A Review of Marvel’s Jessica Jones

Things are starting to ratchet up in the Jessica Jones universe. It was an incredible and fully complete story, with thematic explorations that were way ahead of the pop culture curve.

This inevitably leads us to getting the most simple and easy-to-understand villainous archetypes: the world destroyer. I won’t just recommend you watch Jessica Jones. She’s also a private detective with a drinking problem and a traumatic past.

Trish, Jessica’s TV talkshow friend, gives her a call near the end of the episode. It isn’t refined. But it gets the job done, and as far as she’s concerned, that’s all that matters. It’s never epic or expansive. This is Jessica’s milieu as a hero, though: She absolutely must do her diligence and rescue Malcolm from Kilgrave’s grasp, even if, in the grand scheme of things, Malcolm is just a bump in the road.

Most pertinently, why doesn’t she take advantage of the 30-second delay Kilgrave imposes on the cops he’s forced to pull guns on themselves before they’re finally free from his control by jabbing one of those syringes full of anaesthetic into him-or on the off chance she didn’t have one with her, using her super strength to cold-cock him and physically tear his tongue out? Either way, the series has certainly set up the story for Will to step into Kilgraves spot.

‘I’m very uncomfortable with the feeling there’s anything special about me, ‘ he admits. “Kilgrave wanted a leather jacket, cello music, and the smile of a pretty girl”. Or she cannot go. She says that she’s found 99 others with powers, and it’s hard to know whether or not she’s telling the truth there.

Today is good. No, it’s great.

It only took about a minute of the final episode of the first season of Marvel’s Jessica Jones before I got excited.

Jessica similarly is given more background.

Marvel Studios took a gamble when they made a decision to base their first superheroine show on such obscure material, and it paid off. Jessica Jones is dark, compelling and brutally honest. “Alias” told the story of a woman healing from abuse. Jones is the first truly relatable superhero. This show, which began streaming November 20, offers almost the exact same formula, but it also features so much more. These people don’t need suits to exhibit their powers.

Hitchcock is famous for his dictate to “torture the women”. But the power on display in “Jessica Jones” is different.

Jessica Jones has allowed Marvel to think about the consequences of its world and the mayhem that it has created.

It’s Ruben again. Although the look on Jessica’s face when he asks her to “see a movie sometime” is priceless, it doesn’t make his presence any less jarring. “Many people would make that choice, and it’s a perfectly valid one”.

Lack of character agency and poor character development of on-screen survivors is often cited by critics as a reason that on-screen sexual violence is exploitive and unacceptable – not to mention that on-screen rape is too frequently used to forward a male character’s development. In the wake of Gamergate, Elliot Rodger, and the rise of MRAs, Jessica Jones is a powerful antidote. Writer Melissa Rosenberg (as in Dexter series and Twilight movies) is able to focus the show not on the abilities of Jones or even the flash and CGI shenanigans like you see in Avengers and instead gives us a glimpse into PTSD and Jones’ struggle with her own demons.

Luke reveals to Jessica that he was under Killgrave’s control when he blew up his own bar with himself in it. He explains that he had been following Jessica in hopes of her leading him to Killgrave so that he could avenge his wife’s death. Research shows that Netlfix watchers decide whether or not they will watch a series all the way through after the third episode; there’s a thin line between confusion and intrigue, and while the latter compels your audience to stay for more, the former makes them feel like continuing to watch will be too much work.

Another criticism is, “How long can “Jessica Jones” hold the interest of viewers with the Killgrave plot?” He is the center of the plot, and Jones revolves around him.

Tennant has a whole lotta fun as the bad here, a man who can tell you to shoot yourself or walk off the ledge of a building.

So not only do we have little queer representation, the representation we get drops from three characters total to two. In contrast, “Jessica Jones” is part of the Marvel/Netflix slate that is hoping to compete with the heavy-hitters of cable – its competition is “Game of Thrones”, not “Love and Rockets”. It’s more of an adrenaline placement of action than a nervy twitch. Jones isn’t the most reliable narrator, and it was likely a scare-tactic, but the question and possibility remains. The positive critical reception and strong viewership of “Jessica Jones” seems to suggest that they are right.