This one didn’t quite make it there. I’ve seen only good reviews coming off this product, but, even when they do look at some negatives, I just don’t know if people know what makes a superhero story great anymore. Now I don’t want you to get the wrong idea: this season had some great moments. However, it suffers from following two disjointed plotlines and fails to deliver some of the integral parts of a good hero story, namely, a compelling villain.
This season focuses on two major plotlines, as we already knew from the previews. The Punisher headlines the first story with his bloody rampage across the gangs of New York, and Electra is the star of the second major plot of the season involving the overly-menacing and unnecessarily faceless organization, The Hand. For the first five episodes or so, the Punisher has his day in the spotlight, and I believe this to be the definitive live-action version of the character. I loved his visceral fighting style, and his relationship with Daredevil as it conflicts especially with the Catholic backing of Daredevil’s convictions was especially interesting. They manage to make a three-dimensional and likeable character out of John Bernthal while at the same time demonizing the gruesome murder that he leaves in his wake. This balance made it so that I didn’t want this conflict in the show to end. Sadly that wasn’t the case. Continue reading
Netflix assumes that I want to skip opening credit sequences, which isn’t true. Yes, Netflix, I have been binge-watching Marvel’s Daredevil for the past six hours, but I still want to see the melting maroon wax (or blood?) statue of Lady Justice turn slowly as the eerie cadence of high notes fights with the low, booming bass sounds that slowly intensify beneath them. It gets me in the mood.
A title sequence is an emotional trigger, and I appreciate the opportunity to mentally prepare myself for the narrative that follows. This article contains an analysis of some of the more musically intriguing and visually engaging opening sequences. Obviously, some opening credit sequences, like those of The Simpsons and The Fresh Prince of Bel-Air, are well-established classics, so I will not discuss those below. Other title sequences feature brilliant theme music but do not offer much in terms of visuals, like those of Firefly and Battlestar Galactica. Even the simple melodies of shows like Scrubs and Gilmore Girls work well as triggers of nostalgia and empathy, but they will not appear below.
Other classic intro sequences that will not be discussed here: the concise opening of The Twilight Zone, the friendly notes of Cheers, the mission statement of Star Trek, the Big History explanations of The Big Bang Theory, and the catchy expositional songs of The Brady Bunch and Gilligan’s Island.
Dexter Continue reading
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- Tagged big b, daredevil, dexter, game of thrones, house of cards, mo money, opening credits, opening sequence, orange is the new black, the borgias, the walking dead, the west wing, title sequence, unbreakable kimmy schmidt