because I really liked daredevil, D'onofrio as Fisk was a fantastic "shark in a skin suit" and Jessica from true blood as Karen even had her own arc completely separate from the male protagonist which is surprisingly rare
also i think the "it has no heart" charge is mostly valid but an interesting complaint to make because i find that's true of most television
Well, the old saying is that most of everything is crap, right? But we don't judge things by those standards, we judge them by the standard bearers.
For instance, the heart of, say, Battlestar Galactica was the goodness of the main characters trying to maintain basic human decency in a world where it may not matter anymore. In Breaking Bad, the heart of the show was the slow slide of Walter White into villainy and Jesse's rise to salvation.
The heart of Daredevil SHOULD be (IMO, obvs) Matt trying to save Hell's Kitchen from its history of poverty and crime, and in plain textual terms, it already is; but the show doesn't do the legwork. It doesn't give us reason for us to think this is a real struggle and worth the effort. You could also work the angle where Matt struggles with his duality of upholding the law in the day and subverting it at night. But this show just wants close-ups of people looking angsty and dour, hoping their facial expressions alone sell the myriad overarching plots.
I am just arriving on this page so maybe someone has made this point but I thought the 'heart' of the season was
the parallels between the hero and the villain
they've both been shaped by and have a vision for the city, they are both willing to work outside the law to achieve it, they're both struggling to contain an inner demon that enjoys hurting other people, and they're both on a trajectory to becoming who they are (kingpin and daredevil instead of fisk and matt)
the hero/villain parallel is not a new thing by any means but I thought it was nicely done in the show
You will hate me, but you will likely not be surprised that you hate me.
Atomika's Big Damn Review: Daredevil, Season 1
"There is no there there." - Gertrude Stein
There's an illness in modern television, a hidden malady that often goes unspoken, unseen. I encourage any of you interested to seek out the essay "Tom Hooper and Art of Cinematic Affectation," to learn more, though be warned it is a lengthy and involving piece; basically, the gist is this -- sometimes people make media that bears the hallmarks of quality, but dons them like a costume to disguise their real identity of empty superficiality. They are artful, but they do not possess the requisite context and throughline that make them art. Let us not digress on the nature and qualifications of art here, though.
This is a very nice show to look at. The cast is full of charming, engaging actors and actresses doing very good work. While it would not surprise me to hear the show has a very meager budget, it does well to appear as cinematic and intimate as possible, without any of the camp trappings that perhaps a larger budget might demand.
But the show has no heart. No center. It is a hollow facade, with all its meaning and complexity removed, lacquered in layers of atmosphere, grand characters, violence, and truckloads of angst. There is not, however, anything to any of this. We are not given any reason to contextualize these conflicts, not given any meaningful history to give these myriad swirling relationships on both sides of the hero/villain divide any weight or resonance. They are all simply characters moving about the scene, lines read from a page.
Wilson Fisk is an impossible character. Immeasurably wealthy. Connected to and leveraged over every major part of the political and justice process. Completely off the grid. Grew up poor. Lived on a farm, we're told in upstate New York. I'm also going to use a phrase to describe him that I do not use lightly or glibly: Wilson Fisk appears to be mentally retarded. He is impulsive. He has no control over his emotions. He aggrandizes himself. He has little self-awareness. He has explosive outbursts of violence with little concern to necessity or consequence. He frequently destroys important relationships on a whim. We're continually told (often by Fisk himself) that Fisk "has a plan" for Hell's Kitchen. It's his magnum opus, his life's dream; other than a vague allusion to some real estate dealings, we are never given ANY clue as to what in the hell any of it actually is. Ergo, we have almost no idea what is driving this madman, this massive violent ogre who views himself as the true hero of this story. This, as well as a few other reasons, is where Daredevil subscribes to the cargo cult; there's nothing building this world, it's just looking at other shows that have done similar things, in similar tones, with similar characters, and hoping that when all that is mixed in the blender the result tastes the same.
What is Daredevil about? I'm not asking, "What happens in Daredevil?" I'm looking for the heart of this show, the brain of this show, the hat binds and connects the conflicts to the characters, and I find nothing. It's all tell, little show; however, it's also very little tell. Much like Wilson Fisk himself, this program is a torrent of angst and melodrama, of sound and fury, signifying nothing.
I found Fisk's plans underwhelming/underdeveloped as well. It's really the one piece I would have liked to have seen fleshed out. Don't know why showing images of his gentrified hells kitchen couldn't have been done. Seeing his vision of the place could bring some horror to the proceedings--especially when contrasted with his willingness to use heroin, sex traffickers , and demon worship ping ninjas to get it.
Still dug the stylistic elements and cast to enjoy the series overall, though.
Why would seeing the place add horror? His goal was literally no different than a thousand "legitimate" business men throughout America over the last few decades
gentrify the place to "clean it up", displace the residents
his goal wasn't to bring the city to its knees or destroy the world, but this was Fisk's origin story as much as it was Matt's
because I really liked daredevil, D'onofrio as Fisk was a fantastic "shark in a skin suit" and Jessica from true blood as Karen even had her own arc completely separate from the male protagonist which is surprisingly rare
Just Atomika.
The rest of us still like it.
Yeah, it seems like everybody agrees with Atomika's points (and I do as well) but despite that it still passed the requirements for an enjoyable show for most of us.
also i think the "it has no heart" charge is mostly valid but an interesting complaint to make because i find that's true of most television
Well, the old saying is that most of everything is crap, right? But we don't judge things by those standards, we judge them by the standard bearers.
For instance, the heart of, say, Battlestar Galactica was the goodness of the main characters trying to maintain basic human decency in a world where it may not matter anymore. In Breaking Bad, the heart of the show was the slow slide of Walter White into villainy and Jesse's rise to salvation.
The heart of Daredevil SHOULD be (IMO, obvs) Matt trying to save Hell's Kitchen from its history of poverty and crime, and in plain textual terms, it already is; but the show doesn't do the legwork. It doesn't give us reason for us to think this is a real struggle and worth the effort. You could also work the angle where Matt struggles with his duality of upholding the law in the day and subverting it at night. But this show just wants close-ups of people looking angsty and dour, hoping their facial expressions alone sell the myriad overarching plots.
I am just arriving on this page so maybe someone has made this point but I thought the 'heart' of the season was
the parallels between the hero and the villain
they've both been shaped by and have a vision for the city, they are both willing to work outside the law to achieve it, they're both struggling to contain an inner demon that enjoys hurting other people, and they're both on a trajectory to becoming who they are (kingpin and daredevil instead of fisk and matt)
the hero/villain parallel is not a new thing by any means but I thought it was nicely done in the show
someone pointed it out in the DD thread and I had to rewatch the episode to confirm but
Child Matt can hear Fisk's father beating Fisk's mother up in episode 2 through the walls of his apartment
also i think the "it has no heart" charge is mostly valid but an interesting complaint to make because i find that's true of most television
Well, the old saying is that most of everything is crap, right? But we don't judge things by those standards, we judge them by the standard bearers.
For instance, the heart of, say, Battlestar Galactica was the goodness of the main characters trying to maintain basic human decency in a world where it may not matter anymore. In Breaking Bad, the heart of the show was the slow slide of Walter White into villainy and Jesse's rise to salvation.
The heart of Daredevil SHOULD be (IMO, obvs) Matt trying to save Hell's Kitchen from its history of poverty and crime, and in plain textual terms, it already is; but the show doesn't do the legwork. It doesn't give us reason for us to think this is a real struggle and worth the effort. You could also work the angle where Matt struggles with his duality of upholding the law in the day and subverting it at night. But this show just wants close-ups of people looking angsty and dour, hoping their facial expressions alone sell the myriad overarching plots.
I am just arriving on this page so maybe someone has made this point but I thought the 'heart' of the season was
the parallels between the hero and the villain
they've both been shaped by and have a vision for the city, they are both willing to work outside the law to achieve it, they're both struggling to contain an inner demon that enjoys hurting other people, and they're both on a trajectory to becoming who they are (kingpin and daredevil instead of fisk and matt)
the hero/villain parallel is not a new thing by any means but I thought it was nicely done in the show
someone pointed it out in the DD thread and I had to rewatch the episode to confirm but
Child Matt can hear Fisk's father beating Fisk's mother up in episode 2 through the walls of his apartment
great touch
that timeline is bonkers
+3
Options
MsAnthropyThe Lady of Pain Breaks the Rhythm, Breaks the Rhythm, Breaks the RhythmThe City of FlowersRegistered Userregular
You will hate me, but you will likely not be surprised that you hate me.
Atomika's Big Damn Review: Daredevil, Season 1
"There is no there there." - Gertrude Stein
There's an illness in modern television, a hidden malady that often goes unspoken, unseen. I encourage any of you interested to seek out the essay "Tom Hooper and Art of Cinematic Affectation," to learn more, though be warned it is a lengthy and involving piece; basically, the gist is this -- sometimes people make media that bears the hallmarks of quality, but dons them like a costume to disguise their real identity of empty superficiality. They are artful, but they do not possess the requisite context and throughline that make them art. Let us not digress on the nature and qualifications of art here, though.
This is a very nice show to look at. The cast is full of charming, engaging actors and actresses doing very good work. While it would not surprise me to hear the show has a very meager budget, it does well to appear as cinematic and intimate as possible, without any of the camp trappings that perhaps a larger budget might demand.
But the show has no heart. No center. It is a hollow facade, with all its meaning and complexity removed, lacquered in layers of atmosphere, grand characters, violence, and truckloads of angst. There is not, however, anything to any of this. We are not given any reason to contextualize these conflicts, not given any meaningful history to give these myriad swirling relationships on both sides of the hero/villain divide any weight or resonance. They are all simply characters moving about the scene, lines read from a page.
Wilson Fisk is an impossible character. Immeasurably wealthy. Connected to and leveraged over every major part of the political and justice process. Completely off the grid. Grew up poor. Lived on a farm, we're told in upstate New York. I'm also going to use a phrase to describe him that I do not use lightly or glibly: Wilson Fisk appears to be mentally retarded. He is impulsive. He has no control over his emotions. He aggrandizes himself. He has little self-awareness. He has explosive outbursts of violence with little concern to necessity or consequence. He frequently destroys important relationships on a whim. We're continually told (often by Fisk himself) that Fisk "has a plan" for Hell's Kitchen. It's his magnum opus, his life's dream; other than a vague allusion to some real estate dealings, we are never given ANY clue as to what in the hell any of it actually is. Ergo, we have almost no idea what is driving this madman, this massive violent ogre who views himself as the true hero of this story. This, as well as a few other reasons, is where Daredevil subscribes to the cargo cult; there's nothing building this world, it's just looking at other shows that have done similar things, in similar tones, with similar characters, and hoping that when all that is mixed in the blender the result tastes the same.
What is Daredevil about? I'm not asking, "What happens in Daredevil?" I'm looking for the heart of this show, the brain of this show, the hat binds and connects the conflicts to the characters, and I find nothing. It's all tell, little show; however, it's also very little tell. Much like Wilson Fisk himself, this program is a torrent of angst and melodrama, of sound and fury, signifying nothing.
I found Fisk's plans underwhelming/underdeveloped as well. It's really the one piece I would have liked to have seen fleshed out. Don't know why showing images of his gentrified hells kitchen couldn't have been done. Seeing his vision of the place could bring some horror to the proceedings--especially when contrasted with his willingness to use heroin, sex traffickers , and demon worship ping ninjas to get it.
Still dug the stylistic elements and cast to enjoy the series overall, though.
Why would seeing the place add horror? His goal was literally no different than a thousand "legitimate" business men throughout America over the last few decades
gentrify the place to "clean it up", displace the residents
his goal wasn't to bring the city to its knees or destroy the world, but this was Fisk's origin story as much as it was Matt's
That would be the horror--all of these awful things being done to 'revitalize' a place, but it turns out the 'revitalization' is simply a higher-class version of strip mall. Seems horrific* to me.
* - In the same way a lot of the stuff the Seers of the Throne aim for in Mage: The Awakening is...
also i think the "it has no heart" charge is mostly valid but an interesting complaint to make because i find that's true of most television
Well, the old saying is that most of everything is crap, right? But we don't judge things by those standards, we judge them by the standard bearers.
For instance, the heart of, say, Battlestar Galactica was the goodness of the main characters trying to maintain basic human decency in a world where it may not matter anymore. In Breaking Bad, the heart of the show was the slow slide of Walter White into villainy and Jesse's rise to salvation.
The heart of Daredevil SHOULD be (IMO, obvs) Matt trying to save Hell's Kitchen from its history of poverty and crime, and in plain textual terms, it already is; but the show doesn't do the legwork. It doesn't give us reason for us to think this is a real struggle and worth the effort. You could also work the angle where Matt struggles with his duality of upholding the law in the day and subverting it at night. But this show just wants close-ups of people looking angsty and dour, hoping their facial expressions alone sell the myriad overarching plots.
I am just arriving on this page so maybe someone has made this point but I thought the 'heart' of the season was
the parallels between the hero and the villain
they've both been shaped by and have a vision for the city, they are both willing to work outside the law to achieve it, they're both struggling to contain an inner demon that enjoys hurting other people, and they're both on a trajectory to becoming who they are (kingpin and daredevil instead of fisk and matt)
the hero/villain parallel is not a new thing by any means but I thought it was nicely done in the show
Yes, but neither has actually demonstrated what that vision is.
It's just the script expecting the audience to do all the work.
0
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Apothe0sisHave you ever questioned the nature of your reality?Registered Userregular
also i think the "it has no heart" charge is mostly valid but an interesting complaint to make because i find that's true of most television
Well, the old saying is that most of everything is crap, right? But we don't judge things by those standards, we judge them by the standard bearers.
For instance, the heart of, say, Battlestar Galactica was the goodness of the main characters trying to maintain basic human decency in a world where it may not matter anymore. In Breaking Bad, the heart of the show was the slow slide of Walter White into villainy and Jesse's rise to salvation.
The heart of Daredevil SHOULD be (IMO, obvs) Matt trying to save Hell's Kitchen from its history of poverty and crime, and in plain textual terms, it already is; but the show doesn't do the legwork. It doesn't give us reason for us to think this is a real struggle and worth the effort. You could also work the angle where Matt struggles with his duality of upholding the law in the day and subverting it at night. But this show just wants close-ups of people looking angsty and dour, hoping their facial expressions alone sell the myriad overarching plots.
I am just arriving on this page so maybe someone has made this point but I thought the 'heart' of the season was
the parallels between the hero and the villain
they've both been shaped by and have a vision for the city, they are both willing to work outside the law to achieve it, they're both struggling to contain an inner demon that enjoys hurting other people, and they're both on a trajectory to becoming who they are (kingpin and daredevil instead of fisk and matt)
the hero/villain parallel is not a new thing by any means but I thought it was nicely done in the show
someone pointed it out in the DD thread and I had to rewatch the episode to confirm but
Child Matt can hear Fisk's father beating Fisk's mother up in episode 2 through the walls of his apartment
great touch
that timeline is bonkers
Yeah, that doesn't make sense. Fisk is at least ten years older than Matt.
+1
Options
TavIrish Minister for DefenceRegistered Userregular
my friend's gf is proper deep end tumblr
like, she'll accuse a waiter of ableism if the establishment doesn't have gluten/dairy free options
she is not fun to be around
0
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Apothe0sisHave you ever questioned the nature of your reality?Registered Userregular
Yes, but neither has actually demonstrated what that vision is.
It's just the script expecting the audience to do all the work.
I guess that's not critical for me to have explored in depth? it's enough that both of them think they're right, and that their goals are at cross purposes and that I can identify with the hero's side (stopping people who want to hurt other people) than the villain's (pushing drugs, stealing little kids from parents, killing people)
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syndalisGetting ClassyOn the WallRegistered User, Loves Apple Productsregular
also i think the "it has no heart" charge is mostly valid but an interesting complaint to make because i find that's true of most television
Well, the old saying is that most of everything is crap, right? But we don't judge things by those standards, we judge them by the standard bearers.
For instance, the heart of, say, Battlestar Galactica was the goodness of the main characters trying to maintain basic human decency in a world where it may not matter anymore. In Breaking Bad, the heart of the show was the slow slide of Walter White into villainy and Jesse's rise to salvation.
The heart of Daredevil SHOULD be (IMO, obvs) Matt trying to save Hell's Kitchen from its history of poverty and crime, and in plain textual terms, it already is; but the show doesn't do the legwork. It doesn't give us reason for us to think this is a real struggle and worth the effort. You could also work the angle where Matt struggles with his duality of upholding the law in the day and subverting it at night. But this show just wants close-ups of people looking angsty and dour, hoping their facial expressions alone sell the myriad overarching plots.
I am just arriving on this page so maybe someone has made this point but I thought the 'heart' of the season was
the parallels between the hero and the villain
they've both been shaped by and have a vision for the city, they are both willing to work outside the law to achieve it, they're both struggling to contain an inner demon that enjoys hurting other people, and they're both on a trajectory to becoming who they are (kingpin and daredevil instead of fisk and matt)
the hero/villain parallel is not a new thing by any means but I thought it was nicely done in the show
someone pointed it out in the DD thread and I had to rewatch the episode to confirm but
Child Matt can hear Fisk's father beating Fisk's mother up in episode 2 through the walls of his apartment
great touch
that timeline is bonkers
Yeah, that doesn't make sense. Fisk is at least ten years older than Matt.
Comic book timelines are ALWAYS bonkers.
They were fudging eras left and right. The show felt like the 70s with tech from the current day. The flashbacks felt downright ROOTED in the early to mid 70s, even though in reality the 90s would make a lot more sense.
I wouldn't put weight on who is older than the other too much.
syndalis on
SW-4158-3990-6116
Let's play Mario Kart or something...
+3
Options
TraceGNU Terry Pratchett; GNU Gus; GNU Carrie Fisher; GNU Adam WeRegistered Userregular
also i think the "it has no heart" charge is mostly valid but an interesting complaint to make because i find that's true of most television
Well, the old saying is that most of everything is crap, right? But we don't judge things by those standards, we judge them by the standard bearers.
For instance, the heart of, say, Battlestar Galactica was the goodness of the main characters trying to maintain basic human decency in a world where it may not matter anymore. In Breaking Bad, the heart of the show was the slow slide of Walter White into villainy and Jesse's rise to salvation.
The heart of Daredevil SHOULD be (IMO, obvs) Matt trying to save Hell's Kitchen from its history of poverty and crime, and in plain textual terms, it already is; but the show doesn't do the legwork. It doesn't give us reason for us to think this is a real struggle and worth the effort. You could also work the angle where Matt struggles with his duality of upholding the law in the day and subverting it at night. But this show just wants close-ups of people looking angsty and dour, hoping their facial expressions alone sell the myriad overarching plots.
I am just arriving on this page so maybe someone has made this point but I thought the 'heart' of the season was
the parallels between the hero and the villain
they've both been shaped by and have a vision for the city, they are both willing to work outside the law to achieve it, they're both struggling to contain an inner demon that enjoys hurting other people, and they're both on a trajectory to becoming who they are (kingpin and daredevil instead of fisk and matt)
the hero/villain parallel is not a new thing by any means but I thought it was nicely done in the show
someone pointed it out in the DD thread and I had to rewatch the episode to confirm but
Child Matt can hear Fisk's father beating Fisk's mother up in episode 2 through the walls of his apartment
also i think the "it has no heart" charge is mostly valid but an interesting complaint to make because i find that's true of most television
Well, the old saying is that most of everything is crap, right? But we don't judge things by those standards, we judge them by the standard bearers.
For instance, the heart of, say, Battlestar Galactica was the goodness of the main characters trying to maintain basic human decency in a world where it may not matter anymore. In Breaking Bad, the heart of the show was the slow slide of Walter White into villainy and Jesse's rise to salvation.
The heart of Daredevil SHOULD be (IMO, obvs) Matt trying to save Hell's Kitchen from its history of poverty and crime, and in plain textual terms, it already is; but the show doesn't do the legwork. It doesn't give us reason for us to think this is a real struggle and worth the effort. You could also work the angle where Matt struggles with his duality of upholding the law in the day and subverting it at night. But this show just wants close-ups of people looking angsty and dour, hoping their facial expressions alone sell the myriad overarching plots.
I am just arriving on this page so maybe someone has made this point but I thought the 'heart' of the season was
the parallels between the hero and the villain
they've both been shaped by and have a vision for the city, they are both willing to work outside the law to achieve it, they're both struggling to contain an inner demon that enjoys hurting other people, and they're both on a trajectory to becoming who they are (kingpin and daredevil instead of fisk and matt)
the hero/villain parallel is not a new thing by any means but I thought it was nicely done in the show
someone pointed it out in the DD thread and I had to rewatch the episode to confirm but
Child Matt can hear Fisk's father beating Fisk's mother up in episode 2 through the walls of his apartment
great touch
that timeline is bonkers
He can just hear across time, obvs.
In the same way you can see a year in the past from a lightyear away...
0
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AManFromEarthLet's get to twerk!The King in the SwampRegistered Userregular
also i think the "it has no heart" charge is mostly valid but an interesting complaint to make because i find that's true of most television
Well, the old saying is that most of everything is crap, right? But we don't judge things by those standards, we judge them by the standard bearers.
For instance, the heart of, say, Battlestar Galactica was the goodness of the main characters trying to maintain basic human decency in a world where it may not matter anymore. In Breaking Bad, the heart of the show was the slow slide of Walter White into villainy and Jesse's rise to salvation.
The heart of Daredevil SHOULD be (IMO, obvs) Matt trying to save Hell's Kitchen from its history of poverty and crime, and in plain textual terms, it already is; but the show doesn't do the legwork. It doesn't give us reason for us to think this is a real struggle and worth the effort. You could also work the angle where Matt struggles with his duality of upholding the law in the day and subverting it at night. But this show just wants close-ups of people looking angsty and dour, hoping their facial expressions alone sell the myriad overarching plots.
I am just arriving on this page so maybe someone has made this point but I thought the 'heart' of the season was
the parallels between the hero and the villain
they've both been shaped by and have a vision for the city, they are both willing to work outside the law to achieve it, they're both struggling to contain an inner demon that enjoys hurting other people, and they're both on a trajectory to becoming who they are (kingpin and daredevil instead of fisk and matt)
the hero/villain parallel is not a new thing by any means but I thought it was nicely done in the show
someone pointed it out in the DD thread and I had to rewatch the episode to confirm but
Child Matt can hear Fisk's father beating Fisk's mother up in episode 2 through the walls of his apartment
great touch
that timeline is bonkers
He can just hear across time, obvs.
Speed Force.
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AManFromEarthLet's get to twerk!The King in the SwampRegistered Userregular
Well actually, how old was Matt when he got hurt? It's very possible that the Fisk we saw was nearer 15 or so, so that might work just enough.
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Apothe0sisHave you ever questioned the nature of your reality?Registered Userregular
like, she'll accuse a waiter of ableism if the establishment doesn't have gluten/dairy free options
she is not fun to be around
jesus fucking christ
Yes, the waiter is responsible for the menu. As part of receiving their $5.20 an hour they are tasked with ordering and setting a menu for the establishment. Of course.
Some days Blue wonders why anyone ever bothered making numbers so small; other days she supposes even infinity needs to start somewhere.
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SummaryJudgmentGrab the hottest iron you can find, stride in the Tower’s front doorRegistered Userregular
It's like, I'm continually not sure if these people actually exist
But enough stories come out that they must
Some days Blue wonders why anyone ever bothered making numbers so small; other days she supposes even infinity needs to start somewhere.
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AManFromEarthLet's get to twerk!The King in the SwampRegistered Userregular
Posts
Just Atomika.
The rest of us still like it.
I am just arriving on this page so maybe someone has made this point but I thought the 'heart' of the season was
they've both been shaped by and have a vision for the city, they are both willing to work outside the law to achieve it, they're both struggling to contain an inner demon that enjoys hurting other people, and they're both on a trajectory to becoming who they are (kingpin and daredevil instead of fisk and matt)
the hero/villain parallel is not a new thing by any means but I thought it was nicely done in the show
Why would seeing the place add horror? His goal was literally no different than a thousand "legitimate" business men throughout America over the last few decades
gentrify the place to "clean it up", displace the residents
his goal wasn't to bring the city to its knees or destroy the world, but this was Fisk's origin story as much as it was Matt's
then again we can all get malaysian tv here too, which is correspondingly subbed in malay...
this is amazing whether intentional or unintentional
fml hotdog zoned again
Yeah, it seems like everybody agrees with Atomika's points (and I do as well) but despite that it still passed the requirements for an enjoyable show for most of us.
someone pointed it out in the DD thread and I had to rewatch the episode to confirm but
great touch
Check out my site, the Bismuth Heart | My Twitter
Unsurprisingly, the two of us have differing visions of ninja crime fighters in a big city and the stories they are contained within!
dream pls
that timeline is bonkers
That would be the horror--all of these awful things being done to 'revitalize' a place, but it turns out the 'revitalization' is simply a higher-class version of strip mall. Seems horrific* to me.
* - In the same way a lot of the stuff the Seers of the Throne aim for in Mage: The Awakening is...
"The only real politics I knew was that if a guy liked Hitler, I’d beat the stuffing out of him and that would be it." -- Jack Kirby
Yes, but neither has actually demonstrated what that vision is.
It's just the script expecting the audience to do all the work.
I LIKE IT
Yeah, that doesn't make sense. Fisk is at least ten years older than Matt.
like, she'll accuse a waiter of ableism if the establishment doesn't have gluten/dairy free options
she is not fun to be around
Have you taken your mate aside to enquire "She's CRAZY in the sack, right?"
Comic book timelines are ALWAYS bonkers.
They were fudging eras left and right. The show felt like the 70s with tech from the current day. The flashbacks felt downright ROOTED in the early to mid 70s, even though in reality the 90s would make a lot more sense.
I wouldn't put weight on who is older than the other too much.
Let's play Mario Kart or something...
you should accuse her of being lactose intolerant
m'lady
Just kind of assumed, really.
He can just hear across time, obvs.
"The only real politics I knew was that if a guy liked Hitler, I’d beat the stuffing out of him and that would be it." -- Jack Kirby
In the same way you can see a year in the past from a lightyear away...
Speed Force.
jesus fucking christ
Yes, the waiter is responsible for the menu. As part of receiving their $5.20 an hour they are tasked with ordering and setting a menu for the establishment. Of course.
But enough stories come out that they must
@Hakkekage