Binge Review 7: The Haunting of Hill House

I have said on more than one occasion that good horror is in short supply. These days it is all jump-scares and cheap thrills devoid of creativity. Back then making a great horror movie took craft and effort that resulted in some of the greatest classics of all time. Only recently we seem to be on the verge of a genre renaissance as more studios realize the potential of quality horror. The good stuff is few and far between, but when something like The Haunting of Hill House comes along, it is worth your attention.

Haunted house movies saw a massive resurgence after James Won’s The Conjuring. Not only was the film economic, but also well put together, and actually scary without too jump-scares. Since then everyone has been trying to emulate its success, only to come up short. However, given the recent revival of good horror, more and more writers and directors are learning lessons from the past.

Hill House has a very heavy emphasis on gothic imagery without gore or elements that are overtly horrific in general. The house is a fantastic set littered with old statues, intricate wall moldings, and random antiques to supplement the atmosphere. The ghosts seen throughout the series carry a macabre aesthetic. One is a very tall man with a bowler hat and cane, another a flapper in a silk dress, and others are classically rotten with green and black skin.

The icing on the cake is the drama of the characters. Hill House is centered upon the Crains, the original inhabitants of the titular house. Each episode jumps between what happened in the family’s past to how they are now after their experiences in the house. The epicenter of the drama is the night the Crains had to leave and how their father dealt with the fallout. Furthermore, being a haunted location, each Crain child had personal dealings with the supernatural, informing how they turned out as adults.

This is where the series works best. The writing and acting when the young and old characters are interacting with the house are the best parts. There is such realism in their collective plight and how it defines them as people. The dad in particular, played by Henry Thomas and Timothy Hutton, has a compelling arc as a patriarch trying to protect his children from the past, even as they hate him.

The children characters are comparably compelling, but I would rather not give it away. In fact, that is all I am going to say about The Haunting of Hill House. It is one of those series that is so good I do not want to ruin it by explaining why it is good. I recommend it for everyone, even if you are not a fan of the genre. The series is more about the drama of the family with the gothic imagery and horror informing the characters. That is not to say it is not scary. Keep that in mind if you decide to stream it on Netflix.

Binge Review 6: Apostle

One of the drawbacks of Netflix is the sheer amount of content that becomes available on a monthly basis. I know the site excises shows and movies on the regular, but the volume of present media is so enormous, a lot of the new stuff gets lost in the shuffle. Of course, there is advertising to consider, but for some reason, I had no idea that one of the dozen films I have anticipated this year came out two weeks ago.

Apostle is directed by Gareth Evans, the man behind the amazing Raid movies. To my knowledge this is his first English language film and a dramatic departure from his previous work. Instead of another visceral action thriller, we get a macabre horror movie. Taking place in the early 20th Century we follow Thomas, played by Dan Stevens, who travels to an island to rescue his sister from a cult. As he investigates her whereabouts, Thomas unravels the dark mystery behind the cult’s beliefs.

From the outset Apostle is obvious about its macabre nature. Livestock is sacrificed, people are butchered, and others bleed themselves into jars. The film has no illusions about what it is; it knows you have seen Wicker Man or read Shadow Over Innsmouth, two of its biggest influences. Even the three main leaders of the cult are open about the faults in their beliefs like they are critiquing the script. What makes the movie stand apart from its artistic peers is how it handles these ideas.

The real truth behind what is going on is kept in the dark until roughly three-quarters in. The build up is focused on establishing a sense of relative unease. You understand the cult’s island community is oppressed and on the verge of collapse. The people are doing weird things to themselves and each other and it is difficult to figure if what is going on is supernatural. Given how the leaders are charlatans in way over their heads, you cannot tell if they are scamming people or it is real.

The horror elements are both kept to a minimum and saved for later. At first Apostle is very bloody with people cutting themselves or getting cut. What it means I cannot give away, but it does a great job of setting up what is to come. Even when the gore grows more intense it is not overtly emphasized like torture porn. Actual physical violence, however, is blatant and does not shy away from brutality. With Evans’ action background, these scenes are shown with visceral flair, compounded by the fact all the characters use knives.

Of the performances Stevens is the best. From The Guest to Legion, the man is a practiced character actor that steals the show. In every scene he sells Thomas’s pain and anguish from past trauma written on his face and in his actions without over doing it. Michael Sheen and Mark Lewis Jones provide great support as two of the cult leaders. The former tries to keep everything together while the latter is a loose cannon tired of playing second banana. Jones was also the admiral in the opening of Last Jedi and the voice of Letho in the Witcher games. Thought I should mention that if he seems familiar to you.

Apostle was a pleasant surprise. Being such a departure from his previous work, Evans could have mishandled this and trashed his career with only two other features to his name. In a world saturated in content and a lack of quality horror films, Apostle is just what we need. If you have Netflix, give it a watch. It is also makes for a great Halloween movie and I am going to watch it a second time.

Netflix Review 4: Altered Carbon

As a writer, cyberpunk is one of those genres I was hesitant to explore because there is a lot to unpack. You cannot just have cyborgs, super-corporations, and hacking and call it cyberpunk. There is more to consider in terms of how those things affect the setting and characters, as well as a mystery aspect with other prerequisites. I am actually writing my own cyberpunk story and going through a similar learning process. With the release of Blade Runner 2049 we are on the cusp of a resurgence of the genre. Last year we got a cyberpunk horror game called Observer, Duncan Jones’ Mute will be out soon, and Alita: Battle Angel is months away. For now we have Altered Carbon, a serialized adaptation of author Richard K. Morgan‘s cyberpunk classic.

After waking up in a new body 250 years after his death Kovacs, played by Joel Kinnaman, is hired by the powerful Bancroft, played by James Purefoy, to solve the mystery of his apparent suicide. The investigation takes Kovacs to the darkest corners of Bay City, an overgrown metropolis that used to be San Francisco.

Carbon feels like it belongs on television. The look, structure of each episode, and even the actors and sets scream Sci-Fi Channel Original Series. However, given Netflix’s loose restrictions and freedom afforded to creators, Carbon is like an HBO show with the budget of Battlestar Galactica or Stargate SG-1. If that sounds like a deal-breaker, keep reading; it is not as bad as you think.

The story is a noir style mystery with all the tropes you expect. The femme fatale, hard-boiled protagonist, some corrupt cops, and a ton of red herrings. There are many details that do not appear connected until all the clues come together at the finale. With that said, it is difficult to keep track of everything going on. There are ten episodes, each an hour long, and the amount of information throughout is overwhelming. It is hard to focus on one thing when there are 15 other clues from three episodes ago.

This is not a knock against Carbon because the real star is the world. The dilapidated, neon bleached, dystopian environments are full of physical details that make the world feel real. You get this sense of how centuries of progress and growth have contributed to a mass degradation of humanity and believe it. People take drugs in the open, sell their bodies, and have an apathetic outlook on life. Corporations and the super-rich are a major influence, but we see life at the ground level in all the nooks and crannies.

The premise of the show informs not only the world, but also the mystery. Sometime in the distant past, humanity figured out how to download the contents and consciousness of the human brain onto a stack, a data storage unit the size of a vertebra. It is even possible to transfer yourself onto other stacks and control the respective body or “sleeve.” Everyone has a stack and they have been a part of humanity for about a thousand years. This allows people to be immortal because they do not technically die. Sleeves can be replaced if there are available bodies and live for how ever long the body will last. You can go on for centuries without a body and wake up in a new sleeve like it was a dream, but if your stack is destroyed, you are dead forever.

Because you can get a new sleeve if you are ever killed or hurt, violence and murder is treated with a nonchalant attitude. Blood sports are a common occurrence, but regulated. Murder is still prohibited, but it is referred to as “sleeve death,” and bodily harm is called “organic damage” that gets you a slap on the wrist. The Neo Catholics of Carbon regard the stacks as an affront to spirituality. They believe when your body dies, you are dead for good, and avoid “re-sleeving.” With Kovacs, he used to be an Envoy, a soldier that can transfer into other sleeves to wreak havoc or conduct military operations. As for the mystery, Bancroft has a backup system that copies his stack every 48 hours and he killed himself ten minutes before the process took place. He cannot account for the two days before his death, leaving Kovacs to pick up the pieces.

Carbon is not all mystery and world building. Breaking up the slow noir are nice doses of action throughout. Sparse and delivered in quick bursts, the action scenes stay within the realm of reality. Most are gunfights with hand-to-hand combat in between. One scene takes place in an artificial gravity well and another in a cloning facility where copy after copy is woken up and sent to die. The action is well shot, choreographed, and fairly brutal in some cases. The fifth episode has an elevator fight that will make you cringe.

The possibility of a resurgence in cyberpunk gives me hope for the future. It is a unique genre and it deserves as much exposure as possible. Both Blade Runner movies are a great introduction, but Altered Carbon is so complex and fully realized that it doubles as a cyberpunk bible. If you are interested in exploring the genre and understanding its nuances, there is no better show to get started.

(Muh book: http://a.co/gR6nlr7)

Netflix Review 2: Devilman Crybaby

Like any good thing, not all anime is worth a watch. For me, there are just a handful of titles that have left a lasting impression. FLCL, Samurai Champloo, and Cowboy Bebop are a few I remember and revisit. This has made me very picky when it comes to picking up new shows. To give you an example, I watched the first season of Attack on Titan in 2013, discovered Drifters in 2016 thanks to a friend, and suffered through the new Berserk (yeah, I’m not linking you to that shit). I also watched Kill la Kill four years late. You can boil this down to personal taste, but when picking up a new show, I need to actually have an interest in sitting down and watching it first. With Devilman Crybaby, I saw a short review on YouTube and thought I would check it out. Did it grab me like a lollicon nightmare or does it belong in the garbage with Naruto?

After being reunited with an old friend, Akira goes through a radical change that opens his eyes to a hidden world of evil. Endowed with the powers of a demon, he takes it upon himself to protect humanity.

Devilman attempts to examine the nature of man by pondering the notion of a devil with the heart of a human. Akira starts off as a rather Beta teenager before he is possessed by the demon Amon. Akira takes control of Amon and adopts his extraordinary powers. He gains superhuman speed, strength, and the ability to transform into a winged demon form at will. The only drawback is his hunger for sex and violence. Devilman explores this idea by pitting Akira against other demons and his personal life. He treasures his friends and family and struggles to control his urges on a daily basis. At any moment he could literally fuck his friend Miki to death and eat her corpse. However, by embracing the demonic side as a part of his being, he keeps himself in check.

This stays in line with the show’s theme of human nature. Devilman is up front about Man being ignorant and depraved. It does not shy away from showing intense, graphic acts of sex and violence in each episode to let you know what it is trying to say. It is the villains that remain totally demonic and the humans totally human, whereas Akira is both. How can you function if you do not understand the evil you are capable of? By knowing his capacity for violence, Akira can choose to be good. Everyone else is either one or the other and remains black or white on the moral spectrum. All of this comes to head in the second half of the show where there is a radical tonal shift in how far Devilman goes to make its point.

Without spoiling it the final three pivotal episodes, imagine the eclipse from Berserk if it were 90 minutes long.

It was beyond refreshing to see a hand-drawn anime again. After the new Berserk and that trash Blame! movie it blew my mind to see animations that people put real effort into making. The movements are fluid, clean, and extensive in some places, while also exaggerated when appropriate. In one part, a character is rapping for what seems like three minutes straight. His whole body moves and none of the animations repeat. Granted, the rap was okay, but it was a treat for my eyes after years CG.

The style of Devilman is almost meant to be hand-drawn. Characters and props are sparse when it comes to complex elements like shading and basic details. It is very similar to the show’s manga origins from 1972, where the art style had a lot in common with Astro Boy. Rather than lean into the blown-out, exaggerated designs, Devilman takes on qualities of the classic and contemporary. Everything looks like it belongs in a modern anime, but there is a distinct anachronistic feel with high color contrast and lack of detail. I have never seen a style like this before and if it helps usher in a new era of hand-drawn anime, I do not have a problem with that.

This is a matter of personal taste, but the soundtrack was pretty great. It is a mix of techno, monastic chanting, and standard melodramatic J-pop during the more emotional moments. It is not for everyone, but I was so captivated that I had to mention it. After a certain sequence in the last episode, the track Night Hawk became a part of my personal playlist.

It is not everyday you find an anime that will stick with you for years to come. In the flood of moè torture porn and endless shonen that has taken over the medium, there comes along a title that transcends the norm. It is the kind of anime that harkens back to a time when the medium was about artistic achievement instead of profit. I probably did not emphasize this enough, but Devilman Crybaby will test your tolerance for intensity. It grabs you by the balls and does not let go until the end. I recommend it to not just anime fans, but viewers that would otherwise ignore the medium. It is a perfect example of what happens when anime is pushed to its full potential as this generation’s Cowboy Bebop.

(Muh book: http://a.co/gR6nlr7)

Netflix Review 1: Marvel’s the Punisher

Oh, boy. Here we go.

Six months after finishing off the gangsters responsible for the death of his family Frank, played by Jon Bernthal, retires from vigilantism and goes into hiding. While haunted by nightmares of his dead wife, a former NSA analyst named Micro, played by Ebon Moss-Bachrach, contacts him incognito. They team up when Frank learns there is more to his family’s murder than he once thought.

I am going to say something out character as a fan of Punisher. I know the guy like the back of my hand and when you get down to the nitty-gritty, why his family was killed does not matter. The what is more important because it was the trigger that turned Frank into the Punisher. The only why that has any meaning is the question of why he keeps killing after getting revenge.

All this stuff in the show about the CIA’s wet-work operation and tying up loose ends was boring and played out. We get it; Frank did some stuff back in the day that the Company wants to keep secret. They try to kill him, it does not work, and he kills them back. His very simple and complete revenge story was finished in Daredevil season two and the first five minutes of Punisher. We did not need all this convoluted Jason Bourne crap with Homeland Security and a private security firm caught in the middle of a CIA agent’s quest to redeem his masculinity.

The overarching story is the only major issue I have with the show. It was run-of-the-mill, had way too many moving parts, and I totally understand why. Frank is not a difficult character to get, but trying to make a watchable season of 13 one-hour episodes about a Nietzschean Void is impossible. Imagine a show about Anton Chigurh from No Country for Old Men; that is what a proper Punisher series would look like and it would be horrifying.

An action-based deconstruction of the anti-hero archetype would be an ideal show. Thing is, no one would watch it. It would be depressing with Frank mass-murdering criminals without feeling or remorse with accompanying narration. It is all he wants to do because he is driven by pure animalistic instinct. Delve deep enough into his character and you find there is so much that cannot be put to screen for mainstream audiences. The show Mindhunter is all about the psychology of murderers, but that is not Marvel-friendly material.

Taking out the depth of the character, a straight action show would be indistinguishable from the rest. There has to be something else to break up the monotony. Punisher’s convoluted story had to be that way with a lot more meat on its bones. So, we got the family connection, the CIA operation, and Homeland Security to pad out the show. It would have been fine with just Frank, Micro, and a bad guy in nine episodes.

The actual execution of the story was fine. Each plotline per episode got an equal amount of coverage without overshadowing one another. It worked as a cohesive whole; it is just too bad half of it was not very interesting.

Frank and Micro’s arc was the best part. They have great chemistry as partners in vigilantism with similar experiences. Where Frank lost his family, Micro had to leave his family after a little whistleblowing almost got him killed. Things get interesting when Frank plays surrogate father/husband for Micro’s family. Their personal conflict comes out of their dueling personalities. Where Micro is sympathetic and easy to understand, Frank is a killer with a moral compass. In that way they worked really well together and I cannot wait to see them again for season two.

Another good element of the show is the action. From what I could see, real blanks and squibs were used for the gunfights. You can tell a lot of work was put into making each fight different with a heavy dose of visceral violence. People are stabbed, punched, and pumped full of lead like an old fashion action movie. While not very creative these scenes are flawlessly executed. There is also no shaky cam and you can tell what is happening at all times. I would love to talk about my favorite scene, but I think you should see for yourself.

Those two elements make the show. The rest you can skip.

First is the Homeland Security plot. We follow Agent Madani, played by Amber Rose Revah, and she is terrible. I get characters need motivation for narrative, but Madani was so unlikeable and one-note I could careless. Her whole deal was meant to parallel Frank’s quest for vengeance. She wants justice for an Afghani police officer that was killed under mysterious circumstances and that is all. There is nothing to her. Madani is a boring strong female archetype that no one put any thought into when they had to meet a quota.

She is not even big or tall enough to come off as an agent of anything. She is five-foot nothing with the body of model. In the scenes where she is holding a gun, the weapons are bigger than her. My short friend in the Army was looking to replace her old personal side arm because it was the size of her head. She had to buy a tiny Sig Sauer to have any hope of hitting something. Madani looks like a Barbie doll got mixed in with the GI-Joe toys by accident.

And do not get me started on her partner. The guy is David Arquette annoying.

Then there is the CIA story taken from Punisher MAX. Here we follow the character Rawlins, played by Paul Shulze, who wants to kill Frank before he exposes the Company’s operations. There is a character in MAX of the same name and a million times more interesting. Show-Rawlins is a standard Company man who uses national security to justify his actions. MAX-Rawlins is an asshole that relishes being an asshole before Frank pries out his eyeball with a knife. Being a tough guy piece of shit was a façade because his persona and business depended on it.

Show-Rawlins has that masculine insecurity evident in his need to torture Frank for taking his eye, but the rest of him is boring. He is this box-standard dude that believes in protecting his country, even by illegal means. Something with depth, like the implication he enjoys torture and murder, is nonexistent. Maybe it was the actor’s lack of charisma, but there could have been a scene or two where he is smiling and laughing at the possibility of getting his hands dirty. MAX-Rawlins had a lot more to him beyond the traits of a cartoony Gareth Ennis villain character.

There is plenty of good to be had, but the whole of Punisher would have fallen apart if not for Bernthal’s best performance to date. The guy has the makings of a young Kurt Russel or Clint Eastwood, full of charisma with intensity to boot. Not only does he sell the character’s pain and anger, but he is also scary to watch. I expect nothing less from the guy that accidently clocked Jonah Hill in the mouth on Wolf of Wall Street because he was so into the scene. I have no idea how Bernthal could top this in the future.

When it comes to expectations everyone has a vision they want to see come to fruition. For me and other fans, we wanted an incarnation of Punisher to rival Ray Stevenson in War Zone. The second season of Daredevil gave us a taste of what was to come in the following year. Marvel’s the Punisher is the most we can ask for. There will never be a perfect incarnation, but Jon Bernthal is damn close. I highly recommend it if you are a fan of the character and of action, especially the graphic kind. But get ready to skip over a lot of boring shit to get to the good stuff.

Editorial 18: Daredevil Season 2

It was great.

Season 2 brings Daredevil into an expanded world with more problems and developments that put the characters through rigorous trials (pun intended). Matt struggles to maintain his dual life, while Foggy is forced to take the initiative, and Karen pursues an agenda that conflicts with the group. With the advent of the Punisher, Matt questions if what he is doing is good for the city, and if he is actually making a difference. Things come to a head when his old flame Elektra returns and everything spirals out of control.

And that is all I am going to say.

To be honest, I had a lot of trouble writing about Season 2. My vision was clear, but I could not put the words to paper because I do not think I understand the show as well as I should. I spent all day Friday watching Daredevil in anticipation for review and when I sat down to write none of it worked. Even when I wanted to talk about Punisher I struggled until I gave up.

Instead of posting what I already have, I think it is best to go through the show again and post a review focusing on the Punisher at a later date. I know that sounds biased, but what do you expect from me? Regardless, Daredevil Season 2 is great and you should watch it.

Editorial 13: Jessica Jones

Feeling compelled to diversify my content output, I find it fitting to provide an analysis of the Jessica Jones (JJ) series that just premiered on Netflix. I spent a day mainlining all 13 episodes and I believe I have a good enough understanding to tell you what I think. I have never reviewed a show before, seeing as how television is contemptuous garbage, but since this series transcends regular television I thought I would give it a try. In terms of structure I am winging it, so please bear with me.

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JJ is based on the Alias comic by Brian Michael Bendis, a MAX series with adult content like Garth Ennis’s run of the Punisher. It follows Private Investigator Jessica Jones, who after years being a superhero, falls into a state of depression and alcoholism. That is where my knowledge of the source material ends. I find dark versions of conventional heroes appealing, but I never gravitated towards Alias because I am not a fan of Bendis.

JJ, essentially, is the Marvel Cinematic Universe (MCU) equivalent of the MAX line. It has very explicit themes like rape, PTSD, drug addiction, and alcoholism. It also introduces a gay couple with Carrie-Anne Moss’s Hogarth going through a divorce. Unlike a lot of the press, people calling it X-rated and too gritty, JJ is quite tame. Sex scenes were not graphic or revealing, the violence toned down compared to Daredevil, and the overall feel was closer to PG-13 or a revolting CW show. I was a little disappointed, but it was exceptional for how it handled its themes.

The MAX line is known for gratuity. Punisher MAX was notorious for its borderline racist caricatures and excessive violence. I like the books very much, but its depiction of… well, everything was a little too much, and this is coming from a guy who laughed while watching Green Inferno.

JJ is respectful about its subject matter and does not pull any punches. Jessica’s alcoholism is a serious issue that affects her attitude and lifestyle as she tries to cope with her various traumas. She has flashbacks that result in violent tremors, harbors intense shame, and lives an introverted lifestyle that pushes people away. It is even clear she has given up taking care of herself, wearing the same clothes everyday and neglecting her apartment.

Jessica’s objective is to apprehend Kilgrave, the main antagonist with the ability to control people. In the past he made her his “girlfriend,” taking her out to dinner, buying expensive things, and having sex with her while she was completely aware. On their last night, he dies in an accident, and she is sent on a downward spiral of depression. While working a new case involving a missing girl named Hope, the circumstances behind her kidnapping are eerily similar, and Jessica puts aside her anxiety to clear Hope’s name.

This sets the stage for the show’s main arc. While conducting the investigation, Jessica realizes her experiences could help not only Hope, but also others controlled by Kilgrave. Slowly she develops some semblance of empathy as she assumes the persona of a hero. Jessica starts caring about her junkie neighbor, repairing the relationship with her friend Trish Walker, and works toward genuine recovery by cutting down on liquor consumption. The personality of an anti-hero is still there, but her sense of being good and conducting herself in a professional manner is greater. She wants to do things by the book, no matter how difficult it can be. It is not an ideal situation, but Jessica sticks to her principles.

In that way, JJ is very frustrating. Killing Kilgrave would not have helped Hope, but it is a simple solution that could have saved everyone a lot of stress, not to mention lives. It is the curse of all hero stories: they are unable to act outside the law because it would make them no better than criminals, trusting the system to render punishment. This both helps and hinders Jessica’s arc. The idea she cannot do everything the easy way exacerbates her anxiety, affecting her thought process to the point she takes extreme measures to get at Kilgrave. Her heroism comes from not only sticking to the system, but also working with it in the face of trauma. It presents a realistic examination of the hero archetype, as opposed to Batman or Superman, who are always content adhering to a code of ethics. Jessica has a code and hates it with a passion.

One of the more impressive aspects of JJ is Kilgrave himself. For the first time in a while, I believe Marvel has found its most sinister villain yet. Ultron was pretty cool, but a homicidal AI monster is not as unique as a legitimate sociopath with mind control powers. He knows what he wants and does whatever he can to get it. He does not care about anyone but himself, casually using his ability to enslave and punish in horrific ways. His perception of reality is warped, failing to see the rape in controlling a woman to have sex with him or the obvious evil behind making people kill themselves or each other. It paints a grim picture that trumps most of the MCU’s current rogues gallery.

Kilgrave’s detachment is thoroughly developed over the course of the show, but his full introduction does not happen until six episodes in. Before then you have to endure a dragging plot where nothing really happens. Everyone makes and repeats the same points that were already brought up in previous episodes, nothing changes, and no one moves ahead from where they were, except for some minute details that do not matter.

The goal is simple: catch Kilgrave, but the lead up to what eventually happens is so frivolous, that about three episodes could have been cut completely. Daredevil took three to reveal Kingpin and the build up was potent because we knew next to nothing apart from reputation. Having such a prolonged build up for a guy we learn more about after episode two is totally redundant. I have a feeling the show-runners had a lot they wanted to introduce and took their sweet time cramming it in wherever they had available space, eating up whole episodes’ worth of time that could have been better utilized or discarded entirely. It is a great waste that does nothing but cause fatigue until episode seven.

Krysten Ritter plays Jessica and I cannot think of a better casting choice. She is absent heroic features, looking like an ordinary person. Her demeanor is spot-on with light sarcastic quips overshadowed by a cold dismissiveness that drives home her anti-hero personality. David Tennant, the best Doctor, pulls his weight as Kilgrave in his best performance in years. He is as entertaining as terrifying with a casual attitude that enhances his sociopathic tendencies. He is gleefully arrogant and happily selfish as he orders people to kill themselves and do his bidding with apathetic delight.

Rachel Taylor plays a total opposite to Jessica as Trish, a former child star turned paranoid radio talk show host. She is the most together of the characters, but she is also naïve and totally separated from Jessica’s world. She has heart, yet is too sheltered to operate in a volatile environment. Luke Cage pops up as another supporting character thanks to Mike Colter. Taking note from the source material, Cage is a pretty standard hero with a normal personality. To put it simply, he is just a guy with indestructible skin and Colter captured that just fine. Wil Traval takes the reins as Simpson, and if you know who that is, I am happy to report he nailed it with some welcome additions. I am eager to see what becomes of him in the following season.

If you can endure the first six episodes without quitting, Jessica Jones is well worth the struggle. It takes the Netflix side of the MCU into territories not often seen in television, let alone a Disney property. The compelling set-up and depth-full examination of the hero/anti-hero archetype makes for an interesting watch that anyone interested in the concept should find enjoyable. It is well worth your consideration.