Written by Marco Ramirez.
Art galleries. Not only does being in them give one an exaggerated, unrealistic sense of pretentious self-importance, but they’re an easy way to be deep and artistic without really having to do anything. In this case, it’s to introduce season one’s Big Bad, Wilson “Kingpin” Fisk.
But this isn’t something that’s come from nowhere. In keeping with the style of Daredevil being a very long film, the antagonist is only now being introduced, three hours in. And the heralder of that foreshadowing has been James Wesley, an incredibly creepy character that’s another wonderful example of this show being filled with absolutely perfect casting choices. And the best thing about Wesley’s character is his contrast with Daredevil, and that’s in how they handle people.
By far the best scene in this episode was Daredevil’s addressing of the jury, in-which he reminds them that their decision should be based on gathered facts, none of which incriminate the defendant.Charlie Cox keeps being given the opportunity to eloquently monologue, and that is something he does brilliantly. That we have observed, beyond reasonable doubt. But then there’s Toby Leonard Moore’s Wesley, who could give equally charismatic lectures for his own purposes, and yet expresses all of those words with a single look. And with that single look, he defined this character’s status as one of television’s great villains. It’s so satisfying to finally see the two characters together.
And that ultimate meeting between Daredevil and Fisk is the crux of the episode. In much the same manner as a video-game, Daredevil is progressing through the levels of criminal scumbag that he (tries) to beat, and this is the point where he hooks himself onto his main adversary’s right-hand-man. Now that’s development.
Of Kingpin, there’s not much I can say of him because of such short screentime, but I’m very much liking the actor Vincent D’Onofrio. He’s both creepy and complex at the same time. From those few shots, I can already see the depth and layers to his character. I’m sure he’ll develop into an even greater character still, but it’s testament to D’Onofrio that I can already see a wide range of emotions from just that one scene.
There’s been some controversy over Daredevil really is set in the Marvel Cinematic Universe, but I’d say generally it is. It doesn’t matter to me, and I’d prefer it not to be, but I still see the connections. With recent events, like the Battle of New York and a confirmation of intelligent extraterrestrial life existing, it makes sense that Kingpin would feel alone. The drive to do what’s best for his city and to actualise his species is obvious at this point. But now that he’s here, he does need to do something for episode four. Though I’m fairly sure he will.