So Season 2 of Jessica Jones is out. And this time it’s almost perfect.
As a show, Jessica… how do I say this? Her first season was the only series that’s ever made me rethink Buffy The Vampire-Slayer (see my past rave) and remind myself it isn’t fair to anyone to compare Buffy’s seven whopping seasons of frequently-legendary storytelling to one thirteen-episode arc of focused perfection.
It’s also not fair to compare Jessica’s Season 2 to her first, if only because if it were any show but hers you couldn’t compare it to that first storyline without admitting that would be setting an impossible standard. And Season 2 does have pretty much all the things that made the first what it was:
What We’re Jonesing For
Krysten Ritter. Just enough doors ripped off hinges for a PI-slash-superhero story. Trish trying to be the only anchor in Jessica’s life. Krysten Ritter. Bitter monologues, bitter alcohol, and PI dialogue with more bite than the booze our hero swims in. Malcolm the neighbor (now in a new position), sweet and likable with his own issues. Lawyer Jeri being a greater force of self-destruction than Krysten Ritter’s Jessica, and that’s saying plenty. A world aware of superpowers, and with no idea how to deal with a woman who doesn’t wear a mask or want to be a hero. That jazzy, pumped-up theme sequence that any other show would kill for, if it was worthy of it. And always, Krysten Ritter.
And it took courage not to build another season around the Marvel villain who’s better than Loki—
Yes, I said it. Tom Hiddleston only plays the second-greatest villain in Marvel history.
So it isn’t the new villains themselves where I’d say this season made its one slip. With all the above in play, you can bet this is a show with more than just villainous charisma to offer. (Though of course the last season having all that and Kilgrave’s incredible, Jessica-heart-tearing arc gave it more awesomeness than most storytellers would know what to do with.)
This time: Jess investigating her powers’ history? cool. A connection to our so-reluctant heroine? it delivers one as close as Kilgrave’s ever was, once it becomes clear. Different threads tangling in different ways, so you never know which is going to be driving the story next? that structure works for most other Marvel Netflix shows, even though last time letting Kilgrave be at the root of everything worked so well.
There’s Always Something
Still, I think they missed something. With all due respect to Melissa Rosenberg and the rest of the magnificent people who designed this season, I think there’s a place where I expected them to do better. And I think it’s a lesson worth pointing out to all of us who write or care about quality storytelling.
Readers, you can test this yourself, with a little experiment. And yes, the instructions are completely spoiler-safe… in fact they depend on your not knowing too much too soon.
If you haven’t see Season 2 yet—
(And it really ought to be “yet,” if you’re reading this blog but haven’t seen the story already. Or if you’re not on Netflix, consider some math: Eight dollars for one month, divided by two thirteen-episode seasons of Jessica? At the rate most people tear through those eps once they start, you might have weeks left in that month to look at the other five-and-counting Marvel shows and Netflix’s other offerings, before you have to decide whether to drop another $8. No, Netflix isn’t paying me to present those numbers; they’re just something to think about.)
If you haven’t seen Season 2 yet, the “experiment” is:
See the first six episodes. But instead of watching Episode 7 (called “AKA I Want Your Cray Cray”), skip it until you’ve seen the next one or two. Because all but one obvious minute of that ep is all flashbacks, and it’s there solely to give out Too Much Information, too soon, about the characters and motivations of what we’ve just discovered. Instead, go straight to Ep 8 and maybe 9, and just follow how Jessica has to cope with her situation—without you getting that extra perspective on character that our heroine herself has to build on her own. Then go back and look at Ep 7.
Or if you can’t bring yourself to skip the episode (or you’ve already seen it all), imagine how the show would look without that one filling us in too soon.
It’s a basic belief of mine: the heart of a story is what the characters know and what they can do about it in that moment; their choice in each moment is everything. So any other-viewpoint scenes ought to be used to build suspense, not overshare about someone to the point that the viewer/reader is pushed back from that in-the-trenches challenge that the actual hero is slow-w-w-ly learning to cope with.
Great stories (like Season 1) live within those moments and their pacing. Easy flashbacks or other infodumps cheat us.
For those who have seen the season: I will admit this is a more logical storyline to use those flashbacks in than many tales might be. At the point where the flashes start (with that last word of Ep 6) the story’s just unveiled a huge change of our understanding of the characters, so that stopping to fast-explore it all is easier than working through it normally. I’ll also admit that the truth and the conflict they’re setting up are less about layers above anyone’s Deepest Truth than they’re about facing people’s sheer unpredictability, which means giving us an immediate peak at their contradictions still leaves us with the nitro-volatile questions of what they’ll do next.
But I say the storyline would still have been better if that Ep 7 info had been unpacked and laid out a step at a time, so that we took it in alongside Jessica. She’s the one who needs to deal with it, and we don’t want to jump ahead of her.
Try the season that way, or imagine it, by moving through that point flashback-free. See if you agree.
Too Much Information only swamps what the story’s trying to be. Even a story that’s still as stunning as Jess’s new season.
(One more thing: if you’re trying this, don’t tell Jessica. She’s really not a fan of “experiments” these days, and none of us want her ripping down our doors.)
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