Jessica Jones season 2 arrives on March 8 at Netflix. We make a critique of the second season of the Marvel heroine played by Krysten Ritter. This is season 2 of the series based on the comic Alias.
We are going to extend the criticism that we made a few weeks ago about the start of Season 2 of Jessica Jones, the Netflix series that is based on the Marvel comics, signed by Brian Michael Bendis. On the occasion of International Women's Day, March 8, Netflix has taken the opportunity to launch the entire season 2 of the series on its platform.
As we told you at the time, Jessica Jones season 2 is located after the events narrated in the mini-series of The Defenders , which served as a crossover to all previous Marvel series and Netflix. Jessica (Krysten Ritter) tries to revive the business, the Alias research agency, trying to overcome her final showdown with the maniac Kilgrave (David Tennant). However, despite putting everything on her part, her fame as a murderer with powers pursues her.
While at their door they call a series of characters of dubious sanity, Trish (Rachael Taylor) continues the investigation of the accident that endowed Jessica with her abilities. Unfortunately, his curiosity will also attract the unwanted attention of certain elements, who want to keep the truth hidden and conspire to keep Jessica and Trish as far as possible from the truth after the experiments that gave the detective his powers .
In the following lines we began to criticize you all this season 2 of Jessica Jones. For this, we value the positive points as the negatives of this second batch of episodes of the series created by Melissa Rosenberg (screenwriter and producer of the Twilight Saga and the television series Dexter).
A long time ago, in a blog, we told you about an adaptation of a comic that is not 100% true to the original material does not mean that it is bad. In this sense, Jessica Jones and season 2 exemplify what we said at that time in that opinion column.
Jessica Jones season 2 ignores, broadly speaking, the continuity of the comics. Far from adapting The Pulse , the successor series of Alias, the original collection of heroin, this second installment of the vicissitudes of the maligned private investigator of Marvel departs in another direction. This new stage is far from the comics to only recreate a story of modern hero, as we noted in the critique of the first episode.
In this sense, the series commits the vice of the rest of Netflix and Marvel series, trying to impregnate a certain realism of presentation (what many people call "realistic", go). But, where in series like Iron Fist or The Defenders this formula does not offer the best results, with Jessica Jones it works, due to the same tone of the show. Of course, it is possible that some liberties regarding the comic bother the hardest group of fans.
Jessica Jones tries to get closer to the genre noir and detective films and takes many elements of these. From music, with touches of jazz, to the interior monologues of the protagonist (who has nothing to envy in terms of cynicism and bad habits to detectives like Marlowe or Sam Spade). This also includes, by the way, some nod to the best thrillers and detective films, such as Sed de Mal by Orson Welles.
Even so, the series tries to be framed within the same continuity of the Marvel Cinematic Universe, mentioning the time line of the films. The most clear reference is the inclusion of La Balsa (the prison for people with powers), which he mentioned and was shown in Captain America: Civil War. Also, do not lose sight of it, the connections with the other series are maintained. An example is the presence of Turk (Rob Morgan), the unfortunate recurring bully of all the original series of Marvel and Netflix.
The treatment of the series denotes that it is aimed above all at an audience that does not enjoy precisely the stories of heroes in disguise. It must be understood that the latter is precisely one of the two objective publics of the series, together with the devotees of the character original.
On the other hand, there is also a feminist sieve that covers the story. As we have already pointed out to you, Jessica Jones performs a reversal of roles, in which female characters carry out actions or take positions typically associated with men in noir stories. On the other hand, the approach of diverse characters is very rich and varied, not focusing on archetypes or clichés. That in addition the proportion of men and women be organic, very natural and nothing forced, enhances the discourse of the series.
It is worth noting, very especially, the acting quality of the cast. Certainly, Krysten Ritter is the one that stands out the most, since it makes the character of Jessica Jones his own. But they are precisely the secondary ones who give more life to this second season. Carrie-Anne Moss re-fills the screen with her presence, but interesting developments, such as the addition of Janet McTeer (in a paper that we will not reveal to you), are unpayable.
And speaking of priceless. The return (punctual) of one of the artists of the first season is one of the things that more "gustito" has given us. Pity that his presence is limited to a single episode. Maybe we'll see him back in the third season?
One of the main problems with which Jessica Jones Season 2 is located is precisely a repetition of the structure of the second season. Although the subject changes, the skeleton in it. If in season 1 of the series the topic of how Jessica "overcame" her trauma was addressed, it is intended to narrate a history of origins. But, as we say, because the approach and rhythm is very similar, it is difficult to appreciate this nuance.
On the other hand, the rhythm is very similar. Again we find the usual rhythm problems of the Netflix and Marvel series, trying to squeeze the thirteen episodes of each season to the last drop. This makes the series dilate with unnecessary lines of argument and, even, some twist of exaggerated script or brought by the hairs, in order to lengthen the action.
That these turns are also exposed in a somewhat forced, does not help to see them with better eyes. Especially when some plot decisions seem called to generate expectation, shocks or unnatural difficulties, but adequate to increase the drama. In counterpoint, this dilation of plot allows to expose a series of issues, issues and conflicts on the table, which enrich the narrative. So we have one of lime and another of sand at this point.
Its end, has not convinced us either. We have been somewhat loose. But, of course, this is something very subjective and your judgment should be subject to the tastes of the viewer. It is possible that what we do not touch our soul, to another type of audience, I can enjoy.
Not so, we can state categorically that the use of color, one of the main assets of the first season of Jessica Jones, has been wasted in this second. It is not an element of photography so careful nor is it so implicit in the development of events. The blue and purple light that originally were the visual identity sign of the series are not so present, nor play such a clear narrative role. Perhaps this decision can be understood in an attempt to depart from the slightly comiquero tone of the series in its first stage and the absence of Kilgrave in the main plot. But, still, it is missing.
All in all, we have to say that it is a very entertaining series that raises the quality after a product as loose as Iron Fist. Who liked the first season of this series, this second will not disappoint, since Jessica Jones is still positioned as one of the best titles, born of the collaboration between Marvel and Netflix, despite its flaws in form.
You can watch all episodes of the second season of Jessica Jones on Netflix.
We are going to extend the criticism that we made a few weeks ago about the start of Season 2 of Jessica Jones, the Netflix series that is based on the Marvel comics, signed by Brian Michael Bendis. On the occasion of International Women's Day, March 8, Netflix has taken the opportunity to launch the entire season 2 of the series on its platform.
As we told you at the time, Jessica Jones season 2 is located after the events narrated in the mini-series of The Defenders , which served as a crossover to all previous Marvel series and Netflix. Jessica (Krysten Ritter) tries to revive the business, the Alias research agency, trying to overcome her final showdown with the maniac Kilgrave (David Tennant). However, despite putting everything on her part, her fame as a murderer with powers pursues her.
While at their door they call a series of characters of dubious sanity, Trish (Rachael Taylor) continues the investigation of the accident that endowed Jessica with her abilities. Unfortunately, his curiosity will also attract the unwanted attention of certain elements, who want to keep the truth hidden and conspire to keep Jessica and Trish as far as possible from the truth after the experiments that gave the detective his powers .
In the following lines we began to criticize you all this season 2 of Jessica Jones. For this, we value the positive points as the negatives of this second batch of episodes of the series created by Melissa Rosenberg (screenwriter and producer of the Twilight Saga and the television series Dexter).
A long time ago, in a blog, we told you about an adaptation of a comic that is not 100% true to the original material does not mean that it is bad. In this sense, Jessica Jones and season 2 exemplify what we said at that time in that opinion column.
Jessica Jones season 2 ignores, broadly speaking, the continuity of the comics. Far from adapting The Pulse , the successor series of Alias, the original collection of heroin, this second installment of the vicissitudes of the maligned private investigator of Marvel departs in another direction. This new stage is far from the comics to only recreate a story of modern hero, as we noted in the critique of the first episode.
In this sense, the series commits the vice of the rest of Netflix and Marvel series, trying to impregnate a certain realism of presentation (what many people call "realistic", go). But, where in series like Iron Fist or The Defenders this formula does not offer the best results, with Jessica Jones it works, due to the same tone of the show. Of course, it is possible that some liberties regarding the comic bother the hardest group of fans.
Jessica Jones tries to get closer to the genre noir and detective films and takes many elements of these. From music, with touches of jazz, to the interior monologues of the protagonist (who has nothing to envy in terms of cynicism and bad habits to detectives like Marlowe or Sam Spade). This also includes, by the way, some nod to the best thrillers and detective films, such as Sed de Mal by Orson Welles.
Even so, the series tries to be framed within the same continuity of the Marvel Cinematic Universe, mentioning the time line of the films. The most clear reference is the inclusion of La Balsa (the prison for people with powers), which he mentioned and was shown in Captain America: Civil War. Also, do not lose sight of it, the connections with the other series are maintained. An example is the presence of Turk (Rob Morgan), the unfortunate recurring bully of all the original series of Marvel and Netflix.
The treatment of the series denotes that it is aimed above all at an audience that does not enjoy precisely the stories of heroes in disguise. It must be understood that the latter is precisely one of the two objective publics of the series, together with the devotees of the character original.
On the other hand, there is also a feminist sieve that covers the story. As we have already pointed out to you, Jessica Jones performs a reversal of roles, in which female characters carry out actions or take positions typically associated with men in noir stories. On the other hand, the approach of diverse characters is very rich and varied, not focusing on archetypes or clichés. That in addition the proportion of men and women be organic, very natural and nothing forced, enhances the discourse of the series.
It is worth noting, very especially, the acting quality of the cast. Certainly, Krysten Ritter is the one that stands out the most, since it makes the character of Jessica Jones his own. But they are precisely the secondary ones who give more life to this second season. Carrie-Anne Moss re-fills the screen with her presence, but interesting developments, such as the addition of Janet McTeer (in a paper that we will not reveal to you), are unpayable.
And speaking of priceless. The return (punctual) of one of the artists of the first season is one of the things that more "gustito" has given us. Pity that his presence is limited to a single episode. Maybe we'll see him back in the third season?
One of the main problems with which Jessica Jones Season 2 is located is precisely a repetition of the structure of the second season. Although the subject changes, the skeleton in it. If in season 1 of the series the topic of how Jessica "overcame" her trauma was addressed, it is intended to narrate a history of origins. But, as we say, because the approach and rhythm is very similar, it is difficult to appreciate this nuance.
On the other hand, the rhythm is very similar. Again we find the usual rhythm problems of the Netflix and Marvel series, trying to squeeze the thirteen episodes of each season to the last drop. This makes the series dilate with unnecessary lines of argument and, even, some twist of exaggerated script or brought by the hairs, in order to lengthen the action.
That these turns are also exposed in a somewhat forced, does not help to see them with better eyes. Especially when some plot decisions seem called to generate expectation, shocks or unnatural difficulties, but adequate to increase the drama. In counterpoint, this dilation of plot allows to expose a series of issues, issues and conflicts on the table, which enrich the narrative. So we have one of lime and another of sand at this point.
Its end, has not convinced us either. We have been somewhat loose. But, of course, this is something very subjective and your judgment should be subject to the tastes of the viewer. It is possible that what we do not touch our soul, to another type of audience, I can enjoy.
Not so, we can state categorically that the use of color, one of the main assets of the first season of Jessica Jones, has been wasted in this second. It is not an element of photography so careful nor is it so implicit in the development of events. The blue and purple light that originally were the visual identity sign of the series are not so present, nor play such a clear narrative role. Perhaps this decision can be understood in an attempt to depart from the slightly comiquero tone of the series in its first stage and the absence of Kilgrave in the main plot. But, still, it is missing.
All in all, we have to say that it is a very entertaining series that raises the quality after a product as loose as Iron Fist. Who liked the first season of this series, this second will not disappoint, since Jessica Jones is still positioned as one of the best titles, born of the collaboration between Marvel and Netflix, despite its flaws in form.
You can watch all episodes of the second season of Jessica Jones on Netflix.