[This story contains spoilers for Daredevil: Born Again season one.]
In the case of the Daredevil: Born Again directing team – Justin Benson, Aaron Moorhead, Michael Cuesta, Jeffrey Nachmanoff, and David Boyd – it might seem that a creative overhaul would imply disagreements between the new and old creative forces. However, quite to the contrary, they all shared a common goal: delivering a worthy sequel for fans of the previous Daredevil series, featuring star actors Charlie Cox and Vincent D’Onofrio.
The Netflix series of Daredevil, created by Drew Goddard, aired from 2015 to 2018. After Marvel announced Daredevil: Born Again in 2022, the first three seasons featuring Charlie Cox as Matt Murdock/Daredevil and Vincent D’Onofrio as Wilson Fisk/Kingpin were moved to Disney+. Production for Daredevil: Born Again began early in 2023 but halted mid-year due to writers’ and actors’ strikes. During this break, Marvel Studios executives looked over existing footage and soon realized that the six episodes didn’t live up to the same expectations as its beloved predecessor.
To seamlessly connect the two versions of Daredevil, Kevin Feige and his team enlisted not only Dario Scardapane, a writer from Daredevil’s companion series The Punisher, but also directors Benson and Moorhead who have worked on shows like Moon Knight and Loki. Their aim was to revive the intense, gritty tone of the original series, while delving deeper into the past and inviting back several actors that weren’t part of the initial Daredevil: Born Again phase, such as Deborah Ann Woll (Karen Page), Ayelet Zurer (Vanessa Fisk) and Elden Henson (Foggy Nelson).
Originally planned for Henson’s character, Matt Murdock’s friend and lawyer, to perish off-screen, the new creative team preferred to visually portray this life-altering demise to enhance Matt’s storyline. For Henson and Moorhead, the thought of ending a beloved character was as challenging as one would anticipate.
Moorhead expressed, “We contemplated Elden’s character, questioning if we had the authority to end Foggy. However, Elden granted us his approval, as long as our portrayal was serious and not just for shock value. If this action influenced Matt’s actions throughout the series, then we would have his consent.” Moorhead shared this with The Hollywood Reporter.
In summary, the fresh creative team took on the challenge of directing a series premiere that serves as Foggy’s farewell. Subsequently, Matt and Fisk will be following similar story arcs, attempting to suppress their secret identities. The eighth and ninth episodes were penned by Benson and Moorhead to bring everything together coherently. The original directors of Cuesta, Nachmanoff, and Boyd will either revise or coordinate enhancements for the six episodes they directed during the initial production phase.
Initially, Nachmanoff’s original episodes were renumbered from three and four to four and five. However, he proved to be quite versatile in the production process, even taking on the role of filming all of Zurer’s scenes as Vanessa Fisk without needing to alter any pre-recorded footage of Wilson Fisk.
According to Nachmanoff, Marvel and the producers commendably refrained from inserting additional elements. Notably, he had to reshoot all scenes featuring Ayelet. Remarkably, when watching the series, it didn’t seem disjointed despite the production process being quite fragmented.
In 2021, Jon Bernthal stated to THR that he wouldn’t return as Frank Castle/The Punisher in the MCU unless the tone similar to his previous portrayals was maintained. This was prior to Marvel Studios showing a greater willingness towards R-rated content like the 2024 film, Deadpool & Wolverine. As he had promised, Bernthal did step back from the earlier adaptation of Daredevil: Born Again due to creative disagreements at one point.
Luckily for the production of “Daredevil: Born Again,” they had a valuable asset in Boyd, who had previously served as Director of Photography during Bernthal’s tenures on “The Walking Dead” and “Without a Trace.” This familiarity helped assuage Bernthal’s apprehensions about joining the series initially, and since Scardapane was also a fellow alum from “The Punisher,” he included Bernthal in conversations regarding his appearance in the season finale. (Notably, Bernthal will be both starring in and co-writing an upcoming Marvel Studios Special Presentation focused on the Punisher.)
Initially, Boyd was tasked to oversee the fifth and sixth installments of the show, however, due to a strike, these episodes were rescheduled and eventually became the sixth and seventh episodes post-strike. Additionally, Boyd directed the initial scene featuring Frank Castle and Matt Murdock, but it was later included in Nachmanoff’s 104 after the series underwent revisions.
[Boyd and Bernthal] are quite close. There was a moment of hesitation before he arrived, but I reassured him, saying, ‘Don’t stress, it’s going to be fantastic.’ So, we gave him the freedom to soar,” Boyd reveals. “There were some complex conversations that were trickling down for about a week or so. However, due to our shared understanding, we were able to bypass all that instantly.
In season two, the fictional battle between Mayor Wilson Fisk and his Anti-Vigilante Task Force has been established. Matt Murdock/Daredevil and his underdog team must figure out how to defeat Kingpin, who now has all of New York City’s resources at his disposal.
From what Moorhead shares, it seems the plot for season two will revolve around the growth of a resistance movement. He hints, ‘The stage is set, with Mayor Fisk once again assuming the role of Kingpin, and New York City under his control.’ However, due to the emergence of a vigilante, things must now operate covertly. This is where we pick up, and we’ll delve deep into this resistance storyline at a rapid pace.
As a devoted fan, I recently enjoyed a heartfelt conversation with THR, where the directors of Daredevil: Born Again warmly shared insights into their exceptional partnership. Despite unfortunate scheduling conflicts that kept Cuesta from joining us at the last moment, they spoke passionately about their relentless efforts to deliver a sequel worthy of the original Daredevil.
***
Maybe the greatest praise I can offer each of you is that I expected to scrutinize Daredevil: Born Again with a magnifying glass, searching for inconsistencies and transitions between the two phases of the series. However, I became so captivated by the narrative that I soon forgot about the technical aspects behind the scenes. When you both took on the task of bridging the six existing episodes, how certain were you that you could deliver such a seamless result?
Justin Benson (Co-director of 101/108/109) Honestly, it might seem evasive, but since our fifth TV project overall and third at Marvel, we didn’t see any significant change in the approach or tasks ahead. Each season of TV is like solving a massive Rubik’s Cube for us, and this one was no exception. It felt much like stepping onto any other show to direct it. The only distinction was that the previously filmed episodes were exceptionally well-done.
AARON MOORHEAD (Co-director of 101/108/109) You might wonder about the appearance of the transitions, but it’s essentially the same series. The tone and objectives are slightly different, yet familiar. The footage we had already shot aligned nicely with our creative vision, allowing us to explore new dimensions subtly, while still staying true to our intentions. We didn’t feel compelled to emulate any other work, and instead, found that it fit naturally. Our involvement in the second phase of filmmaking was due to its compatibility with our intuition. It wasn’t a complex puzzle to solve, but rather an enjoyable challenge.
Jeffrey and David, it seems like you’ve been quite busy fine-tuning your segment arrangements, isn’t that correct?
JEFFREY NACHMANOFF (Director of 104/105) To put it simply, being a survivor of both past and present eras, I can tell you it was quite unusual, even eccentric. Yet, from our earlier discussion prior to recording, it’s evident that this was one of the most collaborative and harmonious directing stints I’ve ever encountered. It was incredibly enjoyable. Justin and Aaron usually work separately, but in this instance, they teamed up. On the other hand, David and I typically work independently.
DAVID BOYD (Director of 106/107) Or we pass each other in the night.
NACHMANOFF (Chuckles.) Absolutely! Collaboration was key in handling the challenges we faced together. A benefit of having a popular precursor show is that you inherit a dedicated fan base, and not just any fan base, but two central actors who are exceptionally skilled and embody their roles flawlessly. This undeniably simplifies the director’s job. However, the downside lies in managing fan expectations. They want to see familiar elements while simultaneously craving something fresh and innovative. The task for Justin and Aaron was to strike a balance between honoring the original show and introducing a new aesthetic, which they accomplished brilliantly in the first episode of the reboot.
Not only did they pay homage to the original series with that extended single shot, but they also made it clear that this fresh take on Daredevil is distinct from its predecessor. Characters like Matt Murdock and Wilson Fisk have evolved, mirroring the potential growth in our audience and the maturity of ideas.
In the finale of episode one, Fisk stands on a rooftop under bright spotlights, while Murdock strides through a time-shift effect against the bustling cityscape and flashing lights. The visuals are incredibly impactful and reminiscent of Frank Miller’s original artwork. When we noticed Justin and Aaron experimenting with this innovative visual style, it signified an expansion of the show’s visual vocabulary and scope. This was truly inspiring to me. We aimed to recreate this effect wherever possible, especially during reshoots. David and I collaborated on a specific set and scene involving Fisk’s basement where he keeps Adam. Our efforts were evident in episodes 104 and 106, as we mirrored certain shots – such as Fisk descending the stairs and the ax silhouette backlit atop the stairs. Essentially, we drew inspiration from Justin and Aaron’s work and incorporated it into earlier episodes to create a harmonious blend of old and new visual storytelling.
David, didn’t you also hand off the shaggy Frank Castle (Jon Bernthal) scene to Jeffrey?
As a gamer, chuckling to myself, Funny thing, I actually had a hand in directing that one initially. It was meant for an episode I was working on, but during the reshuffle, it landed in Jeffrey’s episode [104]. Quite an unexpected twist!
NACHMANOFF This is the kind of situation where expressing gratitude is necessary. Some of the scenes I filmed appeared in Michael Cuesta’s episodes 102/103, as far as I recall. However, I was handed an exceptional scene by David, and I found myself thinking, “Wow, this is fantastic. Everyone will be praising me for this great scene, but all I really had to do was fit it in.
BOYD & NACHMANOFF (Laugh.)
Previously, I had encountered Jon Bernthal on “The Walking Dead”, making us acquaintances. Before his arrival, there was a hint of apprehension, but I reassured him, saying, “Don’t fret, buddy. It’s going to be fantastic.” Consequently, we gave him the freedom to soar.
How frequently was the footage featuring Ayelet Zurer as Vanessa Fisk (her role in Daredevil) blended with earlier footage of Vincent D’Onofrio as Wilson Fisk, following the show’s hiatus?
NACHMANOFF Marvel and the producers deserve credit for not inserting anything extra. We ended up re-filming all scenes featuring Ayelet, so I had to reshoot every scene that originally had her. It’s worth mentioning that Sandrine Holt, another actress who played a role in this production, is a good friend and did an excellent job. They decided to revert back to elements from the original series. Ayelet is superb, and everything turned out quite well. However, it was difficult for some involved because alterations were made that weren’t due to any wrongdoing. The decision came down from above: “We want these two series to share more connections.” To your point, when I watched the series, I too was taken aback that it didn’t feel like a mismatched collection, which is often the case with productions. But as you rightly said, not everyone wants to know how the sausage is made.
In the series premiere 2.0, following the strike, Elden Henson and Deborah Ann Woll returned to their characters Foggy and Karen from Daredevil. There was a mix of joy and sadness on set because it represented their long-awaited reunion, but also signified an immediate farewell to Foggy.
In the series premiere 2.0 after the strike, Elden Henson and Deborah Ann Woll came back as Foggy and Karen from Daredevil. There was a bittersweet atmosphere on set because it was both their long-awaited reunion and an immediate goodbye to Foggy.
In a thoughtful manner, discussing the intricate details surrounding Elden’s character’s demise in the series, we pondered over his relationship with the afterlife, given his best friend’s Catholic beliefs. We delved into the profound implications of such a scene, not just about lying down and ceasing to breathe, but the emotional and spiritual turmoil it would entail. As we contemplated our role in capturing this poignant moment, we felt a sense of intrusion, recognizing Elden’s brief presence on set. However, he graciously granted us his approval, emphasizing the importance of treating the scene with gravity and ensuring it served a purpose beyond being sensational. If this scene reverberated throughout the series and motivated Matt’s actions for the remainder of the show, we were given the green light to proceed.
JAMES You seem to carry a sense of duty towards the past Netflix series, which is a true masterpiece. It’s crucial that you get it right – for your own satisfaction, for the fans, for everything, because that show is exceptional. To illustrate this differently, consider if someone gave you the chance to direct an episode of Breaking Bad yourself. You’d respond with enthusiasm, “Yes, we’re on board! What’s next?” And then they say, “You have to kill Jesse in the first five minutes.” And you think, “Will everyone despise us for this?” But then they add, “But you’ll also get to collaborate with Vincent D’Onofrio, Charlie Cox, and Jon Bernthal. So, good luck with Jesse!
(The roundtable laughs.)
Is there any truth to the speculation that the address next to the Nelson, Murdock and Page law office (468) has significance, since it appears in a comic where Foggy stages his own death?
MOORHEADI’ve come across an intriguing idea, brilliant minds! Regrettably, Marvel might take issue if I disclose any further details. Yet, the appeal of Daredevil as a street-level hero lies in the fact that the supernatural elements seldom interfere with this universe, despite being part of the MCU. This infrequent intervention amplifies the impact of blows, the gravity of injuries, and the significance of pain, as well as making death a more meaningful concept – it usually means the end. But that’s all I can share for now.
As a devoted fan, I truly valued the BB Report segments because the Marvel Cinematic Universe (MCU) can occasionally get lost in its intricate web of events, neglecting to gauge the pulse of the audience regarding the significant shifts that occur daily.
NACHMANOFF The BB Report was an idea put forth by Justin and Aaron, and I found myself assigned to accompany two exceptional independent filmmakers, Sean [Dunne] and Cass [Marie Greener], from Very Ape Productions. They were dispatched as a team, and for legal reasons, they required a DGA director to join them. So I offered a few suggestions, but it was primarily them calling the shots. The experience felt like returning to film school; it was a run-and-gun operation. They traveled around New York City, engaging with people they had selected. Consequently, it turned out to be an enjoyable method of incorporating the authentic streets of New York into the Marvel universe, a concept I haven’t witnessed in a Marvel series before.
MOORHEAD Sean and Cass are exceptional documentarians we’ve had the pleasure of encountering. Their documentaries are uniquely authentic, which is why we desired the same authenticity for Daredevil: Born Again. To achieve this, we collaborated to essentially produce a documentary-style series set on the bustling streets of Wilson Fisk’s New York City. They moved around, interacting with people, and much of it was improvised. There was a script in place, but they often deviated from it to express their genuine thoughts about vigilantes or other related topics. For instance, they might ask, “Suppose the mayor has imposed a lockdown. How do you feel about that?” Sean and Cass have a knack for capturing genuine human emotions on camera.
BENSON Credit to Marvel for actually doing it, wow.
NACHMANOFF I had a suspicion that Marvel might remove it at some point. I remember thinking, “I don’t think they’ll keep it.” Did you share the same concern, David?
BOYD Yes, indeed.
NACHMANOFF I was like, “Yes, it actually made it to the end!” It was a real swing and it worked.
Filming on-site, particularly in New York City, is unlike any other experience. It imbues a unique spirit and ambiance. However, the drawback is that your sets can transform into hotspots for tourists and photographers. I never intentionally seek this attention, but somehow, the conclusion of set 103 found its way onto my social media feeds. Is it something you simply have to accept when filming in New York City?
NACHMANOFF Are you talking about the death of White Tiger in Crown Heights?
Yes, I unwittingly saw shaky cell phone footage of his execution in February 2024.
NACHMANOFF Wow, we filmed that scene again when we were up there for the bullet casing sequence. That night was quite unusual. We had to wrap up earlier than planned as the crew faced issues with some locals who weren’t too pleased about the filming. Their discontent made it unsafe to continue. I wished I could take two more shots, but was told I had none left. Fortunately, we had already recorded the scene. Filming on the streets of New York is a tremendous honor, and though I’ve done it before, I’m not sure how one would manage it for a show like Daredevil: Born Again. With the widespread use of cell phones today, such occurrences are to be expected. Marvel surely puts a lot of thought into keeping things secret until release, and we do our best to help them. We don’t have complete control over everything, but the engaged fan base can sometimes work in our favor. Those looking for on-set footage online may well watch the show as well, which might only increase their excitement further.
As a fan, I must say, for Aaron and me, it’s like an additional layer of dreamy wonder is added to the scene. Some of these photographers remind me of the classic characters from the 1989 Batman movie – a compliment, indeed!
NACHMANOFF Or Jake Gyllenhaal in Nightcrawler.
BENSON Wow, I can’t believe it! I had no idea this place existed until we got here. We have to maintain a certain level of diplomacy, but it’s not something we typically handle. This is the AD department. What’s striking, though, is that when the First AD shouts “Action,” nothing else around changes. Close-ups don’t work, and people just stroll through shots. It’s fascinating as a director to stand there and not be able to tell who’s an extra and who isn’t. Everyone seems to be aimlessly wandering, and then someone accidentally bumps into you and they snap at you, “Watch it!” It’s incredible!
MOORHEAD (REPHRASED) They dislike us being on the sidewalk so much. Initially, a long shot from afar captures Elden, Deborah, and Charlie [Cox] strolling together. Unfortunately, our preferred take of this scene was marred at the end by an intruder who passed by and said, “What’s up, Daredevil?
(The roundtable laughs.)
BENSON This show makes it so much more enjoyable. Unlike other times when we shout “action,” it doesn’t truly feel authentic until post-production. It’s too quiet and movements seem unnatural, but on this set, the action continues. It feels real as we perform it.
David, could we discuss the scene with Frank Castle from episode 104 that you filmed, which ended up being used in Jeffrey’s episode. Since both actors have a deep understanding of their characters, did it simply involve giving them space to perform without any specific guidance or direction?
BOYD: Indeed, I was quite taken aback by how many unexpected twists and turns the film took during production. Yet, I decided to roll with it, and in just a couple of attempts, it began to take shape as something truly significant.
MOORHEAD Do you find that Bernthal elevates everybody around him?
BOYD I always have. Whatever it is, it’s going to be great.
BENSON Collaborating with Bernthal was a unique experience where, during scenes that weren’t crucial to the storyline, he would deliver a take that left everyone spellbound. After the director called cut, there would be an eerie silence followed by a gradual eruption of applause. It was like nothing I had ever witnessed before, and I still can’t believe we got to work with him.
Initially, there were high-level conversations ongoing for a while that seemed beyond my understanding. However, I continually urged, “Let’s be patient. Let’s bring him into the room as quickly as possible.” Because we have a common understanding, we swiftly bypassed all formalities. We discussed some objectives amongst the three of us, but what ensued from that meeting took me by surprise. I didn’t want to guide it; instead, I wanted to observe its direction and then propel it forward.
This version maintains the original meaning while using more conversational language for easier reading.
JOHN I’m astonished that we all had the opportunity to collaborate on a project featuring some of the finest actors currently active in the industry, who truly value this production. It’s extraordinary that we got to be part of such an experience.
David, it’s possible that you were the one who initially dressed Matt up as Daredevil again. You did this before Aaron and Justin’s series premiere where Daredevil wore the costume had not yet been released. At that time, was there a lot of excitement on set for Matt’s fashion reunion to take place?
BOYD Everyone, from top to bottom, understood that moment was special, and they were eagerly anticipating it. There was some uncertainty about what would be inside the shed locker containing the suit, and I felt we wouldn’t be able to discern much from there. We would only catch glimpses in close-ups and quick edits, allowing viewers to use their imagination before he jumps off the roof.
BENSON On a particular day, Aaron and I strolled around the building to greet the various departments. That’s when we stumbled upon the genuine “power-suit closet”. We were fortunate enough to sift through and handle all sorts of assorted items.
NACHMANOFF Instead of saying it, let me rephrase: You all didn’t catch it, but for the past three months, I’ve lost time in my life that can’t be regained due to numerous sessions spent in the shed.
(The roundtable laughs.)
It didn’t matter much since there was only one chance for it. We had countless discussions about it, and Marvel is particularly diligent in this area. They put a lot of money into such props and are quite skilled at doing so. However, as creatives, we sometimes find ourselves saying, “Just instruct us.” Poor Michael Shaw, the production designer, must have had a tough time with all the details.
BENSON (PARAPHRASED) If Aaron and I were to create a comedy skit about introducing a new director for a Marvel series, it would involve us in a meeting with the new director, receiving numerous suggestions regarding costumes, and being instructed, “Mind your own business.
(The roundtable laughs.)
As a dedicated gamer, here’s my take:
Man, I stumbled upon something quite intriguing! In the first round of action in the upcoming Daredevil series, there’s a shot that doesn’t seem to be part of ‘Daredevil: Born Again’. This shot was apparently used to kick off the show initially, and Matt Murdock was in his signature outfit. The moment he took off his mask, the despair on his face was palpable – tears streaming down. He then let go of that mask, and that’s all she wrote for that scene.
NACHMANOFF It was by the water.
MOORHEAD Initially, it was thought that event occurred posthumously to Foggy, providing an explanation for his prolonged absence from the suit. However, we now have an entire episode [101] dedicated to this occurrence instead.
I personally attended on that particular day, and it was brutally cold. However, the challenge lay in their approach, which wasn’t practical to execute all at once. The changes you and [showrunner] Dario [Scardapane] made in the new pilot episode were crucial due to this predicament. There was ample time for contemplation during the writers’ strike, and they came to understand that a whole episode was needed to facilitate this transition effectively. This was essentially what was lacking.
David, your dual fight scenes in “106” are impressive and they seem to reflect a narrative pattern. In fact, there’s a lot of interweaving between Matt Murdock and Wilson Fisk’s individual narratives. While I understand that the editors play a significant role in this, I’m curious to know how much you took into account this back-and-forth while shooting each separate storyline?
BOYD To be completely honest, I don’t comment on it. I plan on interweaving the scenes, and I certainly hope they are interwoven, but honestly, I can’t recall if the script called for it. The entire time, I was thinking, “I won’t say anything, and I’ll submit a cut that blends them seamlessly.
BENSON Brilliant.
I had apprehensions that it might get halted prematurely. Everyone understands it could remain distinct, yet I submitted it to them mixed up.
One of the intercuts I really enjoy from that sequence is where Fisk tosses Adam onto a table, while Daredevil does the same with Muse. It made me exclaim, “Wow, Boyd, that’s fantastic!
BOYD We can’t resist, right?
Lou Taylor Pucci, the actor who portrayed Adam in our 2014 film “Spring”, was chosen for the role due to his previous work. Specifically, he played Vincent D’Onofrio’s son in “Thumbsucker”. According to movie folklore, they cohabited as father and son during that period because independent films had more substantial budgets back then. This meant Lou lived with Vincent D’Onofrio and Tilda Swinton, who took on parental roles for six weeks or so.
BOYD Hey, that’s really impressive!
BENSON When we found out about the scene involving Adam, we said something like, “It might be terrible, but it’s a must-have for casting.
(The roundtable laughs hysterically.)
A significant aspect of our proposal involved a revised portrayal of the character Adam. Originally, he was conceived differently.
Lou had shared with me earlier that he was expected to be a towering, muscular figure serving as a bodyguard. This was before the Adam unveiling scene in episode 104.
BENSON Do you remember when Lou was nervous about the squibs going off [in 108]?
MOORHEAD Yep! Lou gets nervous. (Laughs.)
BENSON Spiraling is quite intense, but instead, Vincent approached calmly and said, “Don’t worry, Lou, you’ll excel. Here’s what I foresee happening. I don’t want you to feel anxious.” This was peculiar because it revealed they shared a father-son bond. Then we moved into the scene where Vincent’s character was physically attacking him for being with the love of his life.
During our heated battle, I found myself uttering, “Wow, it’s quite a nerve-wracking moment when that axe seems headed straight for me.
(The roundtable laughs.)
MOORHEAD I’m captivated by the way Vincent expresses straightforward truths, yet they seem to carry a profound three-tiered meaning.
BOYD Bottomless.
Regarding the scene where squibs involving Vincent occur and Matt saves Fisk, it seemed initially to be about Matt’s natural heroism rather than Fisk’s predicament. However, wasn’t there a build-up to this moment earlier on in the storyline?
PARAPHRASING: The essence lies in the fact that it’s as intuitive as a gut feeling. This intuition comes from a specific line [in episode 108] we were particularly invested in having Dex Poindexter (Wilson Bethel) deliver. It goes, “‘Cause that’s what good men do, right? Defend their worst enemies?” In the heat of the moment, it seems like he’s merely discussing a legal defense. However, later on, you comprehend that Matt has taken a bullet for his sworn enemy. This act showcases that Matt is deserving, or perhaps I should say, worthy of divine grace. It’s this quality that he believed he had lost because he attempted to kill Poindexter when Foggy died. This realization at the end of the season marks a turning point for him, where he acknowledges, “I erred, but I am still worthy of donning the mask.” There’s another layer to it that revolves around the frequent discussions we had about intercutting. We incorporated this extensively in the second round of editing. The idea was to intercut Matt and Fisk’s lives frequently, as Fisk is an integral part of Matt and vice versa. They are so deeply connected that if one were to disappear, the other would cease to exist, much like particles and antiparticles.
At the conclusion of episode one, Fisk triumphantly wins the mayoral election in New York and discovers his lover has been unfaithful. Meanwhile, Matt is on the verge of falling for Heather, while simultaneously learning about her past relationship. Despite having significant personal matters that warrant celebration, both characters find themselves preoccupied with thoughts of each other, suggesting a deep emotional connection – almost like a love story unfolding between them.
In acknowledging the team behind the show, I’d like to express my gratitude to every writer involved. The success of our production lies in the fact that many concepts, such as the struggle between inner conflicts and the mirroring of characters, were skillfully integrated by these creative minds. This duality has been a consistent theme throughout the vision of all writers, producers, and directors, which is why the core of our story remains cohesive and impactful.
BENSON That’s a great way to put it. There have been so many great writers on this show.
Due to Karen’s efforts, season one concludes with Matt exercising self-control after being injured. Both Matt and his companions realize they cannot defeat Fisk without assembling their own troops. Can you provide a hint about what we might expect in season two?
As a gamer, I can’t help but feel a profound sense of loss as the first season comes to an end. It’s not a triumphant conclusion by any means; there’s a heavy mix of emotions swirling in those final moments. But there’s also an undeniable feeling that a rebellion is brewing, setting the stage for what’s to come in season two.
Kingpin, or Mayor Fisk as we knew him, has reclaimed his throne, and New York City now lies under his control. Yet, the emergence of this vigilante figure means the game must go underground. So, we find ourselves at the beginning of a new chapter, ready to unravel the intricacies of this resistance tale. Buckle up, it’s going to be a wild ride!
Indeed, there’ll be a diversion on the route for Matt’s dinner with the Khan family in Jersey City.
Or more informally:
Yep, Matt’s dinner with the Khan family in Jersey City will take a different path due to a detour.
(The roundtable laughs.)
MOORHEAD People love the Jersey City-Hoboken thing.
***
Daredevil: Born Again season is now streaming on Disney+.
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2025-04-18 02:57