Until the TV's the color of sky, tuned to a dead channel.

This is much more grounded than the wire-fu flash of Arrow or even this season's Agents of SHIELD.

Eh, it's not horror-show horrific or anything like that. But it is roughly Fight Club level violent.

I *think* they're economizing on set design, CGI, and location shooting by doing this. From the first two episodes, we've really seen very little of Hell's Kitchen, it's all shadow and strategically placed lights and cameras aimed to avoid rather than reveal.

It can't be, by the middle of the season he's going to be a side of beef, which will put paid to his "secret identity". Even by the end of the first episode, he ought to be rocking the Tyler Durden look next day.

Well, they're letting the sound and shot composition do the work. Matt's mirrored glasses capturing the interrogation target's image, steep focus with the center of the shot hyper-sharp and the edges fuzzed out, and of course, the audience listening with Matt to the heartbeat.

It's almost certainly been said elsewhere almost as good, but "We can't trust anyone."/"Then we tell everyone." is a great call-and-response set of lines - spare, terse.

Well, it's New York. The Daily Bugle always struck me as a Post kind of outfit. Maybe the Bulletin is more of a Daily News? Or Wall Street Journal?

You know the new one will feature quadropters with diamond-tipped lances and acid spray-tanks. Until they botch the audience-guard screens and some guy gets a face full of wayward killbot.

I started mine first thing this morning, although I'll probably keep it running anyways. It was just the last push needed. Hey, have they started the Longmire extension yet?

It's established in the first episode, much of Hell's Kitchen got leveled along with Midtown in the invasion, and it's an enormous construction zone with bits and pieces of the neighborhood surviving among the chaos, which is corrupt as all hell from all the redevelopment money sloshing around. Not that we see much…

You think we're actually going to get that Supergirl-as-Ally-McBeal show in development?

Well, not yet. But one can hope they don't go down that path. Or, at least, I can hope. I've had my lifetime limit of that sort of thing, this show's "Red Batman" Nolanesque take is about my speed.

Well, it is true that the creative peak of Daredevil was a core part of the "grim and gritty" post-Bronze-Age era of the mid-Eighties. There's some pieces of the first episode which looks like a Miller comic, although more Sin City than Daredevil. But Frankly I'd like to talk more about the stylistic flair. I love…

And based on what I saw in the first two episodes, it's horseshit. The first two episodes are distinct entities, with distinct establishment, complication, crisis, climax, and resolution beats. So far the structure is, as we made fun of DeKnight for saying back during production, like the Wire. We thought it was…

I've only had time for the first two episodes as well, but yeah, that basement-hallway fight in the second episode was fucking masterwork. Unrelenting, brutal, vulnerable - and if it wasn't a single take, they sure disguised it well. This isn't even in the same state as Agents of SHIELD.

Ms. Judd, is that you?

Exactly what I was thinking of, actually.

Ehhh… unless you dropped the show partway through the first season because there just weren't enough scenes in whorehouses and brutal shootings, I don't think there's much more awaiting you. Other than the show increasingly dropping every element which distinguished Nucky at first from being Tony Soprano in a straw…

…who?