Daredevil: Born Again excels in grittiness, lacks in action
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Daredevil pioneers darker storytelling in the Marvel Cinematic Universe (MCU). Since its inception, it has been gritty, grounded, and human.
When the Netflix series debuted in 2015, it redefined superhero shows with its morally complex characters and brutally choreographed action. But after three successful seasons, Netflix dropped the series in 2018, as they do with every decent show.
The show underwent development, reshoots, showrunner changes, creative reboots, and restructuring delayed Matt Murdock's return. But it finally premiered on Disney+ in March 2025, with Dario Scardapane running the show.
A big spoiler at the beginning gives a glimpse of the plot. In the opening 15 minutes of the first episode, longtime fan favourite Foggy Nelson is murdered.
His death makes Matt struggle with loss, contemplate continuing to be the masked vigilante Daredevil, and experience a crisis of faith in both religion and justice.
Meanwhile, Wilson Fisk's calculated rise from crime lord to mayor of New York prepares him to be Matt's archnemesis again. In Born Again, Fisk isn't just controlling businesses. He's controlling the whole city, instituting martial law and executing enemies in broad daylight.
The series shows how unchecked political power can turn a man like Fisk into something far more dangerous than a mob boss, a fascist in a tailored suit.
Then, Frank Castle, aka the Punisher, enters like a hand grenade in the middle of a chess game. Jon Bernthal's return is the dose of chaos this series needed. He brings brutal justice and a welcome dose of moral ambiguity, sharply contrasting Matt's now-exhausted 'no-kill' philosophy.
But even Frank's explosive presence can't distract from the show's naked weakness, its identity crisis.
Unlike the grittiness of Netflix's run, Born Again uses CGI-heavy fight scenes, making Daredevil feel more like a weightless Spider-Man knockoff than the bruised brawler of Hell's Kitchen.
The fatigue and battle-weariness that made Matt human now feel performative and overused. Gone are the one-take hallway fights and visceral alleyway brawls. Instead, the viewers get over-the-top action that weakens the emotional weight of Matt's crusade.
Performance-wise, Charlie Cox and Vincent D'Onofrio continue to shine. Their chemistry still carries the show even when the story sounds nonsense.
Karen Page's return adds nostalgia, but she isn't present much except in the first and last episodes. Margarita Levieva plays Heather, Matt Murdock's most disconnected and least meaningful relationship.
Wilson Bethel reprises his role of Bullseye with frightening 'accuracy', but his involvement in Foggy's death feels cheap. It's a gimmick that abruptly destroys the long emotional bond between the trio of Matt, Foggy, and Karen. It hurts not because it's tragic but because it feels like a shock value for the show.
Yet, all is not lost in Hell's Kitchen. More ruthless than ever, Fisk has the city in his iron grip, but Matt is no longer a lone crusader. Shaped by loss and reborn through suffering, he now believes in something greater than personal vengeance. He believes in collective resistance.
The season finale hints at a rebellion, a people-powered movement rising to challenge Kingpin's regime. Matt's journey isn't just a superhero arc; it has a social lesson.
When institutions fail, the people must rise. The final shot of Matt rallying allies suggests that Season 2 won't just be a war for the soul of New York but a clash between authoritarian power and grassroots justice.