TV That Didn't Suck 2016

In our final installment of Things That Didn't Suck in 2016, we list some of our favorite TV of the year. In case you missed the previous installments, we've covered news, comics, movies, and games too!

Without further ado, here are our top TV picks for 2016!

Charlie Brooker’s Black Mirror is a dark anthology show that looks at current technological trends and socio-political tendencies and pushes them to the extreme, showing our darker side. And yet this year’s episode “San Junipero,” which is likely to be counted among the series’ best, is also its kindest and most hopeful (while still being undeniably a Black Mirror episode). Most importantly, it’s a beautiful tale of two queer women (Mackenzie Davis and Gugu Mbatha-Raw) discovering each other, with amazing, heartfelt acting from both of them. And in year with a record high of LGBTQIAP* characters killed on TV, it was a much-needed respite. (Dominik)

2016 is the year the creators of Welcome to Night Vale expanded upon it with Night Vale Presents, a fiction podcast network that launched three new serialized audio shows. "Alice Isn’t Dead," written by Joseph Fink and voiced by Jasika Nicole, is a story about a woman on a cross-country trip into a supernatural America on the search of her wife. "Within the Wires," written by Jeffrey Craynor and Janina Matthewson and voiced by the latter, is a story of an alternate world and a patient of research facility, subtly told via surreal relaxation cassettes. And finally, "The Orbiting Human Circus (of the Air)" is an absurdist variety show in the style of old radio shows, created by Julian Koster of the Neutral Milk Hotel – voiced by a bevy of guest actors, including Koster himself as Julian the Janitor. All three podcast are terrifically written and performed tales, sure to only increase in quality in 2017. (Dominik)

Despite a dearth of superheroes on TV these days, superheroes almost didn't make it onto this list at all. But despite a somewhat mediocre year in terms of writing, we would be remiss if we didn't mention the really fun and important moments in the CWverse. I mean, there was nothing ground-breaking about the CWverse's giant crossover event, but for all its imperfections, it did what it set out to do: give the CWverse fans their first taste of a CW Justice League. With all four of its powerhouse superhero shows joining forces to fight an alien invasion, the CW also nabbed its best ratings ever for each of these shows. What mostly made the crossover magic were the character interactions. Overall, it was fun, adorable, and sweet, although the crossover event suffered from a lack of real use for Supergirl, who deserved more screen time with her fellow leads Green Arrow and Flash. Still, it was delightful and entertaining, and it was clear all the actors had a blast doing it. We look forward to future crossovers. (Ivonne)

Netflix shows are going to dominate end of the year lists - and rightly so. Between Luke Cage, Stranger Things and so many other titles, new and returning, they’ve proven themselves a worthwhile creator of entertainment. And Voltron: Legendary Defender is among their best 2016 releases. Created by two animation veterans and the studio behind Avatar: The Last Airbender and The Legend of Korra, this remake of a classic US/Japanese cartoon is a fun romp. Featuring a diverse and lovable cast of characters, this tale of rebels opposing an intergalactic empire will bring a welcome respite from the year we’ve had. And Princess Allura is one of the best and most exciting characters of 2016. (Dominik)

Westworld is life. Based on a cheesy (but awesome) 70s film and a Michael Crichton novel, Westworld is the latest in powerhouse HBO’s line of original series. Not only did HBO spend some serious cash (and it shows, as Westworld is visually stunning), but the talent involved was nothing short of phenomenal. Rachel Evan Wood and Thandie Newton star as Hosts (androids) that begin to realize that their world is bullshit. Sir Anthony Hopkins and Ed Harris add to an already-talented cast, but I would be remiss in not mentioning the awesome Jeffrey Wright, who was freaking fabulous as two different characters. This series is about artificial life gaining sentience, but it is also about women who have been violently used deciding they’ve had enough and want to rewrite their stories. These violent delights have violent ends. It should be noted that while off-screen rape happens, and that there is a great deal of both male and female nudity, this isn’t Game of Thrones. Every violent act and every nude scene serves a purpose within the narrative, which is a nice change of pace for HBO. (Ivonne)

Did we miss any TV shows? Let us know some of your favorites in the comments!

Luke Cage Roundtable Review – S01E07 – 'Manifest'

The seventh and arguably most powerful episode of Luke Cage begins with the soft, potent voice of Nina Simone, singing "Plain Gold Ring." It’s a mournful song about immutable circumstance, lamenting how the pain of the past can remain ever-present with a simple reminder: a gold ring, a gun, a bullet… and sometimes a reminder isn’t necessary. Sometimes, there are events one can never forget. It’s an amazingly apropos choice of music for this episode, but the reason why is not completely clear until near the end as the revelations of the past converge with the action of the present for calamitous effect.

Luke Cage – S01E07 – Manifest

Mariah's political career comes under fire, and Cottonmouth picks up information that could put Luke on the run. (Netflix)

Adrian: Cornell is being released. Aside from the journal of the now-deceased Scarfe, there is insufficient evidence to hold Cornell. Misty watches Cornell tapping his fingers, playing the keyboard in his mind, probably reading this affectation as bemused detachment; she storms in, is stopped by Captain Audrey (Sonja Sohn). After some crude remarks from Cornell, Misty promises Cornell will get his just due. It seems that despite being an intuitive and talented detective, she was hoodwinked by Scarfe and can’t ever seem to get any dirt on Cornell or anyone else she’s interested in busting. It’s as if her failures as a detective are a necessary plot device to keep the stories moving along. Does anyone else find this frustrating? What do you think of Misty’s predicament?

Aranwe: I disagree over here. It’s all too often that fictional detectives are completely perfect at their jobs, and always solve their cases 100% neatly. There’s no doubting that Misty is a great detective, but her weaknesses, especially those relating to proper procedure, are often her downfall, and that makes her a much more relatable character. The frustrating part is knowing what Cornell has done, and yet watching him walk anyway, but that’s a frustration you’re supposed to feel.

Dominik: I’m with Aranwe on this one. it felt pretty natural that the case wasn’t solved immediately. If anything, it makes her more human, unlike most other fictional detectives.

Ivonne: I find it frustrating that Cornell is getting away with stuff, but I actually am perfectly okay with Misty’s flaws. She must be a flawed character, and she must start to believe the system fails justice, because she must start to believe in vigilantes, not only Luke but eventually herself (for all the comic book fans out there, you know what she becomes).

On a fundamental level, like Aranwe said: TV detectives are often perfect. One of the reasons I was loyal to Criminal Minds for like nine years was because the FBI agents were very human, they had their flaws, and they didn’t always get their perps.

One more thing: it is OK for female characters to fail. They are human just like anyone else, and I find it compelling to find a woman detective that isn’t perfect.

Adrian: With Cornell free and clear, he calls Luke for a parley (as Diamondback denies Cornell’s request for a Judas bullet to kill Luke). As Cornell plays the keyboard (there’s that keyboard again) he reveals to Luke that he knows Luke’s secret identity: Carl Lucas. Cornell suggests he will blackmail Luke, forcing Luke to work for him under threat of revealing his secret to the authorities. Luke decides he should flee when Claire smartly adjusts Luke’s priorities. He asks “If I go to prison, who’s gonna wanna follow me?” and she points out “Half the people uptown have fathers, cousins, uncles, brothers in prison. You’re no different than anybody else. You get your wish. You’re not special.” and that, in fact, Luke making a stand and taking down Cornell will give Luke the path to freedom he seeks. His personal needs align with his duty. Do you think Luke finally gets it? Also, were any of you shipping Claire and Luke as hard as I was at this point? Clearly, she is precisely the balancing force Luke needs!

Aranwe: Claire is awesome. Her role on Luke Cage may be her best yet in all the Netflix shows… but you can’t pry me away from Luke/Jessica. Sorry.

Dominik: It’s good to see Claire finally able to talk some sense into at least one Netflix Marvel protagonist. No shipping, though. Power People shipper for life.

Ivonne: Claire is awesome and she is just what the nurse ordered. The chemistry works between these two, and I ship it. But in my heart of hearts, I ultimately hope to see Luke and Jessica reunited. Come on, man, the original Marvel power couple!

Adrian: Back in his office, Cornell looks at a pearl-handled pistol he keeps in a gold box. What’s its significance? We’ve rightly spent a lot of time learning about Luke’s past, but now it’s time for an intense flashback into life of the Stokes cousins, Mariah and Cornell. Playing the near-mythic figure Mama Mabel is LaTanya Richardson Jackson, wife of Samuel L. Jackson. We all love Samuel as Nick Fury and his many other memorable roles, but my god, LaTanya is not being given the attention she deserves. We need her in more films, but I digress. On to the flashback:

Cornell is practicing on his keyboard while Mariah is studying. Their Uncle Pete dotes on Cornell, suggesting he attend Julliard, who loves the support while conversely, Mariah does not seem to appreciate the attention she receives from Pete. Pop enters the room to show deference and offer tribute to Mama Mabel (although, the first thing he says is “Hi Mariah” which for a fleeting moment, seemed like a cute interaction. Maybe he had a crush on her, what could have been, etc.).

With Pop is the ill-fated Donnie, who has been caught dealing drugs in Harlem against Mama’s wishes and she asks him to explain himself. Donnie briefly looks to Pete for help, but Pete averts his eyes. Donnie does do well on his own and doesn’t realize the gravity of the situation, while everyone else in the room does. Mama’s calm demeanor does not indicate safety, but threat. It is now that she is the most dangerous, and Donnie does not realize this, speaking with attitude and waving his hand around. His words and his hand offend her, and she twists his arm down and uses her pruning shears to cut his finger!

Mama Mabel sends Uncle Pete and Cornell to dispose of Donnie. Uncle Pete suggests that Cornell isn’t ready for that kind of work yet, but Mabel has decided, he needs to learn “how to piss standing up.” As we hear Uncle Pete and Cornell presumably stab Donnie to death off-camera, Mama Mabel calmly looks the severed finger and shears… and picks up the loot Pop gave her earlier, counting it. Mama Mabel might be extremely violent, but she is not bloodthirsty. The violence is simply her sense of ‘gangster pragmatism’ manifesting itself. Amazing. Terrifying.

As Cornell sits back down at his keyboard, bloody-handed, Mama Mabel comes behind him, and carefully, lovingly grasps his bloodied hands, comforting him. As this last moment plays out, we hear adult Cornell playing the keyboard in the present. If it wasn’t already clear, it’s made bare now: when Cornell plays the keyboard in his office or when Misty observed it in the precinct, we’re seeing him retreat into his safe space. I was enthralled by this flashback. The story, the performances from all involved, this was amazing to watch. Any thoughts?

Aranwe: Holy heck, was this scene amazing.

Dominik: This was an amazing scene, very humanizing for Cornell. It did wonders for him that the similar scene in Daredevil Season 1 didn’t for Fisk, making us wonder what could’ve been if he grew up in environment that really cherished his talents. Instead, he’s a broken man forced into a life he never wanted.

Ivonne: Brilliant flashback, and it really put a ton of stuff into perspective about Cornell and Mariah. I cannot gush enough about the narrative genius in this scene.

Adrian: Meanwhile, as Luke hits Colon’s base of operations and reclaims the stolen Hammer arsenal, Shades has let himself into Mariah’s home. He tells her about how much of an influence Mama Mabel and the Stokes family name meant to him as a kid growing up in Harlem, and how Cornell and Mariah have done nothing worthy with it. He says “I think that when you get the nerve, you’re gonna be surprised at just what you’re capable of.” After seeing Mariah not flinch when Donnie was dismembered, I have to think Shades is right. Although, it seems odd that he would be so forward by invading her home and getting in her face. This seemed very personal. What do you make of Shades’ motivations?

Dominik: Too early to tell, but Shades seems to have a plan of his own for Harlem. Something that seems separate from what Diamondback might want.

Ivonne: Shades is shady, no doubt, but I actually get the feeling he has a legit interest in Mariah coming to power. Shades doesn't seem the type to grab the reins directly, himself. He's a good background manipulator and super smart, but I think he prefers to have a boss, and for whatever reason, he seems to trust that Mariah is a better choice over Diamondback.

Adrian: In the second flashback, one of Mama Mabel’s girls, Sister Boy, has been roughed up by a customer, which she blames partially on Cornell for being absent. Ultimately, Cornell confesses that his absence was due to Uncle Pete meeting with the Colons in Spanish Harlem. I thought it was a nice touch to show that at least one of Mama Mabel’s girls was transgender. Mama was prepared to fight for her, even slap Cornell around in her defense (when he misgendered her!). It was a brief, but worthwhile moment of humanization for Mama Mabel, while also acknowledging the presence of transgender people in history. I’m yearning now for a Stokes family prequel. What did you think of this detail?

Dominik: Really nice. I wish there was more of an LGBTGIAP* presence in the MCU, preferably in the main cast department, but a nice detail like that is good acknowledgement. At least until that Runaways series.

Ivonne: Marvel doesn't engage in anywhere close to enough representation of LGBTQ+ people, so this was a really nice touch. As Dominik said, what we desperately lack is solid representation in the form of main characters, but this is a decent tip of the hat.

Adrian: In the final flashback, we see Mama Mabel confront Uncle Pete. At first he’s defensive, saying he’s always put the family first (despite harboring envy toward Mabel’s deceased husband, who won Mabel over Pete, back in the day). Then he shifts toward resentment: he thinks the family business should have been his. It all culminates as Mama Mabel tasks Cornell to execute Uncle Pete for his betrayal. Mariah sheds no tears, hinting that Uncle Pete sexually abused her. Pete attempts to bargain for his life, suggesting that only he cares for Cornell, that he believes Cornell could be someone other than a criminal. It’s not enough, and with the pearl-handled pistol he still keeps, Cornell shoots Pete. As adult Cornell later confesses, he believes Pete’s suggestion to be true, and regrets killing the one person he felt had his back.

This all comes to the surface in the present when Mariah comes to Cornell, desperate as she is being asked to resign her council seat. Everything she’s worked for is falling apart. The barbs come out and Cornell resents Mariah for being coddled in boarding school while he was forced to work the streets. She corrects him: she was not being coddled, but protected from Uncle Pete… and this is when Cornell makes the biggest and last mistake of his sad life.

He accuses Mariah of purposely tempting Uncle Pete and suggests crudely that the sexual abuse she suffered at his hands was consensual. His accusation decimates Mariah, stripping away all that remained of her calm and collected demeanor and she transforms into fury incarnate. A bottle to a head, a shove through a window, and a brutal beating with a mic stand later, and Cornell “Cottonmouth” Stokes is dead. Wow. I think Alfre Woodard deserves awards for this performance and I’m so glad Marvel was willing to double-dip, and retain her for this role after she played grieving mother Miriam all too-briefly in Captain America: Civil War. I was left all but speechless. What do you have to say about all this?

Dominik: Cornell had it coming for that awful jab, but damn. This was an amazing scene, really letting Alfre Woodard unleash her acting chops. And talk about a twist! I don’t think anyone expected the way this episode would end, completely destroying everyone’s preconceptions about the show’s second half. I loved the acting, and the cinematography (that red lighting!), and the boldness in scripting.

Ivonne: I honestly can say nothing beyond this: Alfre Woodard is queen.

Adrian: Finally, we end the amazing episode on Luke. Luke turns over the Hammer guns to Misty, but she makes it clear, this does not undo “all the trouble you’ve caused.” He says he’s going to come for Cornell and she should be ready for that. He leaves and strolls with Claire in the park, talking about his future as superhero Luke Cage. He’s decided that she’s right and he can’t keep running, when suddenly, Luke is sniped with a Judas bullet from a mysterious van by a mysterious figure who knows Luke’s real name! What??

Dominik: Well. Guess Diamondback’s finally come to town.

Luke Cage Roundtable Review - S01E03-06

This time, we follow last week's Luke Cage roundtable with our thoughts on the following four episodes. We'll discuss the escalating conflict between Luke and Cottonmouth, the surprising character reveal and the secret origin of Luke Cage.

Luke Cage - S01E03 - Who’s Gonna Take the Weight?

Following the attack on Pop’s barbershop, Luke starts hitting Cornell Stokes and Mariah Dillard where it hits them - their money. (Netflix)

Luke Cage - S01E04 - Step in the Arena

The secret origin of Luke Cage. (Netflix)

Luke Cage - S01E05 - Just to Get a Rep

The conflict between Cage and Stokes intensifies, with the former attempting to ruin the latter’s name. Meanwhile, following the events of Daredevil season 2, Claire Temple returns home to Harlem. (Netflix)

Luke Cage - S01E06 - Suckas Need Bodyguards

After Stokes shoots a police officer working for him, Harlem becomes a war zone as Luke tries to protect the cop for the information he has on Cottonmouth’s empire - and Cornell tries to silence him permanently. (Netflix)

Dominik: After two episodes, the conflict between Luke and Cornell Stokes is fully set up. Luke, feeling ready to step up after Pop’s death, starts taking down Cottonmouth’s every operation one by one with his final aim being the Fort Knox itself - the impenetrable vault in the Crispus Attucks Complex. Though bringing down the Harlem criminal empire is only one of his reasons; the other is getting the funds necessary to keep Pop’s barbershop operating. It all culminates in a spectacular, Terminator-inspired assault on the complex, to the sound of Wu-Tang Clan’s “Bring Da Ruckus.”

Meanwhile Misty and Scarfe are trying to get Chico to tell them everything he got about Cottonmouth’s operations from the deceased Dante and trying to make sense of Luke moving in on Stokes. Chico ends up deciding to tell everything to Scarfe (with Luke providing some moral incentive), only for the man to kill him in cold blood after getting Luke’s name. Scarfe has been on Cottonmouth’s payroll the whole time, and he gladly reveals to his employer the name of the man who made him bankrupt. Stokes takes revenge in his own hands… firing from a rocket launcher at Genghis Connie, where Luke is having dinner.

What did you think of the progression of Luke’s assault on Cottonmouth, Misty and Scarfe’s parallel investigation – and the reveal of Scarfe’s true loyalties?

Aranwe: 3 episodes in, and we finally get Luke Cage’s obligatory ‘Hallway fight’ scene that have become a signature of Netflix’s Marvel shows. The differences between this one and Daredevil’s are staggering; over there Matt was struggling to keep enemies down and himself in one piece, while over here Luke was basically an unstoppable tank, and it was glorious. Overall, the whole thing is a huge victory for the good guys so early in the season, so naturally it comes at a cost. I liked Scarfe, and assumed he would be the one white man who’s an ally in all this, and his friendly rapport with Misty seemed to confirm that. As such, I ignored all the warning signs, and his sudden murder of Chico caught me completely off guard. And while we’ve done the whole dirty cop thing already with Fisk, having one so close to a main character adds a new layer of interest.

On a side note, the end of the episode with Cornell firing a rocket launcher at Genghis Connie’s was so many levels of ridiculous, but I kind of loved it.

Adrian: I appreciated Charles Bradley performing 'Ain't It a Sin' as the musical montage backdrop, while Luke hits Cornell's stash houses. Pieces of song could be be attributed to either Luke or Cornell's train of thought, but there's a third consideration in this: Mariah. The discussion Cornell has with Mariah in the midst of Luke's initial hits was a fascinating one. While Cornell is interested in the money, Mariah insists she's interested in making positive changes in Harlem, "Nothing I do is a hustle." Luke's two-headed opponent is more layered than perhaps Luke believes. It doesn't matter much to Luke when he assaults the Crispus Attucks complex, but just as he decimates Cornell's treasury, he damages Mariah's carefully-laid plans. It’s a well-considered set up for what’s to come.

Ivonne: Not gonna lie, I was surprised AND disappointed that Scarfe was dirty. I liked him and his dry humor so much early on, I was sure he was going to die for the cause because he was so likeable. I mean, it hit me that he was dirty the minute he wanted Chico alone, but still… until that moment, I had no idea.

Luke hitting the stash houses was awesome in every way. The music, the action, him just walking through people trying to hurt him and him having this look of being entirely put upon, like “man, why are you wasting my time?” I loved it.

Ending the episode with Cornell firing a rocket launcher at Genghis Connie’s was all kinds of awesome. We were sitting in a room full of people watching, and there were audible gasps followed by “Holy shit!” and nervous laughter. Ridiculous, sure, but unexpectedly amazing.

Dominik: The next episode deals with the aftermath of the explosive climax of the previous one, but its primary interest is in showing us how Luke Cage became who he is. It turns out Luke’s real name is Carl Lucas, and he was a falsely accused Georgia police officer, incarcerated in the private detention facility, Seagate Prison, run by Albert Rackham (played by Chance Kelly), a sadistic correctional officer. In prison, he ended up befriending fellow inmate Reggie “Squabbles” (played by Craig Mums Grant) and developing an attraction towards prison psychologist Reva Connors. Rackham forced Luke to participate in the underground fight club by threatening Squabbles’ life, and after Luke tried to expose his operation, he had him beaten to death by two inmates, one of them the man currently known as Shades. Reva tried to save him by bringing him to Dr Noah Burstein (played by Michael Kostroff), a scientist running secret experiments on inmates. Rackham found out, and tried to kill Luke mid-operation by cranking the equipment to maximum, only for it to overload and explode, granting Luke his invulnerability and super-strength. Reunited with Reva, Luke left Georgia with a new identity and Reva.

Back in the present, Luke frees himself and Connie from the restaurant’s rubble, revealing his powers to the media surrounding it – and to Misty.

What did you think of the full-episode flashback? How did you think it worked with the rest of the episode?

Aranwe: A lot to unpack in this episode. The parts in the present felt rather unnecessary, you could’ve just given us the entire episode as a flashback, with a short beginning and end in the present, and I would’ve had no problem with that.

Aside from that, it was certainly interesting. We all know what Reva’s eventual fate will be thanks to Jessica Jones, but seeing how Luke and her first met was nice. It’s also pretty clear she knew more than she was letting on. She said she had no idea about the illegal fighting ring, but also somehow knew enough about the experiments to convince Dr. Burstein to save Luke.

After the procedure, the scene with Luke decked out in his full classic getup, with bracelets, tiara, afro and yellow shirt is cheesy as hell (as was the way he picked the name ‘Luke Cage’), but it does work, in a fun way.

Adrian: I didn't have a problem the flashback integration. Luke being trapped and trying to protect another trapped person seems like a simple but clear parallel to prison. The other parallels and parables in this episode are salient: Luke being subjected to unethical experiments and tests reminds of the Tuskegee experiment. Luke's forced gladiatorial combat reminds of the mass incarceration of black men being an extension of slavery ("Slavery was always a good offer... to a master."), an idea most recently confronted in Ava DuVernay's new Netflix hit film, 13th. In addition to this meaty foundation, they showed us Luke's vulnerability. In The Shawshank Redemption, inmates take bets to see who's going to crack on the first night. Here, it’s Luke who breaks down, weeping, and reminding himself "Just remember who you are... and you'll get through this." It's an important moment, showing us that even the toughest, strongest men contain vulnerability, because of course he does: Luke might be super-powered, but he is human.

Ivonne: The flashback worked well (it doesn’t always… witness the less-than-useful and super contrived flashbacks of Arrow season four, for example). Flashbacks are a useful narrative tool, and I thought the way it was handled in Luke Cage was well done. Once again, I was not suspicious of Reva most of the time throughout this narrative, but that has as much to do with the impression I had from Jessica Jones that she was an innocent. An impression, of course, that primarily came from Luke himself. Learning that she lied about stuff to him was as heart-breaking to me as it was to him.

Bonus points for dressing up Luke, however briefly, in his classic comic book look of yellow shirt and tiara. A+++ would watch again!

Dominik: Unable to kill Luke, Cornell Stokes goes against his name by having his men start extorting Harlem residents as a “Luke Cage stupidity tax” (to turn them against his enemy). This keeps Luke busy being a hero for hire, while he searches for more permanent solutions. Shades provides one, courtesy of Diamondback: a Judas bullet, made from Chitauri armor by, of all companies, Hammer Industries (looks like they finally managed to get something to work), but Stokes is turned off by the astronomical price. In the meantime, he has to deal with Domingo Colon by getting him the weapons he tried to supply him with back in episode 1. He orders Scarfe to get them from NYPD evidence, but the corrupt cop decides to withhold them to get more money from Cottonmouth. But his troubles are only starting: Misty is told by her superiors, Lieutenant Perez (played by Manny Pérez) and Captain Audrey (played by a The Wire alum, Sonja Sohn) that they suspect Scarfe of being on Cottonmouth’s payroll. Meanwhile, following The Hand attack on her hospital in Daredevil season 2, Claire Temple arrives home in Harlem to figure things out, and finds out the man she treated in the Jessica Jones finale, Luke Cage, is here as well.

The Cage-Stokes conflict reaches its boiling point during Pop’s funeral, when both men make their speeches about the deceased.

What did you think of how the episode presented the continued war between Luke and Cottonmouth?

Aranwe: This was one of my favorite episodes, with clear action-reaction happenings across the board, nicely setting up the events of the next few episodes while still being relatively self-contained. We get a glimpse into the hassle of being a successful crime lord, as Stokes has to deal with a dozen different things at once. Seeing Luke Cage as a straight up hero helping people who ask for it is the kind of thing you want from a superhero show, and it is pretty damn good.

The funeral scene once again tied the two sides of Harlem together again, and the difference between Luke’s and Stokes’ speeches reflected the different perspectives of both sides nicely.

Adrian: I agree, Aranwe. I liked seeing Luke fulfill the role of superhero. The episode culminating with Luke and Cornell essentially giving election speeches to the constituents of Harlem was satisfying; the episode opened with a performance by Jidenna 'Long Live the Chief,' a cool track which set a great tone for this. Side notes: the scene where Cornell kills Koko after he struggles to put together a coherent strategy for dealing with Luke Cage was funny, sad, and slightly intriguing (the book Koko got his idea from is Can’t Stop, Won’t Stop by Jeff Chang, which he apparently was enjoying so much, he brought it to Cornell's meeting and couldn't shut up about it). I wonder how much that book's stories and accounts play into this season.

Ivonne: Luke helping out the “little people” gave me all kinds of the warm fuzzies. You know, a lot of the Marvel properties are preoccupied with large global problems, although every now and again they manage to sneak in something of the concerns of the “common folk” (like in Civil War when Miriam reminds Tony Stark of the cost of his superheroics, when she tells him about her son that died in Sokovia). But honestly, it’s really nice that the Netflix shows, and this one in particular, focus on the more immediate problems of the less-well-to-do. I think Luke Cage did that better than anyone. Especially after his reluctance early on, it seemed like he was really starting to feel just how good it felt to use his abilities to help people. It was a great look on him.

I adored the “Battle of the Speeches” that Cornell and Luke engaged in at Pop’s funeral.

And I was ridiculously happy to finally see Claire enter the arena. Claire Temple is everything.

Dominik: Scarfe finally contacts Stokes about his weapon shipment to extort more money out of him. The short-tempered gangster just empties the cop’s own gun at him and leaves him to die. Badly wounded Scarfe manages to arrive at the barbershop and convinces Luke (now joined by the newly met Claire) to help against Cottonmouth in exchange for information on the gangster’s empire that the dirty cop has hidden in his flat. Perez, revealed to be another police officer on Stokes’s payroll, tries to find Scarfe and end his life permanently. He takes Misty with him, to his own undoing, because by the end of the episode she arrests him after tricking him into confessing to working for Stokes. Luke and Claire try to get Scarfe to 1 Police Plaza, hounded by Cottonmouth’s mercenaries, but he ends up dying from blood loss in Misty’s arms. Based on his ledger, Stokes is arrested, but Captain Audrey is worried about the fallout from another case of police corruption after the Wilson Fisk case.

In the midst of all this chaos, Mariah Dillard is making a live TV interview. What she thinks will be a fluff piece for her election campaign turns out to be the public reveal of her connection to Cottonmouth, casting shade on her public persona.

What did you think of the conclusion to this portion of the episodes? What are your reflections on the now deceased Detective Scarfe?

Aranwe: Overall, a strong ending of sorts to the first half of the season. Claire fits as effortlessly into the world of Luke Cage as she did in Daredevil or Jessica Jones, and it almost feels like she was always there all along. We get some great action and suspense as Luke and Claire try to get Scarfe to 1 Police Plaza while avoiding both Stokes’ thugs and police officers alike.

Scarfe was an interesting character. It’s hard to feel sorry for a corrupt police officer, but I kind of do. He was likeable, and it was clear him and Misty had a strong friendship. With Stokes in custody, and Mariah’s political career seemingly falling apart, it seems everything is wrapped up– but with another seven episodes to go, things aren’t quite as neat as they seem.

Adrian: I was glad to see that Scarfe was given a decent backstory, that his corruption was rooted in disillusionment following his son's death, rather than being motivated by simple greed or a lack of principles. It was hardly a shame to see him go; he was relevant and effective throughout. Other satisfying moments: seeing Misty clue in and handle Perez solo was pleasing. The positive glee with which Mariah's interviewer confronted Mariah with was hilarious! I like to think she’d been trying to expose Mariah for years and finally felt like she had something juicy and couldn’t resist. Lastly, seeing Claire chase down her mugger was excellent. She's a very courageous and admirable character, an easy favorite. Rosario Dawson might have best role in Marvel TV: she gets to be on all the shows! Her and Luke have perfect, lovable chemistry. I ship them.

Ivonne: I’m still mad that Scarfe, likeable jerk that he was, turned out to be dirty. But like Adrian, I did enjoy the backstory and understanding why he turned out to be dirty. I think I personally took as much pleasure in Mariah’s fall as the reporter did. I was really starting to dislike her. Of course, I was perfectly aware that this episode was wrapping up the first half of the show quite nicely. Too nicely, perhaps. I think one of the things I love about Luke Cage is that it wasn’t terribly predictable. The narrative managed to surprise me all the time, and not in a negative way.

Anyway, I knew things would go south after this episode, but I don’t think I was prepared for the level of intensity this show turned on in the second half.

Luke Cage Roundtable Review – S01E02 – 'Code of the Streets'

Luke starts the second episode standing outside the Crispus Attucks Complex, a housing development which only exists in Marvel’s fictionalized Harlem. Crispus Attucks is a real figure in history however, and a Crispus Attucks playground exists in Brooklyn. Marvel makes an effort to keep their world close to our own, in consistently subtle and meaningful ways. The story of Crispus Attucks is one very relevant to Luke’s story, but we’ll come back to this.

The first episode was jam-packed with interesting references and well-researched character notes, and this continues in E02 “Code of the Streets,” starting with an extensive reading list, moving on to musical performance by Faith Evans (singer, songwriter, producer, author, and widow to Biggie Smalls, Cornell’s idol), and ultimately ending with Crispus Attucks. But first—

Luke Cage – S01E02 – Code of the Streets

Luke is pulled deeper into the fight for his neighborhood when, as a favor to an old friend, he tries to help a kid who's in trouble with Cottonmouth. (Netflix)

Adrian: Let’s start with Luke and Pop’s book club. We’ve got Donald Goines, who wrote the Kenyatta series; a series Pop identifies as the sort of path Luke could be taking, a man of action. Next is Walter Mosley (Little Green), George Pelecanos (The Wire reference pays off for Dominik!), Richard Price (Clockers), Dennis Lehane (Mystic River), and Chester Himes (If He Hollers Let Him Go and a series of Harlem detective novels). Collectively, it’s a massive body of relevant work. Who’s read what and what thoughts do you have as to how these influences could be playing out into the series as a whole?

Etienne: I must confess, to my unending shame, that I have not read any of those books. My literary proclivities run along different lines: I favour fantasy, religious texts, and seminal works of the social sciences.

Some critics feel that peppering popular narratives with literary references is pretentious. Personally, it’s the opposite approach that I find the more offensive. At its most rewarding, characterization gives audiences the sense of bearing witness to complex lives. It’s not enough for characters to behave like shapeless objects tumbling down a pipeline named “plot”: they should feel like people, and interesting people read books.

I have no idea what sort of books any of the Berlantiverse characters read; indeed, I am very much afraid that they don’t read at all.

Ivonne: Shamefully, I haven’t read any of them either, because I tended to go with either the classics (Paradise Lost, Shakespeare, etc) and feminist literature in college, to science fiction and fantasy. These days I read to burn off stress from work, so it’s usually either high fantasy or bodice-ripper romance (don’t judge me). But I’m with Etienne here: I really enjoyed seeing what Luke was reading. I think what a character reads tells you a great deal about that character, and it’s a quick and clever way for the creators to show what just sort of man he is.

Dominik: While like everyone above I haven’t read any of those books, I have heard of Walter Mosley and his Easy Rawlins books, and they’re actually a pretty good parallel to Luke. The series tells the story of an African American man, who’s scraping by until he ends up forced to becoming a detective - and by the end of the first book, embraces this path. Switch “detective” for “superhero”, and you have this very series.

Adrian: Luke is distracted by the flyer for Mariah’s “New Harlem Renaissance” but Pop turns the conversation to Chico: “You know how the wind feels fluffy, like you could stuff it into a pillowcase, right before a big thunderstorm? Harlem’s the same. Trouble smells a certain way, you can… touch it.” Speak of the devil, Cornell shows up with Shades and Tone, looking for Chico. It’s worth mentioning that the Blaxploitation style of theme music hits hard here. After a few tense minutes, it’s evident that Cornell killed Shameek and Chico is next. Luke still declines to get involved, forcing Pop’s to call in his favor for granting Luke shelter: Luke must find and retrieve Chico so Pop can parley for Chico’s life. What did you think of the interplay between Luke, Pop, and Cornell? How do you like the usage of Blaxploitation music themes thus far?

Aranwe: The mirroring is pretty evident here: Pop and Cornell are and two opposite sides of Harlem, with completely different hopes for it. Luke is caught in between, reluctant to aid or abet either of them, until Pop asks him on a more personal level. As for the music, I kind of adore it. It gives each scene such a unique feel, and it works brilliantly.

Etienne: I’m not a Blaxploitation cognoscenti, but I am digging the soundtrack.

Ivonne: The soundtrack throughout this show was nothing short of brilliant. The showrunners’ use of certain music in certain spots were all perfection, and this part was no different. I felt like the music was intricately woven into the narrative. Like it was almost a character by itself. The mood invoked here by the Blaxploitation music was brilliant, because Cornell certainly brings to mind that era of film.

Dominik: The music definitely helps build the tension in the entire scene. It really does sound like the calm before the storm.

Adrian: Luke finds Chico who refuses to come in (but eventually does on his own). Until then, Luke tells Pop what transpired and now… it’s flashback time! Pop got his nickname from the sound his fists made when he knocked people out. It seems Pop was dirty back in the day, running with Cornell and Wilfredo (Chico’s absent father) as his sidekicks. It was brief, but I loved this flashback! Cornell’s nickname originated when Wilfredo laughed at him for having cotton in his mouth when he lost some teeth. How did he lose the teeth? Also, the spoken/unspoken rule that Pop’s Barber Shop is “Switzerland” neutral territory makes more sense now, given his past with Cornell. Did you love this flashback as much as me?

Aranwe: I think everyone assumed that the nickname ‘Pop’ came around because he was like a father figure to everyone in the community, but this reveal was unexpected and kind of fun. It also adds more depth to the relationship between Pop and Cornell, and while one grew out of his gangster ways and the other didn’t, they’re still brothers at heart.

Etienne: Flashbacks are dangerous in film: you had best make sure the payoff is worth compromising flow. I am decidedly ambivalent about this one.

Ivonne: As Etienne said, the payoff better be worth compromising the flow. Arrow is a great example of a show that initially used flashbacks effectively in the first two seasons, but started wearing very thin and rather on the pointless side as time worn on. However I actually felt like Luke Cage effectively used flashbacks throughout, including this one. It was important to understand why Pop’s shop was Switzerland, why Cornell gets upset later, and why what’s to come completely changes Harlem.

Adrian: While Luke was canvassing Harlem, he saw Cornell entering the Crispus Attucks complex. Inside, Cornell visits Mariah’s offices and delivers half of the stolen cash for laundering, but Mariah needs the full amount before she can begin that process. We learn that Mariah gave Cornell funds to refurbish Harlem’s Paradise from her own donations; she’s not merely privy to his dealings, but is a full-on partner-in-crime. Perhaps this isn’t a major revelation, but certainly it complicates their story even more. Does anyone else wonder why Mariah remains involved in criminal enterprise when her career in politics is doing well on its own?

Aranwe: Mariah and Cornell, as leaders of the overworld and underworld of Harlem respectively, have a dangerous symbiotic relationship (strengthened by familial ties). It allows both of them to keep their power while at the same time pushing Harlem in the direction they want. It’s also a very delicate balance of power, one that can easily be upset by someone like Luke Cage.

Etienne: I think the writers did a good job of progressively unravelling Mariah Dillard’s morality. I’m not sure I was ever convinced that her career was going as well as she let on.

Ivonne: Why does any politician get involved in such things? Initially, I dismissed Mariah as being another dirty politician with selfish reasons, looking for money or to bolster her power. I admit to being surprised a little later at her real motivation, and what is revealed about her character. At this point though, I also just assumed that blood is thicker than water and that she was close to Cornell as a child, so she felt some familial duty to him.

Adrian: Meanwhile, Misty Knight is on the case. While reviewing the heist evidence, Misty’s thought process is shown through the same visualization effect used in the BBC series, Sherlock. “They are talking and moving… you just have to be still enough to hear what they’re saying,” she says to her partner, Raphael Scarfe (Frank Whaley), who finds it unnerving. Concluding that this heist’s aftermath is not yet over, she hits the St. Nick playground and pressures a kid, Chauncey, to shoot a game of Horse with her. She wins, because she’s a baller and this was her stomping ground (history!), and Chauncey’s intel leads her back to Pop’s. On the way in, Misty tells Turk Barrett (Rob Morgan, from Jessica Jones), who plays chess there with Bobby Fish (Ron Cephas Jones) to get lost. More connections! Finally, while questioning Pop, Misty and Luke pretend to be strangers; Misty’s identity as detective is busted! Luke does not appreciate the secret, despite keeping his own. How do you like Misty’s characterization thus far? What do you make Scarfe’s cold and aloof attitude in Pop’s?

Aranwe: Man, I love the way Misty’s skills are visualized, it’s a neat effect that’s used across the series, to my delight (I mean, Daredevil only showed how the titular hero’s senses worked once over the course of two seasons). The basketball scene was brilliant and, if her Tweet here is to be believed, that was Simone Missick herself making the shots, not a stunt double.

Etienne: Like Aranwe, I love the visual representation of Misty’s process: it’s a clever, compelling way to bring the audience up to speed.

Ivonne: It was cool when Sherlock did it, but man… there is something crazy impressive about the way they did it here with Misty. I adore the way they visualized her thought processes. As for Misty herself, we saw her as a sexual woman in the first episode, to a badass and analytical cop in this episode. I loved her one night stand with Luke, because too often in media women are presented as either madonna or whore; Misty is neither. She is simply a woman, like most of us are, and one who expressed herself sexually. And then she moved on with her life. I really love how down to earth she is. As we find out later, she is deeply flawed, but still good.

Dominik: While Misty is a little different from her comics version, she’s definitely a fun character, a good cop with her own distinct skillset. She’s definitely a three-dimensional character, and I’m yearning for a spin-off, especially once Colleen Wing gets introduced in Iron Fist and we can have a Heroes for Hire or Daughters of the Dragon series.

And that’s probably the most creative use of the “Sherlock Scan” I’ve ever seen.

Adrian: With Chico hiding out at Pop’s now, Luke goes to Cornell to request parley. On the way in, Luke’s kitchen supervisor Nate, is rude to him. Again. Shameek, Luke, Tone… why do people keep stepping up to Luke? Even though they don’t know he has superpowers, why do people think they can front on him? Idiots. Moving on, Cornell agrees to the parley, remembering and respecting his past with Pop. Things get complicated, but before I move on to that, Cornell and Mariah debate their philosophies again. “You know what people remember besides black martyrdom? Black money.” says Cornell. Mariah asks him “Don’t you get sick of people calling you a criminal?” and instead values respect. “Money outlasts respect.” he argues, Mariah questions the cost and Cornell says “When you find out, you’ll tell me.” Mariah seems to want legitimization for both of them, but Cornell isn’t interested. Is Mariah delusional about their chances, is Cornell stubborn, or does the answer lay in-between?

Aranwe: Mariah remains one of the most fascinating characters on the show. While Cornell is fun to watch, he’s a straight up gang boss with not as much subtlety. Mariah is a bit more complex; she wants Harlem to evolve and move beyond what it is, but is also more than willing to compromise that vision by constantly dipping into the shadier side of it.

Ivonne: I think it’s obvious why those people are rude to him. They think he’s just a poor black man in a shitty job. The gangsters don’t have any respect for him because all he seems to do is wash dishes and sweep. He’s not a black man that has taken control of his destiny like clearly they have by joining up with someone powerful. He’s just a black man still trying to work within the shitty system white people have set up for them.

At this point in the series, the cynic in me says Mariah is delusional, that Cornell is right and money is power.

Dominik: The writers are definitely planting some seeds here that will bloom later in the series, and their debates are a sign of that. They both have different points of view on what to do with the power they have. Cornell just wants more power and money, while Mariah wants to shape Harlem into what she thinks it should be.

Adrian: Back to Chico, Turk saw Chico at Pop’s and informs Tone. When Tone brings this to Cornell, he finds Cornell’s instruction to be non-committal, and makes an “executive decision” to move in. As he’s getting strapped, Shades asks Tone if he’s going to at least wait for Chico to come outside… he doesn’t. He shoots up Pop’s Barber Shop, hitting Chico and fatally wounding Pop. I can’t reason why Tone would act so recklessly. Even if he doesn’t know Pop’s history with Cornell, he has to be aware of the delicate politics of Pop’s Barber Shop, right? So what’s with the irrational and hasty action? What’s motivating Tone? Whatever the case may have been, Cornell does not take the news lightly, and when Turk hilariously interrupts their meeting to demand payment for the tip, Cornell tosses Tone off the roof and instructs Turk to retrieve his reward from Tone “downstairs.”

Aranwe: Now, a rule of storytelling is that there needs to be a source of conflict to propel the hero into action. Now, because of the characterization of Cornell and his relationship with Pop, the conflict wasn’t going to come directly from him. While Tone deciding to strike out on his own to curry some favor with the boss seems convenient, it kind of makes sense. As Cornell put it, “Believe it or not, there’s supposed to be rules.” He’s the ‘honor among thieves’ type of gangster, but it’s easy to say that when you’re at the top. It’s easy to have a Professor X and Magneto type of frenemy relationship with your rival, as long as it’s only the pawns getting caught in the crossfire. For people like Tone, it’s different. You see an opportunity to claw your way up, you take it. Heck, had he done things a little differently, he would’ve been climbing up instead of getting tossed down.

Regardless, Cornell’s reactions in this scene were amazing (his priority was making sure Pop’s recovered was a nice touch), and the presence of Turk added some much needed levity to the scene.

Ivonne: I think Aranwe is right… Tone’s decision, while idiotic, would be the only way he could go from being a low-level thug to the gang leader’s right-hand man. Tone saw an opportunity to do what he thought Cornell wanted. Basically, in corporate-speak, he showed “initiative.” And I’m sure that had he shown this initiative with just about any other situation, he might have been applauded and earned a place at the leader’s side. Too bad for him that he misread Cornell, and didn’t know about Cornell and Pop’s history.

Dominik: Man, old black men are being killed in every Netflix Marvel series, even on Luke Cage.

Tone seems to be someone Stokes brought in from the outside, unaware about how everything in Harlem works. He’s been openly disrespectful to Pop since the first episode, and after the scene between Luke, Pop and Cornell, he paid for Cornell shave by dropping money on the floor with a shit-eating grin - after Stokes left, so he doesn’t have a chance to educate Tone about the respect he needs to show Pop. Everyone in Harlem knows Pop’s barbershop is Switzerland. Tone thinks it’s just a place people get a shave. And Stokes would tolerate the outburst of eagerness, if he didn’t rush in guns blazing like the Punisher, not caring who he hits.. And he pays the price - especially once he stupidly uses the nickname Cornell despises.

Adrian: In the shoot-up, Luke shielded Lonnie (Patricia’s trying so hard to pin down Luke, she’s brings her poor son to Pop’s two times in two days), saving his life. After Tone and Shades leave with the money, Pop dies in Luke’s arms with his final words, “Always forward.” While Cornell looks at the old photo of him with Pop, Luke mourns for Pop while holding the swear jar: a physical representation of Pop’s philosophy: when you break the rules, payment must be extracted to maintain order. Luke goes for a walk and finds himself outside the Crispus Attucks Complex, just as Mariah is depositing Chico’s stolen funds. Mariah wasn’t cool with the murder, but “The money’s still green.” Luke is threatened by a lookout and objects to being called “n---a,” and questions how the lookout can use that word as the two of them stand outside a building named for Crispus Attucks, “The first man to die for what became America … He paid with his life. But he started something. That’s what Pop did. Not me. I laid in the cut until he stepped up. And it cost him his life, too. I ain’t laying back no more!” Luke finally understands what he must do and regrets it coming to this. And shouldn’t he? Shouldn’t we? Do superheroes always need a tragic end to start a righteous beginning? Does Crispus Attucks always need to die?

Aranwe: Pop surviving to the end of the show would’ve been a miracle. That having been said, I didn’t expect him to be killed off that quick, nor did I expect to miss him so much. Pop was more than your average Uncle Ben, in just two episodes he had already infused the show with so much heart.

As for whether heroes always need a tragic start to their story, it’s worth noting Luke already had one with the loss of his wife, and that did put him in action until the man responsible was taken down, after which he went back to laying low and staying out of trouble. Now, the question is whether Pops’ death will have the same effect on him. He’s out to take down Cottonmouth now, but the bigger question is what happens after he does.

Ivonne: Motivating the reluctant hero by killing someone they care about is a tale as old as time. As Aranwe noted, he already had that with Reva’s death, but yes, after her killer was dealt with, Luke had no more motivation to continue along that path. That’s fairly unique in superhero narratives, because the events in Jessica Jones would normally have been enough to motivate a superhero to continue along the vigilante path. Instead, Luke chose to go into hiding again.

It’s an interesting twist. And maybe the problem was that Luke didn’t have someone to humanize him, someone to fight for, to get him into superhero mode. Superheroes almost always have someone to fight for, don’t they? Usually the girl who keeps getting kidnapped by the villain. Or at least they have someone whispering in their ear to use their powers for good. And while Pop was trying to do that, interestingly it wasn’t enough. Aranwe is right; the real question is what will Luke do once Cottonmouth and Mariah and whoever else are dealt with?

Luke Cage Roundtable Review – S01E01 – 'Moment of Truth'

From its first episode, Luke Cage is a wonder. In Jessica Jones, Marvel took audiences beyond superhero spectacle and deep into an intense and multifaceted world, exploring themes of abuse and control. Luke Cage continues this evolution, exploring the complexities of his personal life, but also black culture; a critical thematic element that cannot be overstated. This not simply a show for experiencing comic-geek culture, this is Black American culture, complete and unapologetic.

Show runner Cheo Hodari Coker has produced and written for multiple critically-acclaimed series, but aside from his lifelong comics fandom, he was also a writer on Notorious, the Biggie Smalls biopic. Coker understands the 90s Rap and Hip-hop scene extensively and employs their societal influences in many subtle, effective, and fascinating ways. The music is important beyond mere mood-setting, and the cast is a phenomenal mix of actors, each of whom are nailing their performances. I’m very excited, so let’s go head and dive in.

Luke Cage – S01E01 – Moment of Truth

With tension building in the streets of Harlem thanks to ruthless club owner Cottonmouth, Luke finds it increasingly difficult to live a quiet life. (Netflix)

Adrian: The episode opens in a central point of most Black communities: the barber shop. Following the events of Jessica Jones, Luke is laying-low in Harlem, working odd jobs for Pop (Frankie Faizon), an old friend of his deceased wife, Reva. Pop has taken it upon himself to serve as a guiding light for the young boys of Harlem, and he takes no exception to an adult Luke. I loved this scene; Pop recognizes Luke’s pacing as an ex-con’s habit (they’ve both survived prison), but also intuits that Luke is mourning Reva. It’s a very earnest and believable interaction between Luke and his mentor, with some hints about Luke’s origin sprinkled in. How did you like this opening, and what do you think of Luke’s reluctance to be a hero?

Aranwe: What stood out for me were the little touches that made the barber shop feel so real, as well as adding a little fun to the proceedings. The basketball talk, the swear jar, and the celebrity exceptions list all put a smile on my face, and that smile stayed. I somehow felt at home there despite it being nothing like I’d ever experienced, culturally speaking. Luke, meanwhile, already has a bit more depth than his role as a supporting character on Jessica Jones. I loved him there, no doubt, but this is his show now, and while the whole reluctant hero schtick is a pretty familiar trope, Colter sells it.

Ivonne: I loved the opening. Pop’s barber shop was delightful, not only in the careful attention to detail in decor, but all the casual conversations happening. Like the law student/single mom admiring Luke and admiring that he was a hard worker after he says he’s going to a second job later. “Black man working. Nothing wrong with that!” I just love all the little details like that. I so wanted Luke to go have coffee with her, too.

Mike Colter really sold the reluctance. I felt like the first couple episodes of the show were slow, but that’s not necessarily a bad thing. I think they took the time to establish this character--and this new environment--quite well in the process.

Dominik: I really liked the opening - it felt very alive, with a “lived in” feel. Like Aranwe, this isn’t something I have ever experienced, but the writing helped make it homey, familiar.

Meanwhile, Luke may be lying low, but he shines even more than he did on Jessica Jones. Mike Colter continues to be a perfect fit for the character.

Etienne: The opening scene does more for the supporting cast than it does for the titular character. This is not at all a complaint on my part, but I understand the viewers who felt that the first two episodes are inchoate: they were probably hoping to see Cage at the center of the story from the start. Audiences often chafe at being made to sympathize with a protagonist who does not exhibit a readiness to carve his own path, but instead expresses a resignation to be battered and tossed around by irresistible forces. It’s only natural to resent the hero when he is not his own man.

It’s fitting to observe that this kind of frustration is part and parcel of minority experience.

Adrian: Luke also works as a dishwasher at Harlem’s Paradise, a club owned by Cornell “Cottonmouth” Stokes (Mahershala Ali). Cornell’s cousin Mariah Dillard (Alfre Woodard) is a local politician; her and Cornell banter in his club, comparing their approaches to success. They’re both the product of their guardian, Mama Mabel, the deceased matriarch of a powerful criminal legacy. While Cornell is comfortable maintaining and profiting from the status quo, Mariah prefers to make positive social change through politics, finance, and property ownership (albeit while laundering money for Cornell’s organization). Their family has an intriguing duality that ultimately impacts not just their community in Harlem, but Luke directly. What do you make of our new villains, “Cottonmouth” and Mariah?

Aranwe: I’ll admit, as a stickler for universe consistency, having Alfre Woodard in this show really bugged me for a while, after her completely unrelated role in Captain America: Civil War earlier this year. But five minutes of watching Mariah Dillard, and I’ve already forgotten all about Miriam Sharpe. Here’s a woman being pulled in all directions at once, between familial relations and political ambition and a desire to create real, actual change, and she pulls it all off with surprising grace.

Meanwhile, Cottonmouth seems a little too similar to a slightly smoother Wilson Fisk to me, at least in the first episode. His tantrum as he beats another man to death later in the episode does nothing to quash the comparison.

Dominik: It feels a little like Mariah and Cottonmouth are Fisk divided in two - Mariah is his public face, the benefactor and the savior of the city, while Stokes takes his gangster part. The thing is, for me they both feel more human than Fisk ever was. Compared to him, they seem more like people you could actually meet in real life, even though they’re character archetypes themselves - the shady politician with criminal ties and the gangster running the city from his club/bar/saloon. A lot of it is thanks to Alfre Woodard and Mahershala Ali’s acting, which is stellar. It already seems like it’ll be the best acted of Marvel’s Netflix shows.

Etienne: I agree with Dominik: taken together, Mariah and Cottonmouth make for a singularly life-like antagonist. I would have liked to meet the councilwoman in her own element, though: I think it’s unfortunate that we catch our first glimpse of black authority in a glamorously seedy setting. I understand it’s easier for Mariah Dillard to visit Harlem Paradise than it is for Cottonmouth to appear in the rather more sedate context of campaign offices, but I still think it’s too bad that criminal elements take precedence over legitimate power.

Ivonne: I agree that Cottonmouth reminded me of Fisk a great deal, but I still felt he was different enough. Cottonmouth works in the shadows, and his “kingdom” is of a decidedly different sort. Fisk works out in the open, walks the glamorous places like art galleries and snazzy restaurants. Cottonmouth is rarely seen out of his club. His whole life is centered there. He may be king, but it is of a much smaller kingdom indeed.

I hated Mariah this early in the show, but I kind of despise dirty politicians. The writing never sold me, even later on, that she actually gave a shit about her people (the instant need to wash her hands of them immediately after hugging all those kids was a sign of this, to me). I believe she was always more concerned about her family’s legacy, and in forging her own part of that legacy, than in improving the lives of others. That said, she certainly grows into an amazing character.

Adrian: Also at Harlem’s Paradise, our newest Marvel heroine, Misty Knight! Filling in for Dante as bartender, Luke strikes up a flirtatious conversation with Misty (Simone Missick). She’s interested in spying on Cottonmouth from afar, but Luke is a constant distraction. While Luke was reluctant to attempt a romance with Patricia (a lawyer and positively lovely mother at Pop’s Barber Shop), he seems quite ready now to follow Pop’s advice to move on from Reva. Misty and Luke’s meet-cute transitions outside to a romantic, soft-light bokeh scene, eventually leading to sexy-time in Luke’s studio. They’re both charming and extremely attractive people; the camera shares equal time and focus on both stars, making this a particularly fun and sexy scene. What did you think of Misty’s introduction and her chemistry with Luke?

Aranwe: Missick and Colter have such amazing chemistry that I could quite contentedly watch an entire episode of Luke and Misty flirting at the bar (though Luke and Jessica will always be my OTP).

Ivonne: Misty and Luke are sizzling hot together, and their “coffee” scene was on fire. I thought the camera gave equal time to both of their bodies, so I’m not quite understanding some of the comments I’m hearing that the scene was filmed under the male gaze. It wasn’t even as sizzling hot and in-your-face as the various Jessica Jones sex scenes, so I’m not sure what the problem is.

Anyway, despite the chemistry between them, I don’t ship these two. I felt it might be a one-night stand situation. I still continue to sail on the Jessica and Luke ship, because they are the original power couple.

I adored that Misty’s introduction, however, was as a smart and sexy woman who knows what she wants and goes after it. Too many times women in Hollywood are either innocent, or if they aren’t, they are cast in a darker light. This is just two adults getting it on. And then she got up in the morning and moved on with her life.

Etienne: I agree with Ivonne. This sex scene is certainly rather blunt, but I do think that is the point: what we’re seeing is not the consummation of a long courtship, but something considerably more casual. Does it idealize virility in a way that’s almost absurd? Absolutely, but the same critique could be levied against almost every depiction of sex in visual media. As much as I would have liked to see something more nuanced, I understand the politics of representation are complex, especially when it comes to intimacy.

Dominik: While not identical to the condensed awesomeness that is the comic book Misty Knight, Simone Missick’s take on the character is compelling in her own way. I like the chemistry she has with Colter’s Cage—though like everyone else here, I’m much more of a Luke/Jessica shipper. Power People for life, friends!

Adrian: Meanwhile, Cornell’s partnership with Domingo Colon (Jacob Vargas) is off to a bad start. Mariah, quite ironically, invokes the cautionary tale of Wilson Fisk and the dangers of partnership and visibility. Something does goes wrong: Dante (one of Cornell’s low-level soldiers), Shameek, and Chico hold-up Cornell and Colon’s weapons trade at the junkyard, making away with a million dollars in cash. The shoot-out plays in sync with an ethereal and somber musical performance from Raphael Saadiq (from the 90s R&B group Tony! Toni! Toné! and other acts). A bloody, violent, and artistically-executed scene. Shameek betrays Dante, but as Dante dies, he gets word of the disaster back to Cornell’s lieutenant, Tone (Warner Miller). Diamondback, the unseen weapons distributor who enabled this deal, is not happy and sends in his man, Shades Alvarez (Theo Rossi) to monitor Cornell’s operation first-hand. What do you make of the mysterious Diamondback or his enforcer, Shades?

Aranwe: I find it curious that Diamondback, like Cottonmouth, shares a nickname with a type of snake. Whether or not this has any significance remains to be seen. As for Shades, well, for me he seems to alternate between looking cool, trying to hard to look cool, and downright parodying looking cool (the name ‘Shades’ doesn’t help). It may take me a while to get used to him.

Ivonne: Comic book nerds may have picked up on the snake names, and thought these street-gangsters might have something to do with the Serpent Society, which is usually featured in Marvel cartoons as being extremely goofy and over-the-top low-level villains that get the crap beat out of them by the heroes. I had to do an Internet search about this, because it was bugging the crap out of me. It seems that Cottonmouth and Diamondback have appeared in Marvel history in various forms, and these gangsters apparently don’t have anything to do with the silly Serpent Society. But it is a little puzzling that they decided to use these code names, I think.

I didn’t know what to make of Shades, especially with, as Aranwe said, his goofy name suggesting parody. He does seem like a very cool customer, especially in contrast with Cornell’s fits of rage. But I like the actor, so I withheld judgement this early on the character.

Dominik: The funny thing is, I forgot Diamondback is supposed to be in the series. It was one of the things announced early in development, but the marketing was only ever focused on Cottonmouth and Mariah, so it slipped my mind until Shades mentioned his employer. Anyway, I don’t have my mind made about either Diamondback or his employee, other than echoing Aranwe and Ivonne in that he verges on a parody of a cool guy at times.

Etienne: I must be completely blind to irony, because I just thought Shades was cool. Too cool for school, even: it made me a little mad that the voice of reason should take the form of a pale-faced stranger, even moreso considering that comics Shades is much less ambiguously racialized.

Theo Rossi sells it, though.

Adrian: Shameek acts predictably foolish, high-postin' at the strip club, making his stolen wealth extremely visible, allowing Tone to easily scoop him up. During Shameek’s interrogation, Cornell references his Biggie Smalls painting, the camera placing Cornell perfectly in frame under Biggie’s crown. This provides a thread into Cornell’s mind: Biggie, who rose out of Brooklyn, was still unable to escape its violence. Cornell reveres Biggie, but rather than try to escape their shared world, he seems determined to accept his place in the hustle. Cornell beating Shameek to death, even partially off-camera, was hard to watch. Also, there have been subtle hints in Tone’s reactions that seem to imply his involvement in the heist: Dante’s call, his anxiety during Shameek’s murder, even his attitude toward Shades. Do you think Tone was involved? Is there something else going on here we might be missing?

Aranwe: As I mentioned earlier, this scene kind of hearkens back to Fisk’s infamous car door scene a bit too much. That having been said, it’s still really, really nicely done. Cornell’s suit slowly getting bloodier and bloodier without showing the actual damage he was doing was an excellent stylistic choice.

Dominik: Tone doesn’t seem like the kind to be plotting anything behind Cottonmouth’s back, to be honest. It honestly feels like a robbery that went sideways for its participants.

Etienne: I honestly can’t say. Tone didn’t make much of an impression on me. There is certainly more to this story than meets the eye.

Ivonne: I honestly didn’t think twice about Tone. I don’t think he had anything to do with the heist. He’s just a thug. But maybe I was too distracted by Cottonmouth pounding the crap out of Shameek. Holy crap, that scene. Hard to watch indeed, but like Aranwe said, it was nicely done. Amazing framing and amazing almost-off-screen violence.

Adrian: The next morning, Misty’s identity as a police detective is revealed to us when she arrives at the scene of the shoot-out. Misty remarks that she knows Dante’s momma, which provides another thread, this time into Misty’s life. It sets up another dichotomy, now between Misty and Mariah. Both women seek to make positive changes in Harlem, their lifelong home, but take very different paths to achieve that. What do you think about these intertwined relationships and goals between our heroes and villains?

Aranwe: This show does a phenomenal job of tying all the different corners of Harlem, from the underworld to the police to the streets to the politicians, and it all centers around Pop’s. It’s a brilliant dynamic which makes everything that happens that much more tense and personal.

Dominik: Is calling it a superheroic The Wire a bit much? Because it feels a little like it, being a crime story encompassing the entirety of its down-to-earth, urban-based setting. I’m definitely enjoying it, and can’t wait to how each side of the story develops.

Ivonne: I adore the many different ways we get to see Harlem, the very different perspectives of its people. Misty and Mariah are two very different sides of a coin, although as I mentioned earlier, i’m not convinced this early on that Mariah actually gives a shit about Harlem. She is forging a legacy and carving her name into the streets, I think. Whereas Misty is genuinely interested in making things better.

Adrian: Lastly, Luke is panicked. When Tone and Shades led Shameek into the club, Luke recognized Shades from his time incarcerated at Seagate. Luke relaxes, holding his copy of Invisible Man by Ralph Ellison, given to him by Reva, who we now know was his counselor in prison! Reva’s role is a significant reveal, opening up new avenues of consideration regarding their love, their marriage, and his subsequent mourning.

The book itself is a fascinating parallel to Luke’s story and origins: the narrator of Invisible Man suffers an experience in an mental institution, not unlike Luke’s experience in prison (which we see later in S01E04 “Step in the Arena”). Both Luke and the narrator are from the South, living later in Harlem. In Harlem, the narrator encounters a tumultuous gallery of antagonists with political machinations that parallel Mariah Dillard, Cottonmouth’s connection to Diamondback, and more. The narrator’s ultimate conclusions mirror Luke's closing affirmation to Reva, “I’m clear. I’m focused. I promise, baby. I’m ready,” leading finally into a public confrontation with a posse stumping for Mariah Dillard and extorting Luke’s landlords for Cornell. Luke saves the day, and like the narrator, Luke has chosen to resurface.

Simply put, the level of writing involved in Luke Cage, in this first episode alone, has me completely psyched, and clearly not speechless. What did you think of the first episode of Luke Cage?

Aranwe: Weirdly, what I felt this episode of Luke Cage lacked, was, well, Luke Cage. The titular hero gets a scene in the beginning, middle and end, and not much else. Even more weirdly, I didn’t mind at all. We get plenty of Luke as the series progresses, and setting up all the supporting characters and antagonists instead actually gives the show much more depth, making the payoffs in future episodes more rewarding. Overall, a few pacing issues aside, I loved it. The acting was top notch, the atmosphere (the music) was amazing, and the antagonists intrigue me.

Dominik: It does feel like Luke was incidental to the opening hour, doesn’t it? It might be incidental - he is trying to lay low, not draw any attention to himself. And the upside to it is that we got more of a sense of the other characters. In Daredevil, we didn’t meet Fisk until the end of the third episode (which was a little anticlimactic at the time) - here, we’ve already got a good foundation that’ll let them grow spectacularly (especially with the acting talent on display).

What’s more, it also gives us a much better introduction to Harlem, which already has much more of a feel than Hell’s Kitchen does after three seasons (two Daredevil, one Jessica Jones). The opening, heavy with history, and the music (this may turn out to be the best soundtrack for anything MCU-related)—they all help us get a good sense of the place, and why Luke starts standing up for it. Can’t wait for more.

Etienne: I can’t think of anything that might have dissuaded me from watching this show; I’ve definitely bought into the hype and I am not at all an impartial critic. That being said, it’s the level of research that went into making this series not just about a racialized hero—but actually about black experience, culture, and community—that I find truly inspiring. Plenty of narratives pay homage to the idea of diversity by reproducing identity markers without bothering to give any airtime to the cultures themselves. Luke Cage is the exception: this is obvious from the first episode, and it couldn’t have come at a better time.

Ivonne: I adored Jessica Jones because even though it was about superheroes and a dude with magical powers over the mind, I felt like it was telling a story about my experiences as a woman. When I came into work on the Monday after Luke Cage premiered, my black coworker was glowing. He said the show had made him so happy by being a story about him and his experiences as a black man in America.

I think that is the power of this show. As Etienne said, many shows pay lip service to the idea of diversity, but there are not many shows out there that actually tell a story like this.

The first episode sold me on the show. I was in it until the end, even without Luke being featured. I really enjoyed the choice made by the creators to not make him the central figure, because what they did instead was make Harlem itself a powerful character of its own, by showing us so many of its inhabitants and power players. This show is not just about a man with superpowers. This show is about Harlem and its people, and I think overall, it is also about the black experience in America.

Critical Hits & Misses #30: Seussday, September 20, 2016

After a brief sabbatical, Critical Hits & Misses is back! Let's do this!

Ten days to go until Luke Cage premieres! Are you ready? If not, this might get you pumped:
Rolling Stones has the deets on the soundtrack for Luke Cage. Fellow fans of American 90s hip hop, and especially A Tribe Called Quest, should be pleased. (Tova)

Diana Tourjee over at Vice explores the moralism of the show Seventh Heaven, its inexplicable popularity, and the culture it spawned from. (Megan)

Popular author Dan Wells recently did an AMA on Reddit to promote the film based on his novel I Am Not A Serial Killer. You may recognize his name from a review posted at Critical Writ on Bluescreen, one of his newer books. (Zach)

It's Seussday! Be true to you, today and all days!

In today's musical hit, Run River North contemplate their options: "Run Or Hide"? Content warning for extreme violence towards drums, old televisions sets, and teddy bears.

Today's critical rolls:

1. What’s the best Woman Kicking Ass-GIF you can find? (Why yes, this is an excuse to post embedded gifs, as if you need an excuse!)
2. Who is the evilest Marvel villain (comics only) and why?

—Critical Writ has a super-duper strict comment policy that specifies a single rule above all others: don't be the floating turd in the pool. Be cool, fool.