The Punisher Season 2: Brutal But Good

Considering that three of the five Netflix Marvel shows have been canceled in the last six months, I suppose it’s not really much of a competition anymore, but since the fate of The Punisher is still up in the air, it’s worth saying: If the first season made it a contender, then the second season settles it. The Punisher is the best show in the Marvel Netflix Universe.

Season 2 picks up a year after the events of season 1 and finds Frank—having untangled the conspiracy that led to the murder of his wife and kids—on the road in the Midwest, new, squeaky-clean identity in tow, trying his hand at an everyman existence. It almost seems like he might be able to make it work, too, until Frank crosses paths with Amy, a teenager caught in the middle of something bad, something much bigger than her, and Frank can’t help but get involved. Despite the distance and his best intentions, he can’t seem to leave his alter ego behind; it’s an itch that needs to be scratched. He’s still haunted by the death of his family and what it revealed: He’s good at putting people down, and he likes doing it.

Frank isn’t the only one being haunted this season. Curtis’s old life keeps getting in the way as he tries to build a new one; Billy is tormented by his shattered memories; and Dinah by Billy himself, by their past relationship and the lies and trauma she suffered at his hands.

The sophomore outing feels less like a second season and more like a second chapter, the harsh reality of what comes next after a seemingly tidy ending. Because of course—there are no endings. The hardest part is to keep going. Too often shows skip past this—the messy aftermath—willing to subject their characters to trauma, but preferring to gloss over the fallout, the healing process, the ways trauma changes you. The show has plenty of shots to take—at the religious right, Russian colluders, homophobia, pedophilia, Nazis, people who use their money to buy Congress—but amidst the violence you’d expect from a show called The Punisher, it gives its characters room to breathe. To grieve, mourn, struggle. To feel fear, to act out, to ask themselves who they want to be. It’s the kind of thoughtful, nuanced writing that made the show shine in its first season, and it’s still on display here.

Notably absent from season 2 is Ebon Moss-Bachrach’s charismatic David Lieberman, but the show makes up for it by showcasing the dynamic between Frank and Curtis and giving more screen time to the excellent Jason R. Moore, who plays Curtis with the perfect combination of compassion, frustration, pragmatism, humor, pain, and sadness that makes him the show’s true moral compass. The lack of Karen Page this season is a loss, but the scenes between Deborah Ann Woll and Jon Bernthal remain some of the most captivating, compelling, and emotionally rich scenes on the show, and the connection that we do get to see develop, between Frank and Amy—funny, smart, and sarcastic in her own right, all while remaining believably young and naïve—is a worthy, heartbreaking addition, a stark reminder of the father Frank was and never got the chance to be.

Without the singular purpose of taking out the people responsible for murdering his family, the second season feels slightly unmoored. But then again, so is Frank. The more he feels like he’s the only one capable of stopping the people hunting Amy, of bringing a final end to Billy, the more he pushes people away. Cuts himself off from his humanity, resigned to live as a weapon. The question this season seems to be: What kind of future does Frank want? If an undeniable part of him is the Punisher, is there a way for him to live with both sides of himself?

By the end of the season, Frank’s answer is definitively “no,” but there’s something unfinished about it. His answer may be “never,” but the showrunners seems to be saying not right now, or even perhaps—hopefully, tentatively—not yet. It’s as painful a conclusion for Frank to come to as it is to watch, but not in a way that makes you want to look away. If anything, it draws you in, makes you root for him and keeps you wanting more, longing for the next chapter where maybe, finally, Frank can get it right.

Seasons 1 and 2 of The Punisher are now streaming on Netflix.

Review: Marvel’s Cloak & Dagger

To say that I’ve been eagerly anticipating the premiere of Marvel’s Cloak & Dagger since the series’ order was first announced in April 2016 would be a massive understatement. In fact, you could say that it’s impossible for my excitement for this show to be overstated.

Maybe this calls the objectivity of my review into question, but I would argue it actually makes me a tougher critic. I’m hopelessly terrible at keeping my expectations in check, so my hype for this show? It was high. Way high. Almost alarmingly so.

Boy was I ever not let down.

In case, unlike me, you haven’t watched the trailer a dozen times (lowball estimate) on YouTube, here’s what you need to know: Cloak & Dagger follows Tyrone Johnson (spoiler alert: cloak) and Tandy Bowen (hint: dagger), two teenagers living in New Orleans who first meet as children the night they each suffer a traumatic loss that alters the course of their lives. Eight years later, they bump into each other again—at a party, innocuously enough—a reunion that sparks the discovery of their powers: Tyrone can teleport, and Tandy can turn light into daggers.

Come for the bomb ass set of powers; stay for literally everything else.

Aubrey Joseph and Olivia Holt are perfectly cast as Tyrone and Tandy—young enough to be believable as teenagers; old enough to pull off dynamic, emotional performances. The look on each of their faces as they recognize the other from a night they weren’t entirely certain was real is enough to break anyone’s heart.

The smartest move the show makes, however, is in keeping its stars separated. Tandy and Tyrone spend most of the first two episodes apart, their lives paralleled as we watch them live the same hours of each day—giving the show a chance to establish their two main characters individually, and the audience a chance to become invested in each of them independent of the other.

Which is not to say the chemistry between the two of them isn’t enough to have you on the edge of your seat until they meet again.

Without the ABC Family logo in the corner, Freeform seems more than ready to address our 2018 reality: racism; rape culture; prescription drug abuse; police corruption and police violence, especially against the black community. The show’s coverage of these topics is neither gratuitous nor exploitative; it isn’t in-depth enough to derail its plot, and it’s never in danger of becoming an after-school special. But it grounds an unreal situation in a harsh reality, willing to face up to our issues rather than deny they exist.

The pacing is tight, the secondary characters interesting, and the special effects way better than you’d expect this side of cable TV. It has an amazing soundtrack, which we all know is the mark of a truly great show, and enough surrounding mysteries to keep you on your toes without distracting you from why we’re all really here: the connection between Tandy and Tyrone; their new powers and the link between them—and all the ways we don’t even know they need each other yet.

If you’re looking for a new summer obsession, congratulations. You’ve found it.*

 

*Cloak & Dagger airs Thursdays at 8 pm EST on Freeform.