I SAW DAREDEVIL: BORN AGAIN, SEASON 2

I saw Daredevil: Born Again's second season. I'm rather bummed. 

Sure, it's always swell to see Charlie Cox's Matt Murdock, the Man Without Fear, in top, slugfest form, but I sure didn't like this season's subversive, police-state narrative, where law officers (of any sort) were depicted as impulsive thugs. What about the criminals who assault citizens? They do exist, and depending on where one resides, they often get away with their crimes, despite ardent, enforcement efforts, all because of clueless and self-serving politicians. Guys like Murdock are meant to fix that sort of thing, not turn a blind (ahem) eye. 

Hey, here's thought. Born Again could have tackled (and could yet tackle) a presiding, social concern: child trafficking. The topic isn't out of range for superheroes. For one, there's a powerful, 1995 novel entitled Batman: The Ultimate Evil by Andrew Vachss, which details the revolting situation head-on. It left an indelible, lasting impression on me, and the book is more pertinent now than ever, considering that within the past few years, such atrocities have leapt to an all-time high. Born Again could have woven (could yet weave) some villain into that immoral tapestry, but this season chose to probe the contemporary cliche of bad is good, and good is bad. How rude! How typical! How drab!

Here's another Season 2 setback: I (and others) desired an ongoing, Sopranos allusion for Michael Gandolfini's Deputy Aide Daniel Blake. The prospect fizzled, even though "The Grand Design" was an exemplary episode for the character. Blake's handling of Genneya Walton's BB Urich in "Requiem" was fortifying, too, pressed ever further by Arty Foushan's Buck Cashman, who judged from the shadowy perimeter. Still, just as Blake's high-bar ascension seemed clinched, it died. "The Hateful Darkness" proved the fateful, final nail in the poor lad's coffin. 

For a little compensation, Matthew Lillard's CIA operative "Mr. Charles" and Wilson Bethel's diner-scourging Benjamin Poindexter/Bullseye did what they could to exploit the city's quirky recesses, creating the required intrigue that holds one's interest, but even their defining moments came and went, thanks to all the meandering, ministerial muddlement.

The same went for Krysten Ritter's Jessica Jones and Deborah Ann Woll's Karen Page, both looking quite fetching, I might add, but there was never enough of them. Why were they teased if their deeds were to be (with Jones) minimal or (with Page) sporadic and downtrodden? (In a similar way, Elden Henson's Foggy Nelson was reinstalled to fight the good, flashback fight, but his ghost was banished far too fast.)

I did like the Jack Duquesne/Swordsman portions, despite the heavy-handed, Law & Order bracketing. (At least I didn't have to contend with Chris Melonie mucking things up with his unconvincing, "I'm for justice" stance.) Tony Dalton did a great job as the vilified, Hawkeye-sprung vigilante, giving a performance that was sad but never sappy.

And what of Vincent D'Onofrio's Kingpin, you ask? Well, the fearsome Wilson Grant Fisk was once again ultra-imposing, even if drowned by a mountain of socio-political blather and an unfortunate, cringe-worthy tearful moment when he lost his beloved "Queenpin," Ayelet Zurer's Venessa. On the upside, his boxing match was the season's highlight, at least next to the finale's onslaught of Daredevil wannabes, and his bearhug snap of a compassionate doctor felt so right, even if it was so wrong. (Also, I dug the Kingpin mask featured in that string of Headroomy segues. I wouldn't mind having one to accompany my Don Post, super-deluxe Tor Johnson mask, but what are the odds one would be produced? Still, in the vast world of Marvel/Disney merchandizing, I suppose  anything's possible when it comes to making a buck.) 

Well, that more or less sums it up. Hell's Kitchen (and NYC in general) might still be fiery, but in the epic heart of ambivalence, so what? I had such friggin high hopes for this season, too. Now that my vim has been scrapped, I'm queasy about Disney+'s upcoming, Punisher special, "One Last Kill," and don't even get me started on Spidey: Brand New Day. I hope and pray that their focus doesn't become unfocused, but due to this Daredevil slip, I can only hope for the best (as in a possible, Frank Miller-minded stretch) and prepare for the worse (as in further excuses as to why bad guys are just poor, misunderstood victims of the system). 

I SAW DAREDEVIL: BORN AGAIN

For the most part, I enjoyed Netflix's take on Daredevil (even considering it the most unwavering of the premium's Marvel set) and wondered how Disney, now known for its perplexing, PC-to-an-infuriating-fault proclamations and insolent alterations to traditional fables, might make or break Matt Murdock's streaming legacy? 

At least Charlie Cox was to return, assuring a link from old to new, but would this incarnation be an extension of his established persona, the lighter-toned edition of She-Hulk or something altogether undone? 

Well, Daredevil: Born Again, and Cox's Murdock, are in sync with Netflix's foundation. The continued series proved serious and somber, with the expectant sadness installed, but the sadness isn't relegated just to criminal consequence, but on occasion, basic misunderstanding: case in point, Margarita Leviea's Vanessa Glenn, Murdock's love-interest, who refuses to see heroism even when it saves her. 

Daredevil: Born Again also incorporates the late Kamar de los Reyes' Hector Ayala, aka White Tiger, who's a relatable, Daniel Penny-steered vigilante for the early stretch, and while the virtuous campaign lasts, he works as a respectable replacement for Iron Fist, Powerman and Jessica Jones, aka Daredevil's fellow Defenders. At least Jon Bernthal's Frank Castle, aka the Punisher, Deborah Ann Woll's Karen Page, Elden Henson's Foggy Nelson, Wilson Bethel's Benjamin "Dex" Poindexter, aka Bullseye, Vincent D'Onofrio's Wilson Fisk, aka Kingpin, re-enter for familiar-face continuity, with some lingering longer than others. (I was glad to see them one and all, no matter the durations attached.) 

To its further advantage, Daredevil: Born Again wastes no time in resuming the right, boiling, sociological conditions for the Hell's Kitchen icon, having him spring out of retirement a year after a big brawl with Bullseye, in order to serve justice once more beyond the courtroom and into the blood-stained streets, at one point marked by the "artistic" serial killer, Bastian, aka Muse, played by Hunter (Wednesday) Doohan. (Daredevil and Muse's fighting was harsh, tapping some of the Macbeth 1970, finale flair, just as the Netflix seasons had whenever Murdock slugged it out.) 

It's suffice to say that Disney didn't muck this one up, by having the bad besmirch the good, which is what often happens in the studio's "correctionist" politics, with all those sneaky, baddie-loving games in play. This Daredevil's path was and is Daredevil, for he never did swerve from his noble cause (even when mask-less), and this comes in spite of the "flattering," double whammy namedrop of NYPD's Murphy and Kim. (Surely, that must be a coincidence and not an affectionate nod to two of NJ's top, thug-loving statesmen; then again, Mayor Fisk's Cuomo/Norcross-ish cozy allegiance with crime gave little room for debate, underpinned as he was by wily, yes men, Michael Gandolfini's Daniel Blake and Arty Froushan's Buck Cashman.) 

Yes, sir, Daredevil: Born Again sure does push a profound proclamation where it counts. For this, I give a deep, satisfied sigh of relief and trust that the continuation of the Man Without Fear nurtures the same trajectory, even if devious Disney stays at the promotional helm. 

Netflix's Daredevil Season 3: Time to Hit the Bullseye

Charlie Cox is back as attorney Matt Murdock, aka, Daredevil and Vincent D'Orofrio as Wilson Fisk, aka Kingpin in Netflix's "Daredevil: Season 3". All thirteen episodes will be ready to view Oct 19.

This latest season is reputably based on Frank Miller/David Mazzucchelli's "Born Again", where Murdock struggles with his sanity. Of course, he was presumed dead at "Defenders" end, so the title links as well to his symbolic resurrection. (Elements of Kevin Smith/Joe Quesada's "Guardian Devil" have also been cited as an influence, particularly a church-fight sequence.) 

On the new-bad-kid-on-the-block scene, Wilson Bethel arrives as the skilled-with-cards Benjamin "Dex" Poindexter, aka Bullseye, who fans have been insisting on for quite some time. (Rumor once had it that the cocky assassin would grace Season 2. Thank goodness it turned out a winner, despite the villain's absence.)

Bullseye is without question one of Marvel's most beloved baddies and as much as Fisk, an essential part of the Man Without Fear's legacy. One can't deny that Bullseye made quite an impression per Colin Farrell's acclaimed portrayal in Mark Steven Johnson's '03 "Daredevil" adaptation. Farrell's interpretation will give Bethel awfully big shoes to fill, but the young man is a sturdy actor and therefore, up for the task. 

Comprising the prime, supporting cast is Deborah Ann Woll (an underrated beauty if ever there was one) as Karen Page; Elden Henson as Foggy Nelson; Annabella Sciorra as Rosalie Carbone; Jay Ali as Rahul "Ray" Nadeem; Danny Johnson as Benjamin Donovan; Jeffrey Cantor as Mitchell Ellison; Peter McRobbie as Father Lantom; and Amy Rutberg as Marci Stahl. (One can only presume that Rosario Dawson's Claire Temple will pay a visit. Why screw with tradition?)

Will other Defenders appear? Will Frank Castle...? Who knows? As with any Netflix/Marvel production, secrecy surrounds much of the plot. We could be in for surprises and/or disappointments, depending on the flow. If, however, Season 3 is anything like Daredevil's previous Netflix tracks, it's certain to give us what we crave: engaging characters, enriching drama and believable brawls. 

Let's face it: As much as some may dismiss Daredevil as the "poor man's Spider-man", his story resonates because of its palpable sadness, perhaps not as much as Castle's, but still, how can one not feel for the guy, if only based on his prevailing struggles and righteous perseverance? He's also easy to admire for his many good deeds, whether in the courtroom or on Hell's Kitchen's hard-hitting streets. It'll be tough, though, to see him go a tad mad, but if penned right, a Hyde rise could give us some pretty memorable melodrama. 

My prediction: This stretch will hit the bullseye (pun painfully intended) with marked precision. Hell, considering its edgy ingredients, there's no reason why this season shouldn't be the best yet...