#Mic drop origin tv#

#Mic drop origin tv#

I donвЂ™t remember the last time I saw a TV show take this huge of an artistic leap from one season to the next. I donвЂ™t have too many ways to put this that wouldnвЂ™t land all my loose change in the Swear Jar, butвЂ¦ letвЂ™s just say someone clearly changed the snacks in the writersвЂ™ room over there, because to say Luke Cage has upped its game for its second season is putting it really mildly. Halfway through the first episode of Season Two, I started to wonder if I just hadnвЂ™t been paying attention the first time, but as I watched it became clear that it was the show that had changed, not the viewer. But they were buried in a big pile of вЂњduh,вЂќ at least for this viewer. There were flashes of something wonderful. And grownups are (or should be) capable of extracting bigger-picture stuff from a screen conceit without being whacked in the head with Black Masculinity Tropes 101, вЂњCheck it: weвЂ™re timely!вЂќ police brutality subplots and a brother (both meanings) who spouts scripture in a way that I bet had Samuel Jackson hanging his head. It also had a whole lot of loose writing, draggy direction, and, yes, a level of symbolic unsubtlety you cannot excuse with the вЂњbecause comicsвЂќ thing. Luke Cage Season One had cool moments, and several very good performances (by actors and guest musicians alike).

I actually got trolled, like legitski online-harassed, for saying that other than Jessica Jones-and specifically Krysten RitterвЂ™s performance therein-the Marvel Netflix Industrial Entertainment Complex ranged from вЂњmehвЂќ ( Luke Cage, other than Mike Colter also acquitting himself pretty brilliantly in the title role) to вЂњDear God, another dreary, plodding death march through Stan LeeвЂ™s limbic system? When will it be over?вЂќ ( Sorry, The Defenders.)Д«ut I stand by it.