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Jessica Jones – AKA It’s Called Whiskey (Review)

Although Jessica Jones is the central character of Jessica Jones, the show does a pretty great job of building its ensemble.

The characters who exist in orbit of the title character all feel surprisingly well-formed and nuanced, three-dimensional and grounded. Although Jessica Jones is not always plotted in the most organic or logical way, it goes to great efforts to add layers to its characters. Over the course of the thirteen-episode season, even minor players like Malcolm or Simpson are revealed to be much more than their initial appearances would suggest. (Although this turns out to be a mixed blessing in the case of Simpson.)

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If Jessica Jones has a weaker sense of structure than Daredevil, it has a stronger sense of its own ensemble. This is obvious from the outset. Rather than incorporating the show’s awkward mandatory comic relief into the primary cast as Daredevil did with Foggy, Jessica Jones relegates Robyn and Ruben to recurring status. As AKA Take a Bloody Number demonstrates, this doesn’t prevent every possible awkward tonal mismatch between comic relief and tragic drama; however, it does allow the rest of the cast room to breathe.

AKA It’s Called Whiskey is largely about building up the characters around Jessica, without sacrificing her role in the larger narrative.

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