You got to take the day as it comes, right?
Well, at least that’s the perspective of our MC. It’s a normal day for them—but quite the strange one for us. Because they’ve got the most unusual superpower.
“Isle of Joy” is a fantastic episode. I am consistently enjoying the constant use of parallels between Fisk and Daredevil, and this time, it’s about love lives. It’s about interpersonal drama. How much of their “real” selves do they let through? How do others deal with them when they do?
“The Reality War” is a mess of an episode. I thought “The Empire of Death” failed to stick the landing, but wow. I don’t always make outlines for articles—I’m not that type of writer—but I did for this one, and it is longer than some articles I’ve written. Frankly, it’s hard to hold every opinion and reaction I had over the course of this one episode in my head.
Is there a more classic spooky horror scenario than hiding from something or someone who’s looking for you?
Comparing the first three episodes of Murderbot to All Systems Red is a game of pros and cons. As a “fan” of the book series, I was obviously waiting for certain scenes and anticipating how well someone could play SecUnit, but the actual viewing experience was me going “that was good” followed swiftly by disappointment—and on and on it went.
I think one of the most efficient ways to review “Wish World” is to describe a little bit of what it’s like watching “Wish World.” Because this is one of the weirdest, most unmooring episodes of Doctor Who I have ever seen.
This is the tale of Marcus.
He has a monster inside of him. But not in, like, a metaphorical way. Somehow, by some mechanics, Marcus ends up with a being of immense knowledge inside his soul.
“Art for Art’s Sake” is so settled into what I want from a gritty superhero show that it paradoxically doesn’t give me as much to talk about. The plotlines are converging, interacting, cracking open one another in ways I mostly expected.
“The Interstellar Song Contest” only has one full song in it. The song is beautifully sung, and important to the plot, yes, but “The Church on Ruby Road” somehow gets a fully laid out song, with lyrics, and a dance number, and this one doesn’t? We get the full Mr. Ring-A-Ding number basically twice in “Lux,” but the scenes here keep cutting away for every performance? That’s so weird. This is a weird way to do this story.
I feel like, as these things go, you can already tell a lot of what this story is about from that title.
Yes, finally! “Excessive Force” explodes with all the pent-up energy that this series has been waiting to use. It sets up the stakes and the dominoes so aggressively that there was never any question that Matt would become Daredevil, once again.
“The Story and the Engine” is quite the writing feat. Of all of the episodes this season—or last season—it feels like it has the most going on. Plotlines are not only densely interlocked, but the foreshadowing happens quickly and frequently. And, somehow, this episode is also one of the most expansive for the overall magical lore of Doctor Who.
