Review

Jessica Jones season two review

Genre-wise Jessica Jones is a mashup between the superhero and noir genres. When time came to choose between the conventions and traditions of the two, the first season ended up leaning more towards its superhero influences. Despite the hero’s bad choices and the show’s moral complexity, season one had Kilgrave as a clearcut villain – the season’s final arc followed the traditional superhero structure of climbing towards an action set piece.

Season two goes the other way, with morality never being so clearly defined as the final episodes of season one. Some viewers may find this disappointing – while there are compelling villains in season two, none of them are as overtly and undeniably villainous as Kilgrave. Instead the second season has more of a focus on moral complexity.

Krysten_Ritter_by_Gage_Skidmore_2
A show about moral complexity, watched over by an all-seeing eye. / Krysten Ritter by Gage Skidmore, via Wikimedia Commons

Jessica begins the season broken and having now killed out of choice, wrestling with the knowledge that she finds it easy to end a life. Anger management plays a big part in the second season, as do the themes of drug addiction, domination and bad parenting. Season one puts a focus on loss of self-control caused by outside manipulators (Kilgrave, Dorothy, Hogarth), while in season two the focus is on loss of self-control from within (anger, addiction, distrust). But the big difference between seasons two and one is that season two leans more heavily into the moral uncertainty, at one point making a persuasive case that Jessica might end up being the villain of this story.

Once again Jeri Hogarth blurs the line between antihero and villain in a way that reminds me of Glenn Close’s Patty Hewes. She’s cold and ruthless, but with a sensitive, broken side – a mirror in the corporate world to Jessica Jones’ working class equivalent. Widely shared leaked shots from on set showed that Kilgrave returns to the show despite his death. My worry going in was that the show would repeat what Heroes did with Sylar, keeping an iconic villain around past the natural end-point to his story. Kilgrave’s appearance is big enough to have an impact but not to stretch credulity.

Season two doesn’t give the audience everything that they might have liked in the first season, but tackles a lot of the same dilemmas from a different angle, and with the same high quality writing and performances. Having just completed my first viewing of season two, I’m not sure which of the two seasons is my favourite, because of the different styles and goals of the stories each tells. While undeniably told with the same tone, in terms of storytelling choices season two zigs where season one zagged – it acts as a sort of companion piece to the first season.

Conclusion: In some ways season two tells a different type of story to season one, but both reach a similar high standard.

Analysis

Themes of Abuse and Solidarity in Netflix’s Jessica Jones Season One

Trigger Warning – abusive relationships.

The goal with this blogpost is to build on the post I wrote the other day about the importance of themes in fiction. I’ll be exploring the themes and thematic importance of characters a particular work of fiction and their relation to the real world, in this case the first season of Netflix’s Jessica Jones.

Jessica Jones is the story of a superpowered private investigator in the superheroic world of the ‘Marvel Cinematic Universe’ – the world of The Avengers. The scale of the story is smaller, making the tone more grounded and noirish. The first season covers Jessica fighting against her abusive ex-boyfriend Kilgrave.

For the purpose of this analysis I’ll be focusing on the following key themes:

  • Abusive relationships
  • Entitlement and abuse of power
  • Trauma, PTSD and guilt
  • Heroism
  • Female solidarity and empowerment
  • Male allies and ‘nice guys’

and the following key characters:

  • Jessica Jones – a superpowered private investigator
  • Kilgrave – her superpowered, abusive ex-boyfriend
  • Trish Walker – Jessica’s closest friend
  • Jeri Hogarth – Jessica’s lawyer and employer
  • Hope Shlottman – Jessica’s client and a fellow victim of Kilgrave
  • Will Simpson – Trish’s love interest, a cop and an ally to Jessica and Trish
  • Luke Cage – Jessica’s on-off lover and ally
  • Dorothy Walker – Trish’s mother, a TV executive
  • Albert and Louise Thompson – Kilgrave’s parents
  • Malcolm Ducasse – Jessica’s neighbour
  • Dr Wendy Hogarth-Ross – Jeri’s wife
  • Pam the Secretary – Jeri’s secretary and girlfriend
  • Guy in the Jacket
  • Guy at the Bar

Continue reading “Themes of Abuse and Solidarity in Netflix’s Jessica Jones Season One”

Film & Television Opinion

Bryan Singer on Superman Returns

Bryan Singer made a few headlines last week when he blamed the box office failure of his film, Superman Returns, on the fact that it was targeted at a female audience – who didn’t turn out to watch it as highly as he’d hoped:

It was a movie made for a certain kind of audience. Perhaps more of a female audience. It wasn’t what it needed to be, I guess. I think I could lop the first quarter off and start the movie a bit more aggressively and maybe find a way to start the movie with the jet disaster sequence or something. I could have grabbed the audience a little more quickly. I don’t know what would have helped. Probably nothing.

Singer’s quotes have been taken out of context slightly, but the idea that the film was targeted at women is his most solid definition of the “certain kind of audience” he was chasing, and he thinks that there was “probably nothing” different he could have done.

Continue reading “Bryan Singer on Superman Returns”

Egotism

Making a Film

I’ve mentioned in passing that I’m currently studying on a university course – I’m also involved with the university’s Film Production Society.
Members of the Society are mostly involved in the film-making and animation courses, and there’s a lot of talent in these areas, with animation being a university specialty. (The university will be hosting an annual animation festival this week, which is apparently very prestigious in the animation industry. Speakers include Gail Simone and Rhiannon Pratchett, who even I am vaguely aware of.)

While I’ve picked up a few things about cinematography and lighting during Society meetings, the main purpose of the Society is, unsurprisingly, to produce films. The second film of the academic year is currently in pre-production… based on a script I knocked together. Based on the skill I’ve seen others on the course display on previous projects and practice sessions, and the quality of the acting in auditions, the end product might actually end up being half decent in spite of my involvement.

Continue reading “Making a Film”