diverges in a number of ways to appeal to a broader TV audience.   The unfortunate aspect of this is that due to Supernatural’s liberal borrowing from a multitude of sources and its long-established run, Earp feels a little derivative, despite being the earlier intellectual property.  Tonally the two shows are actually quite different, and certainly Earp is the more ‘adult’.  But in terms of production value, Earp has a long way to go, and unless there is a remarkable upsurge in its popularity, this show will never attract the kind of budget that will do it justice.

 

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Review and Comments: Daredevil Season 2 (Netflix, 2016)

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Review and Comments:  Daredevil Season 2 (Netflix, 2016)

Short Review:

Good, but not as great as the first season.  It has more fights, explosions, and killing than Season One.  It has gone more to the supernatural side of Daredevil stories and lessened the realism significantly.  Still does some very clever things with theme and character, but has a more complicated narrative structure that occasionally wobbles and feels a little overfull.

 

Longer Review:

I loved Season One of Daredevil.  I thought it was a gritty, ‘realistic’, down-to-earth superhero show that made the incredible seem plausible, did interesting things with character, and focused on telling a good story.  It was thematically consistent, and, in terms of genre, kept its sights firmly on the street crime elements that gave it an authenticity and credibility.   Season Two didn’t quite hit the same notes for me.  Don’t get me wrong, it is still better than the vast majority of other superhero shows, but the first season was so good that this time around my expectations were perhaps a little too high.   Of course you can’t really hold the show responsible for not meeting every viewer’s expectations, but when the first season creates them, you really hope that the follow up at least meets them.  But there are some aspects that just didn’t work as well for me this time.

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Review: Legends of Tomorrow (CW, 2016 – )

 

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Review:   Legends of Tomorrow (CW, 2016 – )

 

Short Review:

If you like the other CW superhero shows, this is more of the same.  If you don’t like the other CW superhero shows this is more of the same.  Glossy American superhero action remake of Doctor Who.  Uneven writing, unwieldy ensemble cast with bumpy chemistry and the subtlety of a baseball bat to the face, and without the do-gooding charm of The Flash or the growling angst of Arrow.

 

Longer Review:

Take a group of supporting characters and guest stars from your airing superhero shows (some of whom are surprisingly famous), stick them in a dysfunctional team together, have them led by American Doctor Who-light on a haphazard trip through easy-to-costume historical settings, to fight an implausible bad guy… welcome to Legends of Tomorrow.  The latest DC based superhero property to show up on the CW, LoT features the time travelling rogue Time Master, Rip Hunter, played by Doctor Who alum Arthur Darvill.  Rip has journeyed back in time to assemble a team of misfit heroes and rogues in order to fight the immortal sorcerer and warlord Vandal Savage (Casper Crump).  Unfortunately, while only slightly more implausible than all the other teams of superheroes who fight ridiculous villains, there is a real lack of cohesion of vision to this show.  But for ease of description, think of it as Justice League: The C-listers, or The Diet Avengers.

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Review: Lucifer (Fox, 2016 – )

 

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Review: Lucifer (Fox, 2016 – )

 

Short Review:

A police procedural, buddy cop/odd couple, comics based show with occasional risqué humour and a slowly building but thin supernatural meta-arc.  Very similar to the cancelled Constantine (CW, 2014-2015) but with a slightly more charismatic central character, and slightly less edgy material.

 

Longer Review:

Given the glut of Superhero shows and films currently available, it seems strange that DC and FOX would try to ram yet another one into the mix, however supernatural shows and police procedurals are a staple of cable TV so why not combine the two?  Despite Lucifer’s comics background, it is no superhero show, or at least not the type you might expect.  Lucifer Morningstar (Tom Ellis) has given up being the King of Hell and retired to the mortal plane to open a high class decadent night club, Lux, in Los Angeles.  A series of unfortunate events leads to him teaming up with a local homicide detective, Chloe Decker (Lauren German), and proceeding to solve murders on a weekly basis.  The series alludes to a broader supernatural meta-arc as Lucifer is visited by Amenadiel (D.B. Woodside), an angel, who warns him to return to his duties in Hell or there will be consequences.  Given that I have only seen the first few episodes at the time of writing this, I have to say that the supernatural meta-arc is thin at best, but that may change as the series develops.

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Review: Shadowhunters: The Mortal Instruments (Freeform, 2016 – )

 

 

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Review: Shadowhunters: The Mortal Instruments (Freeform, 2016 – )

 

Short Review:

A television adaptation of an urban fantasy, paranormal romance, YA series that matches ropey dialogue and uneven storytelling with some dubious production decisions and awkward action.   It wants to be the next Buffy, but lacks the heart, wit and self-awareness to do so.

 

Longer Review:

Time to be upfront and honest about this.  I am clearly not the target demographic for this adaptation of Cassandra Clare’s The Mortal Instruments series.   Just as I wasn’t the target audience for the books when I read the first few books and could not get into them.  Ditto for the film version in 2013 which I watched and disliked.  I didn’t like the story, the characters or the world.  So this television show was going to have an uphill battle to turn me into a fan.  On the other hand, I watched the first two episodes with very low expectations, and was disappointed to find that it didn’t even clear those.  So feel free to dismiss my thoughts on the show as coming from someone who will never ‘get’ this series, but I am a fan of fantasy literature, film and television, and I hate it when things are done badly.

 

Some general remarks first.  Shadowhunters: The Mortal Instruments is a live action television adaptation of Clare’s six book series, starting with City of Bones (2007).  The story initially revolves around Clary Fray (Katherine McNamara), a young teenage New Yorker, whose mother Jocelyn (Maxim Roy) disappears, apparently kidnapped, a discovery that she is a Nephilim (a supernatural race descended from an angel) and the world she lives in is part of a wider supernatural world of demons, warlocks, werewolves, and the extremely pretty, and yet horrendously understaffed, people who hunt them.[1]  There are secret societies, ancient prophecies, monsters and villains, and magical artefacts a plenty.  She meets up with a few other teenage demonhunters (the aforementioned Shadowhunters) and sets off on a quest to recover her lost memories, rescue her mother, and embrace her destiny to save the world, all while navigating her increasingly complex love life.

 

There are a couple of love triangles, some forbidden love, and lots of long, lingering looks.  There are some cool magical abilities, which may or may not be read as tattooing or self-harming depending on your perspective.   It grapples with issues of teenage angst, feelings of alienation, evil/neglectful parents, and the allure of being a teenage rebel.  So in many respects it follows the form of a typical YA paranormal romance.  So far, so Buffy.

 

I try to begin with some positives so that I am not simply laying on the negative criticism, so let’s focus on that.  The show has made a couple of changes to the original story which are actually fairly positive.  For a start the principals have been aged slightly to the 18-20s mark instead of being in their mid-teens.  Not much of a change, but it makes the story a tiny bit more believable and easier to watch.  The coming-of-age narrative is still possible, the characters are still young, and it doesn’t really change the fundamentals of the original source material.  So as far as changes go, that is actually a pretty good one.

 

The character of Luke (Isaiah Mustafa) has been made into a cop and is not a white character anymore.  Again, this is a pretty positive thing for the show.  It makes the cast slightly more diverse instead of a sea of pale, white faces, and it gives Luke’s character something to do in the episodes.  It brings a new element to the story of the supernatural/real world conflict and the overlapping of two realities.  Plus, bringing in the New York City police department angle attempts to ground the narrative and the conflict and bring it some much needed believability.

 

The main cast of actors playing Clary, Jace (Dominic Sherwood), Simon (Alberto Rosende), Alec (Daddario) and Isabelle (Emeraude Toubia) are all very pretty young things who look the part of the characters they are playing. The protagonist Clary is pale with bright red hair.  New to this supernatural world but blessed with extraordinary gifts she is meant to act as the audience POV.  McNamara plays her with energy, but there is little substance there yet.  Jace, the strong, silent love interest, is pale with unconvincing peroxide blonde hair and cheekbones you could cut glass with.  Tall, blonde and definitely not Spike.  Unfortunately he displays almost no sense of humour, and those few lines that could be delivered that way fall flat.  I get that he is meant to be broody and alluring, but without a reader’s active imagination to spin depth of character out of nothing, Jace is presented as cold, hollow and generally obnoxious rather than mysterious, broody and wounded.

 

Alec and Simon are pale with dark hair doing the brooding/nerd-chic thing respectively.  Linked by unrequited love storylines and the fact that they are a little superfluous to what is actually happening they are not particularly engaging on screen, with Alec playing it ironically ‘straight’ and Simon lacking Xander-level snark and quips.  Izzy is not quite as pale with dark hair and an extensive wardrobe.  As the sexually liberated one of the group, this has resulted in her appearing as eye-candy for demons and wearing a succession of impractical demon fighting garb.

 

The thing is, they all look the part.  The issue is with the characters they are playing, the dialogue and direction they have been given, and the lack of empathy or emotion in the show.  You can’t fault them for the enthusiasm with which they have seemed to throw themselves into this series.  But, as with so many shows aimed at the teen demographic, they are not, perhaps, the most experienced or talented actors in the world.  Their job is not made any easier by the fact that the dialogue is pretty awful, the story is a bit ridiculous and nonsensical, and the fight choreography depends on lots of jump-cuts and shifts in perspective to give it any life.  With better material it is entirely possible that these actors would shine, but given the source material and story they are forced to work from, they were pretty much doomed from the start.

 

The first episode is a mess of clashing scenes that try to ram the complicated exposition down the audience’s throat in the vain hope that info-dumping the world, history and character details, throwing in a few action scenes, and adding some sparkling effects will make you tune in next week to find out what the hell is meant to be going on.  If the dialogue and acting had been convincing enough to sell the story, this wouldn’t have been so much of an issue, but unfortunately because the story is from the books even the greatest actors in the world, in conjunction with the best screen writers and CGI effects teams would have been pushed to the limit to make this story work.  An alternative would have been to take advantage of the medium and tell the story a little more slowly, and allow the history to emerge over the course of the season, but, alas, this was not to be.

 

Like the actors, the show looks superficially pretty, but it lacks depth and substance.  It has the added issue that the prettiness is unevenly spread with some scenes and sets looking slick and polished, and others looking badly lit, cheap, and crude.  The CGI itself is not that bad for a TV show.  But the production team made some questionable decisions with the props that look like fantasy toys from the local store.  Plus, a secret old-world magical base in a gothic Cathedral should probably not have state of the art routers, flatscreen displays and the type of technology and background staff that would make CGI: Teen edition weep.  And shouldn’t magical tattoos look cool rather than a bad skin disease or a suspicious rash?

 

More troubling is that this lack of substance to the sets extends to the distinct vacuum where emotional resonance should be.  For example, when Clary first embraces her destiny as a Shadowhunter it is essentially used as an opportunity to give her a new wardrobe change into ‘sexy’ leather and not signal an empowering moment of seizing her own destiny and choosing to fight for her life.    When Jace reveals that he too has lost his parents the emotional impact is roughly the same as if he had just said that he too liked cheeseburgers.

 

It all just feels a little soulless.  A little superficial.   I mightn’t have been a fan of the books or film, but I wanted this show to do well.  I wanted to be surprised and entertained.  Instead, I was disappointed by a series that fails on almost every level.  But, as with any TV show, this is early in its run.  It may find its feet and go on to tell an interesting, adventure filled romp through a supernatural world… I just won’t be holding my breath.

 

[1] Why understaffed?  Well why else would a bunch of children/teenagers be sent out to fight the forces of evil if they had sufficient adult staff?

Review: Daredevil (Netflix, 2015)

 

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Review: Daredevil (Netflix, 2015)

 

I recently reviewed Jessica Jones and it seemed only fair to give Daredevil a review too.

Short Review:
Great superhero show that borrows from police procedurals and organised crime dramas like The Sopranos in an order to create tension, drama and believable realism in a dark, gritty and action filled New York setting.  With its visceral, consequence ridden violence,  Daredevil attempts to show what superhero vigilantes would be like if they actually existed in the real world, never once hiding the emotional and physical wounds their actions cause.

 

Actual Review:
Matt Murdock, aka Daredevil, is a lawyer by day and a vigilante by night.  He lives a life focused on justice, and, with the irony only a comic book can use straight-faced, just as justice is blind, so is he.  Unlike the majority of Marvel’s other superhero properties on the big and small screens, Daredevil is less concerned with the grand epic battles of superheroes deciding the fate of the world in an orgy of cinematic violence and destruction, and it centres itself on individual struggles, believable conflicts, and the everyday crime and grime of the big city.

Set in the Hell’s Kitchen area of New York, shortly after the events of Avengers (2012), Netflix’s 13 episode Daredevil is part of the expanding Marvel Cinematic Universe but holds itself apart.  Like its sister show Jessica Jones, it will also (presumably) be connected to Netflix’s planned shows Luke Cage and Iron Fist.  Coming to Daredevil after seeing Jessica Jones certainly removes some of the power and impact of the series, but despite some strong similarities they seem to be two very different shows.  Jones was a compelling drama based in a detective noir vein that explored abuse, whereas Daredevil is more an organised crime drama that can’t resist action and a good scrap.   

Charlie Cox plays Matt Murdock, the titular Daredevil, a vigilante who stalks the streets and rooftops of his neighbourhood at night in order to stop the crime and corruption plaguing Hell’s Kitchen.  If this were not arduous enough, by day he is an attorney who has recently left a high price law firm in order to set up his own practice with his childhood friend Franklin ‘Foggy’ Nelson (Elden Henson).  The central antagonist for the series is Vincent D’Onofrio’s Wilson Fisk, The Kingpin, a businessman and crimelord, with the main arc in the first season centring around Deborah Ann Woll’s Karen Page, who discovers some evidence of Fisk’s criminal empire and becomes a target whom Murdock must protect.

While there are several other supporting actors who, for the most part, turn in some great, believable performances, the weight of the show really rests on Cox and D’Onofrio’s shoulders.  Cox portrays Murdock as a deeply conflicted man.  On the one hand, as a lawyer he has a chance to pursue justice through due process and the law.  To take criminals down and put them in jail.  To be part of civilisation and help society heal itself.  On the other hand he sees how justice is routinely suborned and manipulated by the wealthy, the corrupt, and the criminally well connected.  His answer to this is to take the law into his own hands, to do the things that the police are unable to do, to fight for the heart and soul of his city, his neighbourhood and the defenceless, and ultimately become a vigilante outside the law.

Despite Cox being English his American accent is surprisingly convincing (well, at least to my untrained ear).  But that is the least of his accomplishments in the role.  It is a tough sell to convincingly pull off both the civilian role of the lawyer as well as the masked vigilante crime-fighter, and yet Cox manages to make both personae seamlessly match.  Coupled with this is Cox’s compelling character performance in his character’s moments of introspection and self-doubt, particularly in regard as to how his violent street fighting justice runs in conflict with his character’s Catholic beliefs and his role as a lawyer.  Cox also manages to convey both the vulnerability of being blind in a sighted world, but also how his disability does not define him.  Certainly there are a number of knowing moments when Cox plays up Murdock’s blindness and the audience knows he has a ‘radar’ sense of the scene in front of him, but for the most part Cox and the production team seem to genuinely try to portray his blindness with sensitivity and realism.  It is a surprisingly complex and nuanced role for those expecting the usual caricatures of superheroes and their melodramatic soap-opera personae.

As Daredevil there is a visceral realism to the scrapes and fights that he finds himself in and actively seeks out.  Each fight, each punch and kick, has a hard meaty content to it, so that every blow lands with a believable primitive weight, and part of that is due to the damage that his character takes over the course of the series, emotional and physical.  While many superheroes seem to be able to fight from morning to night without any real sense of damage or repercussion, Daredevil is visibly worn and exhausted by his conflicts and the evidence of his beatings mounts episode after episode, from cuts and bruises to cracked and bleeding knuckles.  Even more compelling is that these physical scars and markers are accompanied by emotional damage, both to Murdock and those who are close to him.  The price he pays for his heroism is steep, and to the credit of the show and the character, we see him questioning it and flinching at the cost.

An additional note in relation to the action and fight sequences concerns the brilliant choreography that reflects both Daredevil’s brutal, raw and yet effective fighting style, and the physical toll that such intense fighting exacts.  The show is also very careful to try to avoid boring repetition when it comes to the fight sequences and experiments with different styles of shots and approaches to keep the action feeling fresh and inventive.  As a result the action never feels as tired and samey as say 40 minutes of Superman throwing yet another villain through a building.   It really is rare to see superheroes this human, this weak, and this fragile.

Opposite Cox is D’Onofrio’s Wilson Fisk.  The reveal of Fisk, while telegraphed and hinted at in the first few episodes, is delayed until the viewer is really committed and has had a chance to identify with Murdock and settle into the storyworld created.  This means that a great deal of anticipation is built up around D’Onofrio’s eventual introduction, and he doesn’t disappoint.  As far as comic book villains go he is one of the most believable and realistic villains around.  He has no superpowers, no special abilities and doesn’t seem hell bent on world destruction or domination just for the hell of it.  D’Onofrio presents Fisk as a cold, calculating business man who has understandable goals, understandable motivations, but is undeniably morally reprehensible in his choice of methods in achieving those things.

D’Onofrio plays Fisk beautifully as a true villain, not a cackling baddie, and if anything he initially underplays him.  It is such a relief to see a character actor unafraid of leaving the audience wanting more take the role of a villain.  Fisk is presented as tightly controlled, soft spoken and is all the more chilling because of it.  There are constant hints of the depths of his rage and power that leak out at the edges of the performance, and because he refuses to chew the scenery his power is that more palpable.  It also adds weight and power to those moments when he does indulge his rage and anger.  He is the Tony Soprano of the Marvel Cinematic Universe, and like Gandolfini’s Soprano, Fisk is not entirely without sympathy, even if he is the bad guy, commits evil, and is a brutal murderer.

A fantastic strength of the show is that Fisk and Murdock are set up as mirrors of each other and the show is at pains to show the viewer just how similar the two men are.  They are both criminals who break the law to get their own way, and aren’t afraid of using violence to enforce their will and vision of the area.  They are both locals who grew up in Hell’s Kitchen and want it to be better.  But while Kingpin is focused on the future with his grand plans of re-development and gentrification funded by organised crime, Daredevil stands for a more conservative, and perhaps nostalgic, approach that fights for the rights of the everyday citizen.  They are two sides to the same coin, and yet the audience is never in doubt as to who is the villain and who is the hero, even if the characters themselves are sometimes unsure.

When people talk about superheroes becoming grittier and more realistic, they usually mean darker, more violent, and aimed at an older audience, and yes Daredevil is all those things, but it is also more mature.  Psychological realism, fear and tension, trauma and repercussions for violence all figure in this show that borrows far more heavily from award winning HBO dramas than it does from colourful capes.  Daredevil is superheroes for adults who want more from the stories than disaster porn and sociopathic quips delivered while killing nameless bad guys.  Daredevil is about good storytelling, compelling characters, gripping drama, and believable action.  Watch it and you will see that the potential for superhero stories far exceeds what has so far turned up on the big screen.

 

Review: Jessica Jones (Netflix, 2015)

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Review: Jessica Jones (Netflix, 2015)

Short Version:
A brilliant, mature, dark show that investigates the personal cost of abuse, violence, and notions of justice, and clearly demonstrates the range the superhero genre can encompass, all wrapped up in compelling drama populated by fascinating characters. Well worth watching.

Actual Review:
A TV show about the survivor of an abusive relationship who is a hard-drinking, bitter, and emotionally scarred private eye trying to take down her abuser, seems at odds with much of the public perception of superhero television, and in a number of ways Netflix’s Jessica Jones is as far from a traditional superhero series as you can get, and is all the better for it.

Jessica Jones, a Netflix Original series, is the 13 episode, live action superhero show based on Brian Michael Bendis and Michael Gaydos Marvel comic series, Alias.  Like its sister show Daredevil, and two planned future shows Luke Cage and Iron Fist, Jones is set in the same New York as the Marvel Cinematic Universe and occurs after the events of Avengers (2012).  But Jones eschews the grand, epic battle of heroes against countless nameless and disposable minions, and focuses intently, and uncomfortably, on the personal human cost of living, and surviving, in a world of superheroes and villains.  Make no mistake, this is not a children’s show, nor is it a rip-roaring excitement filled adventurous romp with no emotional consequence, this is a powerful show that examines the darkest parts of the superhero genre and the human condition.

 

Jessica Jones and Kilgrave

Krysten Ritter plays Jessica Jones, a hard-bitten, cynical, PTSD-stricken, alcoholic, running a shady one-woman PI firm in a dilapidated office situated in a grubby, and well realised, section of New York city.  Eking out an existence serving subpoenas, photographing cheating spouses in the act, and the occasional missing person’s case, in order to keep a roof over her head and her liquor supply constant, Ritter’s Jones is a far cry from the costumed heroes we are perhaps far more familiar with, yet the strength of her performance is that Jones feels more real, more substantial and more believable than even the grittiest superhero portrayed thus far, even if she has super-strength.  While Jones drops barbed comments and snarky come-backs like a jaded stand-up, Ritter imbues her performance with a vulnerability and fragility that highlights the character’s struggle to hang on and survive as a victim of extreme abuse.  Her very humanity and brokenness give the story its touchstone and allows for the tension, horror, and sense of threat to feel palpable rather than nebulous or cartoony.

Ritter manages to convey the complexity of Jones’ character with consummate ease and makes her portrayal seem both effortless and natural.  On the surface Jones appears crude, cold, callous and pragmatic, distancing herself from the world and those around her.  She is tough as nails and a no nonsense survivor ready to face down any physical threat and isn’t shy of a verbal put down or a judgemental swipe.  But underneath that calculated swaggering exterior Jones is a bundle of contradictory emotions and feelings, including guilt, self-loathing, fear, and extreme pain.  Despite this Ritter manages to convey that in her heart Jones is driven by a need to help and save people, that she is loyal to and protective of those she loves, and that she is a true hero doing the best she can to survive.  It is an impressive feat, and one that allows the audience to feel for Jones, to forgive her mistakes, and to become deeply invested in Jones’ development arc.

The main story is launched by a missing person’s case as Jones is hired to find Hope Shlottman by the worried young woman’s parents, but soon focuses on the re-emergence of a shadowy and abusive figure from Jones’ past, the despicable Kilgrave.  Played by David Tennant, Kilgrave is a master manipulator with the insidious ability to absolutely control people’s minds and actions, and possibly the most sinister and frightening of any Marvel villain thus far portrayed on screen.  While previous villains have had the ability to blow things up, wreak havoc and let slip the dogs of war, the invasive and disturbing power wielded by Kilgrave is far more intimate, and far more devastating on a personal level.  While other villains destroy buildings and bodies, Kilgrave destroys the mind, the soul and the heart of his victims, leaving them scarred, broken and screaming in his wake.  He calls into question their sanity, inspires paranoia, and rips apart their ability to trust anyone ever again.  He uses people as disposable puppets, and exhibits no compassion, remorse, or even an iota of guilt about his rape of their minds, and their bodies, and his destruction of their lives, even if he lets them live.

As the series delves into Kilgrave’s past with Jones the audience gains new and horrifying insight into what he is, what he did and what he continues to do to Jones.  A result of this is building admiration for Jones’ strength of will and huge amounts of sympathy and empathy for her struggle.  If we were perhaps hesitant at first to forgive her more egregious behaviour, seeing the monster of her past puts it in perspective.  As the extent and horror of Kilgrave’s plans and manipulations become more and more apparent, Jones’ paranoia, fear and trust issues become profoundly understandable and we gain insight into how destructive Kilgrave can be.  The more people he manipulates, the more twisted and sadistic his games, the greater the fear and paranoia of Jones’ character is translated through the screen and we soon start questioning the actions of every character, feeling tension every time someone knocks at the door or approaches Jones.

An amazing strength of the show, the writing, and Tennant’s acting, is that despite Kilgrave’s clear villainy, despite his sheer disgusting, depraved and evil nature, he is made understandable, watchable, and even entertaining at times.  Similar to how Wilson Fisk (Vincent D’Onofrio) was portrayed in Netflix’s Daredevil, the audience is invited to understand Kilgrave, to see his motivations and to get into his head, without ever once excusing his abuse or absolving him of his guilt.   Kilgrave has motivations and reasons that run deeper than the standard villainy for villainy’s sake, and it is refreshing to see comicbook adaptations produce genuinely disturbing villains whose evil is traceable, believable, and recognisably possible.  It is a fine line to walk, and Jones accomplishes it effortlessly.

Supporting Characters

Grounding the entire story are the relationships with and around Jones with a host of beautifully flawed characters.  Rachel Taylor plays Jones’ foster/adopted sister Trish Walker, a former child star (with all the drama that entails) and now popular talk-show host, who also happens to be estranged from her manipulative, unscrupulous mother and former manager and agent, Dorothy (Rebecca De Mornay).  The dynamic between Jones and Walker is brilliantly realised, and the chemistry between Taylor and Ritter is fantastic to watch on screen as we slowly get deeper and deeper into their relationship and backstory, with all the complications and messiness of sibling love, exacerbated by the introduction of superpowers, child fame and an emotionally abusive parent.

Yet another of the complicated and flawed supporting characters is Jones’ main employer Carrie-Anne Moss’ calculating, cruel, yet polished and brilliant lawyer, Jeri Hogarth.  Easily viewed as villain, (she is a defence attorney after all) Hogarth is morally compromised due to being embroiled in an office affair with her secretary Pam (Susie Abromeit), while lying to her wife Wendy (Robin Weigert), she is willing to take risks at other people’s expense, is ambitious and wants to win at any cost, and yet, she is not all bad.  She takes on a pro-bono case at Jessica’s urging, and despite Jessica’s less than professional attitude, continues to hire her because she gets results.  Like so many of the characters on the show Hogarth has her demons and flaws but we are continually invited to understand her, even appreciate her.  The show is at pains to paint the characters as real people, warts and all.

Jessica’s life is made a little more complicated by bar man and fellow super-powered character, Luke Cage (Mike Colter).  While Cage acts as a love interest for Jones (or at the very least a lust interest), his character and relationship with Jones are deeper, more interesting, and certainly more involved than that.  A minor quibble, and something that rang as a little too neat and trite, is the convenient overlapping of Jones’ and Cage’s backstories and key events.  Despite this, Colter and Ritter have good chemistry on screen, and their halting exploration of a potential relationship, secrets and all, rings true, and seems far more believable and honest than most of the superhero fare out there.

The last two major supporting characters are Jones’ drug addicted neighbour, Malcolm Ducasse (Eka Darville), and tough cop Will Simpson (Wil Traval).  Providing something of a mirror of each other characters over the course of the show, Malcolm and Will explore the redemptive and destructive aspects of character development over the series, and how people deal with trauma, abuse and the aftermath.  How they each react to their experiences with Kilgrave is telling and provides a brilliant support structure to the main narrative.  (Personally I found both of their arcs a little too rushed with each character changing fairly dramatically over a short space of time, but this may be a side effect of binge watching the show and therefore not having the gap between episodes that would ease the transition.)

The greatest strengths of this show are the attention paid to character and the care with which realised, flawed and broken characters are portrayed on the screen.  No one person is without blemish, and those defects are genuine, deep, heartfelt scars, rather than glib or artificial flaws superficially grafted in an attempt to create slightly rounded characters.  Each of the characters on screen feels like a real person, and when the world portrayed contains super-powers this adds a huge element of believability and authenticity to the endeavour.  There is an honesty and integrity in how they are portrayed that grounds this reality and makes the tension palpable and resonate.  It is through the characters that the horror of the situation, the stakes, and the repercussions of the story find purchase.  Their misplaced guilt, their fear, the conflicting impulses of revulsion and desire, the self-loathing and blame, all these things become powerful hooks imbedded in each character that grab hold of the fictive reality and turn their characters into people.  People you care about.  People you are invested in.

As I said above, the setting is New York city, but rather than the glitz and glamour of the Big Apple Jessica Jones keeps its attention on the back streets, the alleys and the grittier side, much like Daredevil.  Given the detective noir beginnings it is also unsurprising that many of the scenes occur at night, or in seedy, slightly dilapidated surroundings.  The view is of the personal New York, the real New York, the lived in New York, and the people and individuals that create the story.  While there are moments when the bigger landscape swims into view, and some glimpses of famous locations, most of the time the show stays grounded in the characters and the importance of the people.  This is a story all about the individual and most of the locales are in keeping with this.

 

Conclusion

Jessica Jones is a superhero story, but it is one that uses the medium to do something more than recount a tired tale of derring-do or over the top action.  It uses superpowers and this modern mythic form to provide a lens to examine, explore, and understand the ramifications of abuse, to place the focus on how victims survive and the desperate plight that is created after the instigating event, and to illustrate the strength and heroism of survivors of trauma.  It does all this by providing a story set in an exaggerated world where allegory and symbolism take some of the shocking, debilitating horror away from a real world issue so that we can bear to look at it instead of turning our heads away with a sense of overwhelming helplessness.

Jones is great television, compulsive viewing, powerful and meaningful storytelling, and wonderfully demonstrates what a grounded superhero story can do.  Shows like HBO’s The Wire and The Sopranos took unflinching looks at real life issues to produce compelling dramas, and Netfilx’s Jessica Jones joins their ranks, shoulder to shoulder.  This is a show to watch and bodes extremely well for the future of Netflix and for superhero television.