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[TV Review] “Marvel’s Daredevil” Episode 1.12 ‘The Ones We Leave Behind’

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After last episode’s shocking events “The Ones We Leave Behind” starts with Karen, shaken and more than a little deterred by her actions. She awakes from a bad dream afraid to see Wilson Fisk standing in her apartment. He delivers a beautiful string of dialogue that captures the weight of taking a life. He reminds Karen that it gets easier the more you do it. It serves as a perfect introduction for the events at the end of this episode of Marvel’s Daredevil.

Make no mistake, Karen is directly responsible for Ben Ulrich’s death. It’s unclear whether or not Fisk would have killed the intrepid reporter even if Wesley hadn’t died by Karen’s hand. But it sure seems like that helped to motivation the action. In any event, for the final moments of a penultimate chapter Ben’s death perhaps didn’t carry the intended weight.

The team is broken. Foggy and Matt are on bad terms and Karen is drinking. Somehow this whole thing seems like a believable fracture, because this team wasn’t very tightly defined outside of the core lawyer relationship. Foggy and Karen’s first scene is noticeably distraught and desperate. There was an aire of sexuality to their interchange until Foggy delivered the brilliant lines about killing people and calling yourself a human. This cuts right through Karen’s face and leaves her weird and vulnerable.

Elsewhere the relationship between Vanessa and Fisk was further solidified when she chose to stand by him. Its strange that such a disgusting man can command such admiration from those around him. Owlsley doesn’t necessarily believe in Fisk anymore, but he’s been a self righteous dick from the beginning. Yet, Fisk’s humanity is briefly on display as he sits alone with Wesley’s corpse. He gives him a small kiss and you know everything you need to. There was a love between these men. Not of the sexuality variety, but through a shared dedication to a common goal.

I’ll miss Ben’s sensibilities. By the end of this episode he definitely had the least to lose in this scenario, but his scene with Daredevil was something to behold. There’s the cautious warning, and Ben’s smug response. But more than that, these scenes do an incredible job at masking exposition. There’s something charming about watching two incredibly smart people work through the grind of putting Fisk’s plan together.

The highlight of the episode, culminates in something small. Matt is on the street corner soaking in every little sound with his super senses. This embodies us in the moment as Daredevil for a little longer than we’ve previously seen. The result is captivating and exhilarating when he makes his desired connection. Seeing Matt hurry onto a rooftop in plain clothes was exciting if not a little silly. Somehow his black getup makes it easier to digest all the flipping and acrobatic shit. When it’s a man in a three piece suit it tends to look a little ridiculous. So the best moment was immediately saddled with something a little silly,  which perhaps elevated it to a level of self parody.

The scenes with Daredevil in the darkness of the drug warehouse was another fantastic display of cinematography and visual storytelling. All of these pushers with their eyes burnt out was a disgusting image in and of itself, but when they overwhelm Daredevil the scene becomes so claustrophobic. But the cut to the next scene was a little convenient as a way for him to conquer that threat. But HOLY SHIT. Madame Gao is definitely something more supernatural. The punch she delivers is akin to PowerFist‘s powers. So let’s hope we’ll see her again once Danny Rand gets his own Netflix series.

In the final scene, Fisk’s speech to Ulrich is poignant and telling. These are two men who are likely matched with one another, but Fisk is a monster. So he imposes himself on others. He diminishes Ben’s work because he’s afraid of it. He is poetic as he dances around his point. But the beauty of his performance melts away as he claims admiration for the man. He gets up and becomes the boy we saw a few episodes ago.

It’s a taste of the monster Daredevil must now face. Hopefully Fisk has less diarrhea-induced like screams when he finally battles Hornhead, in the first season finale “Daredevil.”

 

 

 

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‘Witchblade’ is Getting Resurrected This Summer in New Comic Series from Top Cow and Image Comics

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Witchblade cover

Witchblade, the popular comic series that initially ran from 1995 to 2015 and launched a TV series, is getting resurrected in a new comic series from Top Cow and Image Comics. It’s set to unleash heavy metal, black magic and blood this summer.

Look for the new Witchblade series to launch on July 17, 2024.

In Witchblade #1, “New York City Police Detective Sara Pezzini’s life was forever fractured by her father’s murder. Cold, cunning, and hellbent on revenge, Sara now stalks a vicious criminal cabal beneath the city, where an ancient power collides and transforms her into something wild, magnificent, and beyond her darkest imaginings. How will Sara use this ancient power, or will she be consumed by it?”

The series is penned by NYT Best-Selling writer Marguerite Bennett (AnimosityBatwomanDC Bombshells) and visualized by artist Giuseppe Cafaro (Suicide SquadPower RangersRed Sonja). The creative duo is working with original co-creator Marc Silvestri, who is the CEO of Top Cow Productions Inc. and one of the founders of Image Comics. They are set to reintroduce the series to Witchblade’s enduring fans with “a reimagined origin with contemporary takes on familiar characters and new story arcs that will hook new readers and rekindle the energy and excitement that fueled the 90’s Image Revolution that shaped generations of top creators.”

Bennett said in a statement, “The ability to tell a ferocious story full of monsters, sexuality, vision, and history was irresistible.” She adds, “Our saga is sleek, vicious, ferocious, and has a lot to say about power in the 21st century and will be the first time that we are stopping the roller coaster to let more people on. I’ve loved Witchblade since I was a child, and there is truly no other heroine like Sara with such an iconic legacy and such a rich, brutal relationship to her own body.”

“The Witchblade universe is being modernized to reflect how Marguerite beautifully explores the extreme sides of Sara through memories, her personal thoughts, like desire and hunger, in her solitude and when she is possessed by the Witchblade. So, I had to visually intersect a noir True Detective-like world with a supernatural, horror world that is a fantastic mix between Berserk and Zodiac,” Cafaro stated.

Marc Silvestri notes, “This is brand new mythology around Sara, and I can’t wait for you to fall in love with her and all the twists and turns. Discover Witchblade reimagined this summer, and join us as we bring all the fun of the 90s to the modern age and see how exciting comics can be. I can’t wait for you to read this new series.”

Witchblade#1 will be available at comic book shops on Wednesday, July 17th, for $4.99 for 48 pages. And it’ll come with multiple cover variants.

  • Cover A: Marc Silvestri and Arif Prianto (Full Color)

  • Cover B: Giuseppe Cafaro and Arif Prianto (Full Color)

  • Cover C: Blank Sketch Cover

  • Cover D (1/10): Dani and Brad Simpson (Full Color)

  • Cover E (1/25): Marc Silvestri and Arif Prianto, Virgin Cover (Full Color)

  • Cover F (1/50): J.Scott Campbell (Full Color)

  • Cover G (1/100): Bill Sienkiewicz. (Full Color)

  • Cover H (1/250): Line art by Marc. Virgin Cover, Inks (B/W)

Witchblade #1 will also be available across many digital platforms, including Amazon Kindle, Apple Books, and Google Play.

Witchblade comic panel Witchblade #1 cover image

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