This month, we’re doing daily reviews of the second season of Daredevil. Check back daily for the latest review.
One of the strongest things that the second season of Daredevil has going for it is the three-act structure.
Pacing and structure can be concerns for Netflix television shows. After all, the distributor works on a completely different model than most television broadcasters. Instead of releasing a series on a week-to-week basis across a period of several months, Netflix releases all of a season at the exact same moment. As such, the focus and goals of a Netflix series are different from that a series developed through more traditional means. Netflix shows are consciously designed to be “binged” rather than to be digested in hour-long chunks.
He’s the devil, that one.
In some ways, this has seen the erosion of the episode as a functional unit of storytelling. If an episode of a regular television drama simply does not work, then the audience is left with a bad taste in their mouth for a week. If an episode of a Netflix drama does not work, the next episode is right there. In fact, Netflix makes it even easier by automatically moving the viewer to the next episode, meaning it takes more effort not to watch the next episode than it does to just keep going. With that in mind, an individual episode not working is not a deal-breaker.
In some respects, it is disappointing that Netflix has yet to truly embrace the potential of the streaming model. Storytelling that would be unthinkable in a weekly model are easier to work around when it comes to binging. In terms of playing with narrative formating, Aziz Anasari’s Master of None is probably the most ambitious of the “Netflix original” shows; the series bounces between its arc-based storytelling and more standalone pieces. In most cases, Netflix shows only really exploit the potential of the model when it comes to serialising their story.
Frank interrogates The Usual Suspects.
That said, there is still some division between how streaming affects the plotting of comedies as compared to dramas. Comedies like The Unbreakable Kimmy Schmidt and Bojack Horseman seem to adopt a more conservative episodic approach to their episode-to-episode plotting; given that The Unbreakable Kimmy Schmidt was moved to Netflix rather late in its production cycle, this makes in a certain amount of sense. Nevertheless, it would appear that the streaming model tends to lean towards a “single story told over [number] hours” approach to drama.
This is not inherently a good thing. One of the bigger issues with streaming dramas remains the attachment to classic television formal conventions, whether it is a set runtime or a predetermined number of episode. Not every story needs to be thirteen episodes, especially not on a streaming service. There is a question as to whether shows like Mad Dogs and Jessica Jones might have been better served with a shorter order. There is also a sense that the demand of telling a single story over a set number of hours leads to stalling and repeating.
Just a regular guy, talkin’ about love and punishing.
While a fantastically ambitious show in terms of storytelling and themes, Jessica Jones had an unfortunate habit of running around in circles in order to reach that thirteen-episode count. Early episodes like AKA Crush Syndrome and AKA It’s Called Whiskey wasted a lot of time on how to knock Kilgrave out. Kilgrave himself was introduced twice in both AKA Crush Syndrome and AKA It’s Called Whiskey. Kilgrave was captured and escaped no less than three times over the season, in AKA The Sandwich Saved Me, AKA Sin Bin and AKA 1,000 Cuts.
In many ways, Daredevil is a conventional piece of television drama. Part of that is down to structuring. Daredevil has a stronger sense of episodic storytelling than many contemporary streaming dramas. Within the second seasons, episodes like Guilty as Sin and Seven Minutes in Heaven are held together by internal themes like the idea of perpetual war as it links the season’s two plots and whether various characters are trapped within prisons of their own makings. Care is taken to ensure that something is accomplished between the start and end of a given episode.
More than that, the second season takes the idea further and very clearly structures itself into conventional three-act design. The first act introduces Frank Castle and pit him against Matt Murdock, running from Bang to Penny and Dime. The second act introduces Elektra and focuses on Frank Castle’s trial and incarceration, running from Kinbaku to Seven Minutes in Heaven. The third act completes Frank’s origin story while pitting Matt and Elektra against the hand, from The Man in the Box to A Cold Day in Hell’s Kitchen. The structure is very clear.
Unfortunately, .380 marks the point at which that structure begins to fall apart.
There’s going to be hell to pay…
Filed under: Television | Tagged: claire temple, daredevil, Frank Castle, matt murdock, netflix, plotting, Television, the hand | 9 Comments »