The Defenders Begin To Assemble Over "Mean Right Hook"

The Good: Decent performances, Hints of character
The Bad: Meandering plot
The Basics: "Mean Right Hook" begins to bring The Defenders together, albeit slowly, as various cases the heroes are investigating begin to overlap.


Perhaps one of the most troubling aspects of The Defenders at the outset of the series is the fact that of the main cast, only Jessica Jones and Luke Cage have even met before, despite operating in a fairly narrow corner of New York City and the common character in the four protagonist's stories has been Claire Temple (the nurse, not only at night!). In fact, the only thing more problematic about the concept of The Defenders at outset is that now that the characters are all in the same time and place, how is it that Spider-Man is not a part of their burgeoning team?! Did the teenager just not notice the earthquake that rumbled through his city? Fortunately for the fairly compacted season of The Defenders, the characters are not kept artificially apart for too terribly long. In fact, by the second episode - "Mean Right Hook" - various heroes are beginning to meet.

"Mean Right Hook" picks up right after "The H Word" (reviewed here!) and it is impossible to discuss the second episode without some references as to where the first ended. After all, while Jessica Jones has been hunting an architect who has gone missing and has a ton of C-4, Luke Cage, Matt Murdock and Danny Rand have been on more nebulous missions. "The H Word" climaxed with an earthquake in New York City and it is the first overt act of destruction carried out by Alexandra. Alexandra has Elektra by her side and when the earthquake hits, Alexandra is clear with Elektra that Alexandra is the cause of the quake and there is more damage to follow.

In the wake of the earthquake, Matt Murdock (uncostumed) takes to the roof to assess the damage and he goes streetside to stop looters. The next morning, Trish Talk goes on with Trish Walker trying to restore calm in New York City. When she has a caller claiming that the earthquake was uncharacteristically shallow, Trish is taken off the air temporarily. Misty Knight arrives at John Raymond's hideout, where she catches Jessica Jones lifting one of her files. A Colleen Wing's dojo, Danny Rand and Wing regroup and begin a search in New York for those who might have been hurt by The Hand. While Luke Cage cleans up damage in Harlem and Claire Temple assists people wounded in the earthquake, Alexandra visits the Lincoln Center for the performing arts and gets a private concert by a quartet she has funded.

When Jessica Jones discovers that the company Raymond built a building for appears to be ancient and Hogarth tells her to drop the investigation, leading Jones to pursue her investigation knowing that all sorts of federal law enforcement officers are on the case. Luke Cage interrogates Turk and learns that the person recruiting young people for late night work that results in them getting killed is White Hat. Cage finds White Hat, which puts him in the same time and place as Danny Rand, who stumbled onto a crime scene that The Hand needs cleaned up.

As one might expect - given that he has had the most airtime in the Netflix corner of the Marvel Cinematic Universe - the first couple episodes of The Defenders have given Matt Murdock a lot to do. While Jessica Jones and Danny Rand are basically trudging through doing what they were doing when last viewers saw them and Luke Cage is reclaiming his life post-prison, Matt Murdock is in a very different place. In "Mean Right Hook," there is no Daredevil; there is only Matt Murdock. While it was heavily insinuated in the confessional scene in the first episode, Murdock is conflicted about giving up his vigilante alter ego. From the very beginning of "Mean Right Hook," Murdock is having trouble keeping himself in check from rushing back to the costume and the vigilante lifestyle. Director S.J. Clarkson and the episode's writers manage to make Murdock's journey feel appropriately tortured and conflicted. Scenes like Murdock simply unlocking his footlocker with his costume in it characterize well the internal struggle Murdock is going through. The friendship between Murdock and Nelson is reinforced in an intriguing way when Nelson brings Murdocks folders worth of work to try to keep him busy fighting the good fight. That friendship leads Nelson to use Murdock to keep Jones out of trouble for the firm in the second of two heroes meeting, resulting in one of the best episode endings for the series.

Luke Cage's return to Harlem is met with an interesting level of realism. Temple, who remained local while Cage was in prison, is more "in the know" about current events in the community. As such, Cage relies upon her in "Mean Right Hook" to know where to go to hunt criminals.

Alexandra's characterization continues to gain depth as the primary villain of The Defenders is fleshed out with an intimate knowledge of classical music works and their creators. Just as Gao has been insinuated to be exceptionally old, Alexandra is clearly ancient - a fact reinforced by Jessica Jones's investigation into a company started in the early 1800s that Hogarth waves her off of.

Poor Jessica Jones's door! That door cannot catch a break, as witnessed by Elektra cutting through the lock in the episode's climax.

"Mean Right Hook" would be a complete loss for The Defenders if it weren't for the character elements peppered through the episode. The plot meanders and when Danny Rand finally encounters Luke Cage, it is hard not to continue to think that the young billionaire is just a dick. That - and the fact that Iron Fist's titular right hook were shown in the preview trailer - rob the episode of a lot of joy that should have come from two of The Defenders meeting for the first time.

Ultimately, "Mean Right Hook" does what it needs to - albeit slowly - in moving protagonists together and elevating the antagonists, but not in any extraordinary way.

For other works with Charlie Cox, please check out my reviews of:
Daredevil - Season 2
Daredevil - Season 1
The Theory Of Everything

[Knowing that single episodes are an inefficient way to get episodes, it's worth looking into The Defenders - The Complete First Season on DVD or Blu-Ray, which is also a better economical choice than buying individual episodes. Read my review of the debut season of the street-level heroes here!
Thanks!]

4.5/10

For other television reviews, please visit my Television Review Index Page for an organized listing!

© 2017 W.L. Swarts. May not be reprinted without permission.
| | |

The Defenders Opens From The Disadvanageous Place In "The H Word"

The Good: Good performances, Good introduction for Sigourney Weaver's Alexandra.
The Bad: Annoying direction (seriously, are there no working light bulbs in New York City?!), Unsatisfying/problematic character gaps, Very slow plot
The Basics: The Defenders puts all its main pieces on the board in "The H Word," which is a "necessary evil" start to the latest Marvel Cinematic Universe work.


Netflix has been building to The Defenders much the way the theatrical portion of the Marvel Cinematic Universe seeded movies in a common world before uniting heroes and adversaries from the disparate films in The Avengers (reviewed here!). Today is the day that The Defenders finally hit Netflix and the saga begins with "The H Word." "The H Word" is the culmination of the second season of Daredevil (reviewed here!) and the lone seasons of Jessica Jones (reviewed here!), Luke Cage (reviewed here!), and Iron Fist (reviewed here!). Perhaps because of my antipathy toward Iron Fist, when I sat down to "The H Word," I was nowhere near as excited about The Defenders as I was after the end of Luke Cage. Despite that, I sat down to "The H Word" eager to see how the four protagonists would come together and exactly what kind of adversary and situation the show would present for them to combat.

"The H Word" is burdened with re-introducing all of the main characters from the Netflix corner of the Marvel Cinematic Universe and the new villain . . . and making it appear as if The Defenders is not going to be a contrived super-hero team up show. Given that, so far, only Claire Temple has appeared in all of the Netflix Marvel television shows and Madame Gao has been the main crossover villain in only two of the four series', The Defenders had quite a task in this regard in "The H Word." "The H Word" avoids the "crossover feeling" by keeping the characters - primary and secondary - from the prior shows completely segregated from one another. At best, Luke Cage obliquely references Claire Temple avoiding talking about something that happened when she wrote him in prison, which is as close as the episode comes to referencing her participation in the first season of Iron Fist.

Opening in Phnom Penh, Cambodia, Elektra Natchios is going in for the kill when the man she is attacking is rescued by Danny Rand. When the man is stabbed, Colleen Wing arrives for back-up, but in chasing Elektra, Rand loses her. Before the man dies, he tells Rand and Wing that New York City is where the real fight with the Hand is. In New York City, Jessica Jones wakes up in a bar and meets Trish. Foggy Nelson springs Luke Cage from Seagate Prison and Matt Murdock manages to get an eleven million dollar verdict for a client disabled by an experimental drug. On the way back to New York, Rand and Wing try to figure out what is going on with The Hand.

In New York City, Alexandra meets with a doctor and after a series of tests is convinced that she is dying . . . at a much more accelerated rate than previously believed. When Jessica Jones returns to her office, she is met by a woman and her daughter who are looking for John Raymond (her husband, the daughter's father), a by-the-book architect who rather abruptly went missing a week ago. Jones is not about to take the case, but she immediately receives a phone call on her answering machine telling her not to look for John. Malcolm quickly figures out that the architect might be an amateur, while Misty Knight tells Luke Cage about a series of dead young men in Harlem who all appear to have come into money while working nights for no clear or obvious employer. Cage pays a visit to Candice's brother, the last child in that family, who appears to have come into money, much like his now-dead brother. Jones's search for John Raymond lead her to Raymond's massive cache of C-4.

"The H Word" begins at a weird place. For a New York City-based group of heroes, starting in Cambodia with (arguably) the least-popular member of the team is a weird starting point. Moreover, keeping Elektra hidden in the dark during the fight is a fairly forced conceit. Having a significant gap of time between the end of Jessica Jones and the last season of Daredevil means that the characters have a big gap of time to account for (Luke Cage gets a pass because the protagonist was in prison at the end of the finale and has been referenced as being incarcerated there in Iron Fist). The explanation of what Jessica Jones has been up to is fairly unsatisfying; Trish mentions more people want to do stories on Jones and her thwarting of Kilgrave . . . and she is referenced as not working. The thing is, the finale of Jessica Jones had Malcolm manning the phones and the assumption was that Alias Investigations was back in business. So, how Jones has kept her head above water for years without working and without repairing her office seems forced.

At the other end of the spectrum is Matt Murdock. "The H Word" does a decent job of illustrating - long before it is made explicit - that Murdock has hung up the mantle of Daredevil and he and Karen did not resume the romantic relationship that was percolating before Elektra showed up (and subsequently died). "The H Word" handles that transition surprisingly gracefully. In the books, Matt Murdock is able to do pro-bono law work pretty much only when Murdock and Nelson are working together (Nelson coming from a wealthy family); how Murdock is getting by financially while doing pro-bono work is not clear. Similarly, Danny Rand suffering nightmares about K'un-Lun disappearing and the monks there being slaughtered makes for a decent transition from where Iron Fist ended.

And, while Luke Cage's entrance into The Defenders makes perfect sense, Misty Knight appearing - fully restored and promoted at the police department - makes less sense. Knight was disillusioned and driven out of her detective work in Harlem at the climax of Luke Cage, so how she went from working freelance against Mariah and Shades to back on the force (albeit in a different division) is clumsily thrust upon the viewer.

The big introduction in "The H Word" is Sigourney Weaver's Alexandra. Alexandra is presented as dying and she calmly notes that all of her organs are failing. Alexandra is hinted at being exceptionally old in her first scene with Madame Gao. The magic of Alexandra's characterization comes in her interactions with Gao. Gao has been presented in the prior works as mysterious and bearing a strange amount of power. In "The H Word," Gao is deferential and she takes directions from Alexandra, which instantly elevates Alexandra.

"The H Word" meanders into its plot. Danny Rand and Colleen Wing are the most focused on where The Defenders is primed to go as they have been hunting The Hand for months. Rand explicitly asks the question that will preoccupy The Defenders: What does The Hand want with New York City? By the end of "The H Word" all viewers have is the idea that The Hand might be out for destruction or chaos without a clear vision.

On the acting front, "The H Word" is dominated by Krysten Ritter and Wai Ching Ho. Ritter may not give the most amazing performance of her career in the first episode of The Defenders, but she slips effortlessly back into the role of Jessica Jones and seeing new material with the character is a real delight - especially the way Ritter plays her. Wai Ching Ho manages to transition Madame Gao from recognizable, mysterious evil force to subordinate in a single scene without presenting even a hint that she is betraying her character. Wai Ching Ho does that through her body language and softer use of her voice in her line deliveries than in her prior appearances and that has the desired effect.

"The H Word" has a problematic task and it barely manages to accomplish that task - which is to re-introduce the main characters of the Netflix Marvel Comics shows and put them all back in New York City. The cases that Jessica Jones and Misty Knight (and then, by association, Luke Cage) are investigating have no apparent relation in "The H Word" and Matt Murdock appears out of the game, while Danny Rand is off with Wing investigating something else entirely. In other words, in "The H Word" there are no Defenders and the characters who are supposed to come together feel very far apart in this episode.

[Knowing that single episodes are an inefficient way to get episodes, it's worth looking into The Defenders - The Complete First Season on DVD or Blu-Ray, which is also a better economical choice than buying individual episodes. Read my review of the debut season of the street-level heroes here!
Thanks!]

For other Marvel Cinematic Universe pilot episodes, please check out my reviews of:
"Now Is Not The End" - Agent Carter
"Pilot"- Agents Of S.H.I.E.L.D.
"Into The Ring" - Daredevil

4/10

For other television reviews, please visit my Television Review Index Page for an organized listing!

© 2017 W.L. Swarts. May not be reprinted without permission.
| | |

Prayers Answered By Psychopaths: Jessica Jones Develops Through "AKA Crush Syndrome!"

The Good: Decent performances, Awesome trail of clues, Good character development and establishment
The Bad: Very much a part of a larger story as opposed to an effective stand-alone episode (some of the characters have little time to appear, much less develop!).
The Basics: "AKA Crush Syndrome" marks the revelation of Luke Cage and Kilgrave into Jessica Jones's world.


The burden on any new show's second episode is to maintain or grow the audience from the "peek in" that the pilot bought the series. It is a chance for shows with rockier pilot episodes to prove the producers identified and corrected the kinks from the pilot and a chance to build on whatever momentum the pilot episode built. The second episode of a series is also key for allowing genuine character development in a way that would feel rushed in a pilot episode. In the case of Jessica Jones, it is hard not to see the importance of "AKA Crush Syndrome," the first season's second episode.

"AKA Crush Syndrome" picks up after "AKA Ladies Night" (reviewed here!) and it is absolutely impossible to discuss the second episode without spoiling the big reversal at the end of the premiere episode. That is because at the end of the first episode, there is an event that absolutely defines the entire first season. "AKA Ladies Night" had private investigator Jessica Jones slowly working her way through clues on a missing person's case to reveal to her that the missing young woman, Hope Shlottman, was the victim of the same mind-controlling pusher as she once was. At the episode's climax, Shlottman murdered her own parents on a planted suggestion from Kilgrave and Jessica Jones made the conscious decision not to run away from the problem.

Opening with Jessica Jones at the Hell's Kitchen police precinct, where Jones is being interrogated by Detective Clemons about the murder of Hope Shlottman's parents, Jones is mortified to discover that the police tossed the Alias Investigations offices. At the end of the interrogation, Jessica Jones immediately runs to Luke Cage's bar to apologize for the police visiting his bar based on pictures they found at her offices. Mystified at how Kilgrave survived the bus accident, Jessica Jones visits Hope in prison to get information on his current mindset and location. It is there that Jessica decides to take up Hope's cause and exonerate her.

After attempting to enlist Jeri Hogarth to take Hope's case, Trish finds Jessica Jones and makes sure she is all right. Jessica opens an old file pertaining to a bus crash that killed Reva Connors, an accident that she knows was not exactly what was reported in the newspapers. The death of Reva Connors is what put Cage on Jones's radar and it appears that the bus accident that supposedly killed Kilgrave had loose ends that went unreported. Investigating the crash, Jones hopes to understand how Kilgrave survived after she separated from him and visiting the hospital leads Jessica Jones to an ambulance driver who drove a second ambulance away from the crash. Jones is horrified to discover that the driver who recovered Kilgrave's body is near death; he's a young man who had a stroke after donating both of his kidneys! When Gina approaches Jessica Jones about how Jones spied on her and Cage, Jones is lured into a fight that exposes her powers to Cage!

Jessica Jones starts as a mystery and "AKA Crush Syndrome" is absolutely loaded with clues. Jessica follows clues through the whole episode; from the site of the accident to the nearest hospital to the records that show there was no John Doe admitted the night of the bus accident. That chain of evidence leads Jessica to the second ambulance and the driver who was forced by Kilgrave to donate both his kidneys to the ailing pusher.

Luke Cage is well-defined in "AKA Crush Syndrome" as a man with a strong moral core. The surprise he exhibits when Jessica Jones tells him his current lover is married horrifies him. Unfortunately, for a guy who is very careful about protecting his own secrets, he is sloppy when it comes to protecting Jessica Jones. At the other end of the spectrum is Hope Shlottman. Shlottman is broken and angry by Kilgrave and when she looks right at Jessica Jones and advises the private investigator to kill herself, it is enough to send shivers up one's spine.

"AKA Crush Syndrome" is also good for defining the characters of Jeri and Trish. Hogarth is having an affair with her assistant, Pam, and Pam has to push Jeri into actually dealing with her wife. Hogarth also clearly defines her desire to win cases and her moral ambiguity when she suggests that she has uses for Kilgrave if Jessica Jones can prove he exists. Trish is clearly defined in "AKA Crush Syndrome" as Jessica Jones's best friend, a distinction noticeably lacking from the first episode. She is characterized as helpful and relentless, which is a good match for Jessica Jones. She also has a clear love for Jones and mother issues.

On the character development front, "AKA Crush Syndrome" is essential for developing Jessica Jones and creating the overall arc for her over the course of the first season. In meeting with Jack Denton, the ambulance driver, Jessica has her first clear moment of compassion. He begs her to kill him and she states that that is something she simply cannot do. That is borne out in the fight where Jones has Cage's back and it becomes an important turning point at the climax of the season. While some might enjoy that the fight exposes Luke Cage's super powers and reinforces Jessica Jones's incredible strength, the real importance of the scene comes in how both Cage and Jones show restraint and do not use their powers at lethal levels.

Jessica Jones is also developed in "AKA Crush Syndrome" as a woman who is persistent and intelligence and Krysten Ritter plays the aspects of Jones with incredible balance. The scene where Jones confronts Doctor Kurata helps Ritter define Jones amazingly well. The dialogue is exposition-heavy, but Ritter plays it perfectly as a woman whose mental wheels are turning rapidly and putting together the pieces of the story she is being told. That's a surprisingly tough thing for an actor to embody well, but Ritter pulls it off amazingly well.

Carrie-Anne Moss steals the two scenes she is in as Jeri Hogarth. Moss easily takes on the role of a lawyer in that she can deliver lines with cool professionalism and intelligence and in "AKA Crush Syndrome" she illustrates well why she was cast for the role that is not yet overly significant. Moss has wonderful presence even for such a bit role in this episode.

In his very brief appearance in the "AKA Crush Syndrome," David Tennant breaks out as Kilgrave. For the first time, his abilities, after being talked about, are very clearly seen. The magic of his cameo is that even in his brief scene, he establishes Kilgrave as having the same powers, but not the same delivery, as the antagonist from The X-Files's "Pusher" (reviewed here!). Tennant makes a powerful entrance and, in real Marvel villain fashion is not even fully revealed in his first appearance.

Ultimately, "AKA Crush Syndrome" is an excellent building episode, causing a decent rising action and sense of character development for three of the four essential characters in Jessica Jones.

[Knowing that single episodes are an inefficient way to get episodes, it's worth looking into Jessica Jones - The Complete First Season, which is also a better economical choice than buying individual episodes. Read my review of the debut season here!
Thanks!]

For other works with Krysten Ritter, be sure to visit my reviews of:
Veronica Mars
Listen Up Philip
She’s Out Of My League
Confessions Of A Shopaholic
27 Dresses
Gilmore Girls - Season 7
Veronica Mars - Season 2
Someone Like You

7/10

For other television season and episode reviews, please check out my Television Review Index Page for a listing of those reviews!

© 2015 W.L. Swarts. May not be reprinted without permission.
| | |

The Mystery Of Jessica Jones Begins With "AKA Ladies Night!"

The Good: Good initial characterization, Decent plot establishment
The Bad: No incredible performances
The Basics: "AKA Ladies Night" helps to establish who Jessica Jones is an intriguing-enough, but not exceptional, way.


When Netflix announced that the next Marvel property it was developing for its streaming service after Daredevil was Jessica Jones, I - like many geeks - asked the question "Who the hell is Jessica Jones?!" The protagonist from the book Alias, no relation to the J.J. Abrams television show, was a seemingly obscure choice to develop for the Marvel Cinematic Universe, as Jessica Jones is a third-string (or lower-rung) character in the Marvel Universe. She is, however, an ideal character for a gritty street-level hero story and that is what Jessica Jones is. Her story begins with "AKA Ladies Night."

"AKA Ladies Night" establishes the foundation for the mystery that will preoccupy the entire first season of Jessica Jones. As a pilot, "AKA Ladies Night" works hard to intrigue the viewer without giving it all away. The show manages to find the right balance between defining Jessica Jones as a woman with extraordinary powers and serious issues. The extent of her damage and her backstory is alluded to just enough to intrigue, but it's a much harder sell than pretty much any of the other Marvel openers.

Jessica Jones is introduced taking photos of a cheater having an affair on a spouse in the course of her work for Alias Investigations. Showing the photographs to the jealous husband leads to a conflict that results in Jessica Jones shoving her client through the glass window on her firm's door. Jones works for lawyer Jeri Hogarth as a freelancer for the law firm of Hogarth, Chao & Benowitz in Hell's Kitchen. Hogarth hires Jones to serve Gregory Spheeris with a lawsuit, which - given how well-insulated he is - is a herculean task. After stalking and photographing Luke Cage at his bar, unrelated to any case, Jones wakes up to her neighbor, Malcolm in her office/apartment eating her peanut butter.

She is visited by Barbara and Bob Shlottman, from Omaha, who hire her to find their daughter, Hope. Hope is missing, but still calls weekly, which leads them to believe that she has fallen in with a cult. After following the first leads on the Hope Shlottman case, she serves Spheeris and heads to Luke Cage's bar. After flirting, Cage and Jones end up back at his apartment for sex. Tracing Hope's credit card charges, Jessica Jones realizes that the man who controlled her and that she thought was dead a year ago is still alive and now has control over Hope Shlottman. After a visit to Trish Walker, Jessica makes a choice to find and rescue Hope.

Jessica Jones is an immediately intriguing protagonist from the moment she lifts up Greg Spheeris's car and observes that he gives people like him a bad name. She is super-human and not hiding it, but content to be overlooked by people who would treat her poorly. Jessica Jones suffers nightmares from the time she spent under the influence of the mysterious Kilgrave and she has a mantra ready to center herself when she has flashbacks. She is clearly not all together, but not as damaged as she was a year prior.

Luke Cage and Jeri Hogarth immediately leap off the screen as potentially fascinating characters peripheral to Jessica Jones's story. Hogarth is having an affair with her secretary, but otherwise seems principled and successful at her firm. Luke Cage seems insightful and the moment that Jessica Jones starts flirting with Cage, viewers have hope that something will come from their relationship. Jones and Cage are both extraordinarily characterized by the scene where Jessica Jones makes observations about Luke Cage's bar.

The mysteries abound in "AKA Ladies Night," starting with the question: Does no one in Hell's Kitchen have curtains?! The backstory is cleverly teased throughout the episode and it is interesting to watch a seemingly mundane case turn into a more exceptional story when Jessica Jones recognizes the restaurant that Hope was brought to. The series ties in very obliquely at the outset with the Marvel Cinematic Universe through references to

"AKA Ladies Night" has some "pilot issues," not the least of which is that in this episode it is unclear who, exactly, Trish is in the life of Jessica Jones. Jessica hits her up for money, but within "AKA Ladies Night" it seems like Trish could be Jessica's mother, sister or friend. That level of ambiguity is more frustrating than a hook to get viewers to come back.

That said, fans of science fiction and comic books will be somewhat unsurprised by the concepts of the characters in "AKA Ladies Night." Jessica's attacker is referenced and only briefly seen. His powers are referenced and genre fans will recognize that he is essentially the same as the villain from The X-Files episode "Pusher" (reviewed here!). Only briefly seen in flashbacks, Jones's enemy is heard issuing commands that others follow absolutely and the results, played out only in the episode's final moments, are horrifying.

Krysten Ritter establishes the character of Jessica Jones in a very watchable way. Despite how down on her luck Jessica Jones appears, Ritter brings a watchable quality to her in the pilot episode. None of the roles in "AKA Ladies Night" seem to be challenging to those involved - in fact the scenes with Carrie-Anne Moss stand out for how they fail to give her anything significant or deap to perform, but they make it work well-enough. Ritter and Mike Colter have decent on-screen chemistry in the episode as Jessica Jones and Luke Cage.

Ultimately, though, "AKA Ladies Night" is a tough sell to a neophyte. Were it not for my commitment to reviewing everything in the Marvel Cinematic Universe, I'm not sure the first episode would have been enough to bring me in. However, having seen where the first season of Jessica Jones goes, the episode is an effective start to the mysteries of Jessica Jones and Kilgrave.

[Knowing that single episodes are an inefficient way to get episodes, it's worth looking into Jessica Jones - The Complete First Season, which is also a better economical choice than buying individual episodes. Read my review of the debut season here!
Thanks!]

For other pilot episodes in the Marvel Cinematic Universe, please visit my reviews of:
"Into The Ring" - Daredevil
"Pilot" - Agents Of S.H.I.E.L.D.
"Now Is Not The End" - Agent Carter

5/10

For other Marvel movie, television season and episode reviews, please check out my Marvel Cinematic Universe Review Index Page for a listing of those reviews!

© 2015 W.L. Swarts. May not be reprinted without permission.
| | |