Marvel Won’t Let Daredevil: Born Again Live

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A little over a decade back, when Marvel was yet to unify its cinematic universe under the iron grip of Kevin Feige’s Infinity Gauntlet, Netflix was the pioneer, streaming a series of shows collectively known as “The Defenders.” These shows offered a unique perspective on what Marvel’s witty blockbusters could be like on-screen – character-driven, realistic, and gritty.

In April 2015, the brooding organized-crime drama, Daredevil, was unveiled. It followed a blind lawyer who, after being exposed to radioactive chemicals, gained heightened senses and found himself entangled with mobsters, his inner rage, and his Catholic faith. Later in the same year, the first season of Jessica Jones premiered, offering a chilling serial-killer thriller that explored how this genre would unfold if both the hunter and the hunted possessed superhuman abilities.

However, by the time the Defenders crossover series, which combined the initial two shows with Luke Cage and the disappointing Iron Fist, debuted in 2017, it started to show signs of Netflix’s excess.

With “Daredevil: Born Again,” Marvel seems to be making an attempt to revive the powerful feelings from those early Netflix series for a MCU/Disney+ television venture that’s been struggling under a poor performance record. (There’s a touch of irony in Marvel attempting to combat MCU overload by looking back to a time before Netflix bloat.) “Born Again” delivers enough grit, effort, and emotion in its premiere episode to hint at the possibility that we might be on our way back. However, it doesn’t take long for the promising comeback to deteriorate once more into another chaotic tangle of intellectual property management.

Fans of Daredevil should be aware that the title’s “Born Again” doesn’t mean a return to the famous Frank Miller storyline from the comics. Instead, it signifies a fresh start for Matt Murdock (Charlie Cox), who has faced a significant tragedy and is living a new life a year later. He’s retired from being a vigilante, mourning his old life, and his relationship with Karen Page (Deborah Ann Woll) and Foggy Nelson (Elden Henson) has changed. However, he’s found a new purpose by partnering with Kirsten McDuffie (Nikki M. James), a former district attorney, at their modern law firm. He’s even started dating again.

Simultaneously, Wilson Fisk (Vincent D’Onofrio), previously a notorious criminal, undergoes a transformation after the events of Hawkeye and Echo, setting his sights on running for New York City Mayor. In parallel, Matt Murdock struggles with his urge to don the mask and take action when justice falls short, while Fisk grapples with the temptation to use force when city governance fails to comply with his wishes. As events unfold, involving a serial killer, trials of other vigilantes, corrupt cops, references from previous series, and more, it becomes clear that their inner natures will be tested. In many ways, Born Again mirrors the iconic Bugs Bunny “Lord Forgive Me” meme by exploring the complexities of these characters over an extended period.

Despite having rough and dramatic moments, the Netflix series ‘Daredevil’, masterminded by Drew Goddard, was consistently engaging due to its exploration of Murdock’s complex relationship with Catholicism, pain, and rage. This theme was not only conveyed through heavy dialogues like “How can you tell the difference between the angel and the devil inside me?” but also through a skillful use of violence that enhanced the storyline significantly. The character of Murdock willingly endures pain and injury in pursuit of redemption, bordering on an erotic portrayal, with spectacular fight sequences serving as a high point, such as the ten-minute prison-fight oner in season 3. However, these elements could easily become excessive, yet ‘Daredevil’ managed to create something more significant by skillfully blending theme and execution. Regrettably, the showrunners of ‘Born Again’, Dario Scardapane (from ‘The Punisher’), Matt Corman, and Chris Ord, fail to maintain this balance, even though you can see remnants of the original ‘Daredevil’ – the violence, the gloominess, and the focus on pain. These elements, however, feel like mere aesthetic references rather than integral aspects of the storyline. There are fight sequences, but they lack the intrigue and depth of the original series and do not contribute to character development. The graphic violence seems disconnected from any larger concept about the brutality of its world. Despite numerous conversations about pain, it’s hard to believe the sincerity of these statements coming from the characters.

The title Born Again isn’t suitable for carrying on the Marvel television saga or serving as an introduction for new viewers. The plot doesn’t introduce any fresh developments for our principal characters, which may disappoint those who approach Born Again with a thorough understanding of everything that has transpired in the Netflix series, The Punisher spinoff, and Echo. However, due to its reliance on extensive prior knowledge for viewers to fully grasp what’s happening, particularly in the latter half of the season, Born Again unfortunately suffers from the same issue that plagues every aspect of the Marvel Cinematic Universe. Despite initial hopes that it wouldn’t follow the typical tendency to cater to the broader cinematic universe, a mid-season episode involving a bank heist and a character primarily serving as a reminder that you’re only witnessing a small piece of a larger story is a clear example of this problem.

In simpler terms, the show offers some enjoyment, but these moments are either minor or happen by chance rather than being integral to the plot. Michael Gandolfini appears as a sleazy Fisk staffer who could fit in any modern political scene, and his portrayal of both pitiful and somewhat endearing characters is entertaining. Jon Bernthal reappears briefly as Frank Castle, also known as The Punisher, delivering a gritty and intense performance that’s nothing short of remarkable. However, the show’s depiction of New York City lacks authenticity, presenting it as an overly exaggerated version of itself with about as much subtlety as a Times Square billboard. The show also tries to portray characters as typical New Yorkers by mentioning sports teams like the Rangers, Jets, and Mets in one breath. Additionally, the portrayal of Kingpin’s political career is simplistic and humorous, if not for its lazy execution. This lack of effort would be endearing if it weren’t so frustrating.

maybe the MCU might find a niche to recreate the gritty, self-contained action the best Netflix series offered. We should demand more from Marvel’s television ventures. After all, we are in a world where HBO’s “Watchmen” exists, and last year saw “The Penguin” – arguably the best possible outcome for transforming intellectual property into lemonade. In other words, there is a way for Marvel to produce compelling TV shows; it simply needs to let a revival like “Born Again” truly thrive.

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2025-03-05 07:21