Daredevil Week continues with the arrival of Netflix’s Marvel’s too many apostrophes’ Daredevil this morning. David has shepherded us through Frank Miller’s classic run, two of DD’s most famous origin stories and the not-classic Daredevil movie. Now the billy club has been passed on to me.

Over the course of however long I can do this until life gets in the way, I’m going to binge the series. In between each episode, I’m going to read an issue of Frank Miller’s classic run on the comic book title that shaped the Man Without Fear into the character we know of today, starting with Daredevil #168.

I’m going to recap it live (at least for me), while watching it. I’m not entirely sure what will spill out of me.

“Into the Ring” Episode 1 Recap

“Cut Man” Episode 2 Recap

“Rabbit in a Snowstorm” Episode 3 Recap

“In the Blood”

Eight years ago, Anatoly (Teen Wolf‘s Gideon Emery) and Vladimir (Nikolai Nikolaeff) were in a Siberian prison, clinging to life. But they’re escaping for America using the ribs of their freshly dead inmate to claw their way out. I never thought when we were first introduced to Vladimir and Anatoly that we’d ever really know anything about them, or differentiate them, let alone get a flashback sequence involving them. It makes the Russian brothers seem badass, but after this episode, we learn that Siberia is NOTHING compared to Hell’s Kitchen.

The Russians have their hands full with the “Man in Black” (because every comic TV show has to have a BS name for the hero before they become their moniker), and it’s starting to affect the whole operation. Wesley wonders how a masked man could be such a problem; it’s not like he has an iron suit or a magic hammer haha lolz. Wesley offers his employer’s help, but the Bros. know that that means “takeover.” They rebuff his advances, while also revealing that the MIB is asking after Fisk…by name.

“You’ve been busy,” Claire says, when DD comes to her for medical assistance. She suggests body armor, the second time she’s made a really keen observation about his outfit. The two have become flirty while she patches him up, and to make her feel even more like a mistress, Matt gives her a burner phone to call him on. How sweet. It’s funny that Claire still calls him Mike, after her ex that lied to her all the time.

Matt stupidly tells her about Wilson Fisk; there’s apparently no record of the man. He shouldn’t be giving her more information that can get her killed, and it’s obvious that that rooster is coming to roost this episode, because the Russians plan a visit to the coma’d Semyen, the man who saw Claire in episode 2. Apparently all any coma patient needs is a little adrenaline to wake them up, and this is precisely what they do, to alert them of Claire’s existence.

While Matt has chemistry with Claire and Karen, the love story Daredevil explores is between Wilson and the gallery owner from the past episode, Vanessa. The whole episode, D’Onofrio toes the line between creepy and sweet, and does so beautifully, where you can’t help but feel like he’s just this awkward, lonely, sheltered man who isn’t used to dating. He manages to ask her out, and she can’t because she’s working. She makes a comment about how she’s had men buy all her paintings to convince her to go out, to which Fisk responds, “a woman that can be bought isn’t worth having.” That seals the deal: Italian food is coming.

And people are coming for Claire! NOOOOO! Instead of being right there, Matt’s listening to a hilarious “butcher story” from Foggy. But he gets a call from her new phone, and knows something’s up. He goes to Santino (Moises Acevedo), the poor young man who found Matt in the trash can in “Cut Man.” He manages to tell them that they took Claire away in a Taxi, and even the Taxi company. What a saint.

On today’s episode of The Wire, Page goes to an auction, to spy on who’s buying Union Allied’s stuff. Urich’s also there, smooth as silk, recommending she buy something cheap or else she’ll be found out. He slips away, so apparently the rules don’t apply to him. And I’m fine with that. Ben Urich is the man.

Claire’s getting beat to shit, interrogated for the MIB’s real name, when the lights are cut. She starts to laugh, almost maniacally. “You want to know his name? Ask him yourself.” Then Matt mows them down like so many red shirts, saving Claire in the process. She manages to smack someone with a bat, because you’re not going to keep Rosario Dawson for too long.

This is all intercut with a romantic dinner between Wilson and Vanessa, where we get some back story about our brooding brute. He grew up in Hell’s Kitchen, dreaming of going somewhere else. That turned out to be a farm in the middle of nowhere, and he realized that this city was “in my blood,” that he wanted to make it a better place…for people like you. This is a great angle to play, because both Matt and Wilson both see Hell’s Kitchen as their neighborhood, their home, with dueling viewpoints on how to make it better. The date’s going swimmingly, until Anatoly barges in to the restaurant, raving about the MIB, admitting that they need their help. Uh oh.

Urich and Page meet at a diner after the auction. She bought $3,500 worth of old office equipment, and had to put it on the company card. It’s better than the alternative (death). After telling her about the unfortunate fates of several of his past sources (including one becoming his wife), Ben instructs her to sign the agreement. She might not be able to say anything, but of course, Urich’s not signing it with her.

The roles have reverse: Matt patches up Claire, at his apartment (he has the experience with dear ole Dad). Matt apologizes; he put her in danger. “Tell me it’s worth it.” Matt admits he doesn’t have a plan, that he’s only making things worse, and it almost feels like an Arrow episode, until Claire puts his hand on her heart, admitting that she’s more scared than she’s ever been, and that he needs to help her and everyone else in the city. Because it’s poor form to touch a woman’s chest without telling her your name, Matt finally reveals it.

Meanwhile, Vanessa’s pissed, not exactly impressed with whatever Fisk is. Amazingly, you feel bad for Wilson; he didn’t want to screw this up. He cares for Vanessa, and if she doesn’t feel the same way, she’ll never see him again, he promises. And you know he means it. This is a villain with class and respect for women. Vanessa, and the audience, “doesn’t know how she feels” about him.

But he doesn’t have respect for Anatoly; no sir. He pays a visit to the Russian, and while it took four episodes to see the Kingpin get his hands dirty, it’s a glorious, unnerving sight, as Wilson just PUMMELS Anatoly, with the guy DECAPITATING HIM WITH A CAR DOOR. Is it wrong how much I’m loving this show?

Afterwards, Wesley offers his boss a handkerchief. Wilson wants him to send his head to his brother. “It’ll start a war,” Wesley says. “I’m counting on it.” Hey now. There are NINE EPISODES left.

Over the course of however long I can do this until life gets in the way, I’m going to binge the series. In between each episode, I’m going to read an issue of Frank Miller’s classic run on the comic book title that shaped the Man Without Fear into the character we know of today, starting with Daredevil #168.

I’m going to recap it live (at least for me), while watching it. I’m not entirely sure what will spill out of me.

“Into the Ring” Episode 1 Recap

“Cut Man” Episode 2 Recap

“Rabbit in a Snowstorm”

What’s stunning about Daredevil is how fully realized this world is, and how unabashedly dark and violent it is. I was expecting a hard PG-13, or maybe a soft R, perhaps. It’s certainly more than that.

An off-kilter man walks into a bowling alley, and it’s not the start of a joke, but some insanity. The alley’s almost closed, so he can’t play, but John Healy (Alex Morf) wants to play with Mr. Prohashka, who has a deal with the business to bowl whenever he wants. Alone. Healy doesn’t take the rejection well, kicking the crap out of his guards and then amping up the violence to a level we had only hinted at, breaking Prohashka’s arm in the circular bowling queue thingy (the technical term). We see some bone and normally that’s when you’d expect the show to pump the brakes…instead Healy uses a bowling ball to bash the man’s face in. You don’t see it, but still: holy Hell(‘s kitchen).

It’s a compelling opening, but it’s intercut with a smash cut flashback to 36 hours earlier, where Turk Barrett (a great and to this point under-utilized Rob Morgan) gives Healy a gun and promises it won’t jam. It does, which leads to bowling ball as blunt force trauma. It’s never followed up on, but I suppose it’s not necessary to: Turk needed to ensure Healy would be caught, and a gun would’ve been a lot quicker. Instead, Turk is forced to ask for a lawyer when the cops arrive. Guess who those lawyers are gonna be?

Before that however, we get another brief interlude between Matt and the Priest from the pilot, who offers him a latte before work. Matt denies it, teasing out this relationship longer and more vaguely than we probably need it to be.

Then we cut to the world’s last honest newsman Ben Urich (a fucking brilliantly cast Vondie Curtis-Hall), meeting with an Italian mobster, overlooking the city. The man intimates there’s a new player in town, and that the old guard is changing. Riggeletto retired…in pieces, and this guy’s heading to Florida before he meets the same fate. While he owes Urich a favor and clearly respects him, his advice is to “take a pass.” There are “no rules, not anymore,” and he might as well be talking about the Netflix corner of the MCU. “Some fights just get you bloody,” he says, because even after the last of the Jack Murdock boxing flashbacks, we’re never escaping that motif.

At our favorite law firm, Karen reveals to Foggy that after a day of free work…she’d like some money. Matt comes in, bruised and beat up, and he explains it away with his blindness. “You need a dog,” Foggy suggests, and for a moment, I imagined Daredevil having a puppy sidekick, DOUBLE DOG DARE-DEVIL. After almost dying in bliss, the slimy Wesley (breakout performer Toby Leonard Moore) waltzes in, wanting to put Nelson and Murdock on retainer for his employer. He of course refuses to share any information about him, but offers a boat load of cash to do so. Matt not enthused, but he didn’t see the number of zeroes on the check (he can’t see guys). Then Wesley has the audacity to ask if all their clients get to work for the company or just the pretty ones. Karen’s freaked, everybody’s freaked, since he shouldn’t know that.

Foggy agrees to meet their new client Healy anyways, but he gives Foggy the creeps enough to walk away. But, of course, ever the contrarian, Matt forces them to take the case. Foggy gets no say in the business, after all.

Urich’s not listening to the nearly departed mobster: he’s excited about the new story, exposing a new player in Hell’s Kitchen. But his editor doesn’t give a shit. They need a story that will sell papers, and apparently that means fluff pieces on what color the new subway line should be. I feel like, if anyone was going to read a newspaper, they’d be enticed by a crazy crime conspiracy. But nope. Urich also receives a dig; he’s a dying breed, making half what most are on blogs, who are working in their underwear. For the record: I’m wearing pants and unless Urich is an intern, the finances are off too.

But I love this gritty 70’s crime vibe, and the moment Urich arrives, he adds not only another angle, but more urgency. His subplots bristle with intensity and feel like Marvel’s The Wire in the best way. Plus, he garners so much affection in about one frame; he visits the hospital and is able to finagle an extension for his sick wife’s stay. He’s such a paragon of virtue that he doesn’t even dangle the cheese blintz before negotiations. He gives it to the head of the hospital after. If there’s a higher moral standard, humanity hasn’t discovered it.

It took three episodes, but Daredevil finally refers to New York/Hell’s Kitchen as “my city.” A lot of milestones are met in this third episode: it’s of course the first appearance of Ben Urich, and our first glimpse of courtroom drama. And I like what I see. The case never bogs down the narrative, and the episode is never about the case (it’s more about the jury and Matt sensing that someone has been blackmailed), and I was hanging on every word of Murdock’s closing statement, even if it was a statement on good and evil. What isn’t?

Karen, meanwhile, is offered a non-disclosure agreement and a lump sum of 6 months salary. Considering she was a secretary, that can’t be that much money. She pays a visit to Daniel Fisher’s wife (the wife of the man who died in her apartment), who’s unsurprisingly not enthused to see her. She’s packing things up to get the hell out, which is the sensible decision for Italian mobsters and widows alike. She’s already signed her agreement, and suggests Page to do the same. “Let it go,” she says. Twice, and damn/love you Frozen for changing those three words forever. In fact, I don’t think you can ever use those words without invoking that song.

So far, all of these characters are operating exactly how you want them to operate, and how you expect them to operate. That means Karen pays Ben Urich a visit, offering up her story to a man that took down the Italian mob when she was in diapers.

After the jury is hung, Healy gets out. So Murdock’s alter ego gets to take him to task. It’s another thrilling fight, and FINALLY, we get the name. The name of the man he works for, the all important mysterious employer: Wilson Fisk. Sure, we knew the man who will be the Kingpin was behind it from the start, but the he-who-must-not-be-named gimmick slow play was a stroke of brilliance. Like in a horror movie, you’re often scared by what you don’t see.

The moment is made even better and more bonkers, when Healy, realizing that he’s doomed himself and everyone else he’s ever cared about, impales his forehead on a spike. It’s #@$ed up.

This leads directly to the episode’s final milestone: our first glimpse of Wilson Fisk himself. We see the back of the imposing Vincent D’Onofrio, leering at a painting in a swanky gallery, a gradients of white painting called “Rabbit in a snowstorm,” named after a children’s joke. “It makes me feel alone,” Wilson mumbles, drolly to the gallery owner Vanessa Marianna (Man of Steel‘s Ayelet Zurer). Comic fans will know exactly who Vanessa is, or will be.

Daredevil Week continues with the arrival of Netflix’s Marvel’s too many apostrophes’ Daredevil this morning. David has shepherded us through Frank Miller’s classic run, two of DD’s most famous origin stories and the not-classic Daredevil movie. Now the billy club has been passed on to me.

Over the course of however long I can do this until life gets in the way, I’m going to binge the series. In between each episode, I’m going to read an issue of Frank Miller’s classic run on the comic book title that shaped the Man Without Fear into the character we know of today, starting with Daredevil #168.

I’m going to recap it live (at least for me), while watching it. I’m not entirely sure what will spill out of me. But here it goes.

“Into the Ring” Episode 1 Recap

“Cut Man”

It’s dark, sirens are going off, and blood is all over the streets. Just another night in Hell’s Kitchen, Daredevil already grooving to its gritty beats.

Except the blood belongs to Daredevil himself, fucked up in a trash can. And just like that, we’ve hit the moody credits.

The young guy who found him earlier, returns, with Rosario Dawson in tow. They take Matt to her apartment. It’s night, and she’s nursing him, with the clear intention that Rosario Dawson is playing Night Nurse. Except, we find out that her name is Claire Temple, an entirely different character from the comic books.

She removes his mask, and he’s not moving, until he gasps and comes back to life, refusing to go to the hospital. He claims that if she does, that the same people who did this to him, will kill anybody in his way to get to him. This paints the image of them just spraying a hospital full of bullets willy-nilly, when I feel like they’d probably just go to Matt’s hospital bed, kill him, and leave. But still, point made. Then…

Murdock falls back down and out, and into flashback zone, where Young Matt watches his Dad lose another fight on the telly. He goes to the kitchen, waiting for his injured and battered father to arrive.

Sidenote: I love that flashbacks are being utilized whenever Daredevil gets knocked out, or pummeled. In Daredevil #168, this is actually exactly the device used by Miller to retell DD’s origin and splice Elektra into the proceedings.

Jack returns beaten to shit, and Matt gets the first aid kit out (which has playing cards in it…which may be a Bullseye reference), a depressing routine in full swing. He’s used to stitching his Dad up. Jack even offers his (like 9 year old?) son a little scotch so his hand isn’t shaking this time around. And Matt takes a swig. Marvel, Disney’s marvel, has its name on a property that shows a well underage kid DRINKING SCOTCH. We’ve entered an all new sector of the Marvel Universe, and I love it.

Matt’s in trouble with Pops because he watched the match instead of doing his homework, but Jack’s the real one in trouble, because he has a wad of dough, clearly throwing the fight. We get some Murdock truths/family words which wouldn’t have felt out of place in Unbroken: “It’s not how you hit the mat, it’s how you get up.”

Back in the present, Foggy sings loudly (Foggy just is loud), believing himself to be alone in the office. But Karen’s there, and it’s hilarious. I love Elden Hensen, though he certainly has a different, less bumbly countenance than the Foggy comic book fans will be familiar with. Also, in this scene Foggy and Karen seem to have some serious sexual tension. Interesting. Foggy wonders why she isn’t off doing “poppers and flapper dancing.” He couldn’t be more out of touch, and it’s great. Realizing that they neither have lives and that Karen desperately doesn’t want to go back to her apartment, it’s off to bar hop!

Matt wakes back up again, and Claire calls him out wonderfully: “Your outfit kind of sucks by the way.” She didn’t have a dying man on her couch in mind for her night off. Told to rest, we’re back to the past, with Young Matt freaking out after the accident, still screaming “I can’t see,” and getting attacked by sound.

Quickly, we’re punched back to the present, where in addition to not being able to see, now Matt coughs, “I can’t breathe.” His lung is filled with air and has collapsed. She fixes him up, and then basically demands to know what’s up, because if he dies, she’s screwed.

As we saw at the end of the pilot, the Russians kidnapped a boy, and are running a human trafficking ring out of Hell’s Kitchen. They pulled the boy two days ago and Matt thought he was smart for finding him so fast…but that was the point. It was a trap, and they were waiting for him, and he walked right into it. Claire, of course, wonders how and why the hell a blind man is trying to dole out justice. “There are other ways to see,” Matt says, another motto for House Murdock. In response to his vigilantism, Claire points out: “No offense, but you don’t seem to be very good at it.” She’s the best kind of honest.

That’s when Matt’s senses kick in: someone’s coming. He smells cigarettes and cologne on the third floor, looking for him. This episode probably has a little bit too much back and forth between the present and the past, or at least, they weren’t subtle in transitioning, always with these Murdock truisms. Claire’s amazed he can even stand up, and Murdock admits, “I’m very good at taking a beating. I got that from my Dad.”

Back in the ring, Jack’s at the boxing club, sparring. Matt’s learning braille. That’s when two grimy suits come in, calling Jack over, they’ve got him a match with Carl Creel (the man who will be Absorbing Man and will show up on Agents of SHIELD 2×1). Jack’s psyched, but there’s obviously a catch: he has to throw the fight in the fifth round. But if he does, they’ll make a boatload of money. Jack passes, but they convince him, that if anything, the accident means he needs the money that much more.

In the present, Matt grabs a knife and prepares for a fight, but Claire pushes him aside and meets a man claiming to be Detective Foster. She explains she hasn’t seen the “Man in Black,” which makes me think of Johnny Cash, Will Smith and LOST before it makes me think of Daredevil. He walks off, but Matt knows he doesn’t believe her. That’s when we get a great moment: Matt drops a fire extinguisher down several flights of stairs precisely on the dude’s noggin.

Sidenote: In the comics, Claire Temple is the ex-wife of one Bill Foster, who becomes Goliath. She’s also a love interest for Luke Cage, who will be appearing in AKA Jessica Jones in 2016. That the criminal pretends to be a Detective Foster could simply be an Easter Egg, or something that comes to roost when the real Detective Foster comes knocking. Of course, in the comics, Bill Foster is a Doctor, not a cop.

While Matt’s beat to shit, Foggy and Karen are getting hammered, arriving at Josie’s, a favorite dive in Hell’s Kitchen. Karen clarifies that this is definitely not on a date, but they still flirt, and Foggy tells her to allow him to fool himself that she’s into him. It’s cute, they drink more, all to get away from the awful fact that Karen can’t get Danny’s blood out of the carpet.

She no longer sees a city. She sees dark corners. “I look around this room and all that I see are threats.” I don’t blame her, but this is where we see how much Foggy loves this neighborhood, and how much he knows it. He points out the regulars, the honest and the not-so-honest ones, clearly trying to help the community. It’s an expert way to showcase this characterization.

Meanwhile, Matt takes “Detective Foster” to the roof. Claire’s not having it, straight manning the shit out of him, and wondering how a blind vigilante can have so many abilities. Matt wonders why she helped him. Apparently, at the Metro General Hospital, she kept hearing about the “Man in Black,” that he’s been saving lives and doling out punishment to those who deserve it. The “word’s getting around.”

“I want to believe in what you’re doing,” she says, but Detective Foster is chained to the rooftop of a building, prepped for interrogation. Matt knows she’s scared, and that’s when we get closest to a “Man Without Fear” line: “You can’t give into the fear…[if you do] men like this win.”

Speaking of, Jack has a new robe for the fight, and it’s “really red,” blessed with the moniker Battlin’ Jack Murdock. Matt points out, “The good thing about red is you can’t tell how much you’re bleeding,” which is a super sad thing for a kid to point out to his Dad.

Realizing that, Jack changes his mind: he puts all his money on himself against Creel, and instructs his bookie to put the money into his son’s account. Then he calls a woman (Matt’s Mom?), leaving her a message, warning her that he’s going to need her. “Just once I wanna see Matty hear someone cheer his old man’s name.”

While Jack readies for an inexorable origin story death, Foggy and Karen are super drunk, providing the only brevity in the entire episode. They arrive at Matt’s place, banging on his door, trying to get him to hang out. No dice, so they walk side by side, giggling in the night.

Back on the roof, Claire Temple rocks a cheap/quickly put together but impressively creepy white outfit, and Daredevil interrogates “Detective Foster.” Claire gets into it, telling Matt a good place to stab him. Awesome.

Then DD starts beating him, claiming that he’s not only doing this to save the boy. “I’m doing this because I enjoy it.” After dangling him off a building, the thug finally reveals the kid’s location. Matt unceremoniously throws him off the roof into the same garbage bin Claire found Matt in to start the episode. “He’ll live,” he says, though he certainly didn’t seem too concerned if he didn’t. I do hope we can skirt the whole will he kill/won’t he kill hero thing that’s been done a million times.

Before DD heads to save the kid, he tells Claire to relocate, because they’ll come looking for her, and he gets her location, because he’s a Man Without Fear of rejection. Plus, he’ll need patching up, if he survives what’s coming.

“I don’t believe you enjoy this,” Temple says, as he walks away.

TO THE PAST! Matt watches/listens to the match at home, and his Daddy wins. Matt cheers. Jack quickly makes a run for it, but never leaves the locker room, closing his eyes and taking the bullet he knew was coming.

Matt waits in his customary spot in the kitchen, but his Dad never comes home. Matt makes his way to the ring, and finds his Dad in the alley. We’ve all seen this so many times before, but it doesn’t make it any less upsetting.

But DD takes out his pain on the Russians, as our episode ends with a really well shot, punch-a-thon, with Daredevil flitting from room to room, the camera only glimpsing the hallway. He can barely walk by the end, but he carries the boy out of there. This is also when I realize there’s definitely a little throaty Daredevil voice/mini Batman-thang going on.

And that’s the end. I would say that this episode doesn’t stand on its own as well as the first episode, but the pace feels right, and the mood and atmosphere is off the charts. This really is the dark corner of the Marvel Universe, and it’s great to finally get a chance to see it.

Daredevil Week continues with the arrival of Netflix’s Marvel’s too many apostrophes’ Daredevil this morning. David has shepherded us through Frank Miller’s classic run, two of DD’s most famous origin stories and the not-classic Daredevil movie. Now the billy club has been passed on to me.

Over the course of however long I can do this until life gets in the way, I’m going to binge the series. In between each episode, I’m going to read an issue of Frank Miller’s classic run on the comic book title that shaped the Man Without Fear into the character we know of today, starting with Daredevil #168.

I’m going to recap it live (at least for me), while watching it. I’m not entirely sure what will spill out of me.

And so it begins.

“Into the Ring”

We open on the streets of New York, in day light, which I imagine will be a rare sight going forward. A middle-aged white man looks disoriented, he almost could be blind, but that’s the dazed and terrified look of a father, sensing something terrible has happened to his son. Meet Jack Murdock (John Patrick Hayden).

His son Matt lies prostrate on the concrete, beside a bunch of chemicals, his eyes burning and scarred, his vision lost forever. The boy pushed an old man out of the way of the careening truck, saving his life, essentially the inverse Spider-Man origin. “I can’t see,” he screams, hopefully the campiest moment we have on this show.

“Bless me father, for I have sinned.” We start in a confessional in church, hitting that Daredevil/religious theme early. Also, in this first monologue, I’m already completely sold on Charlie Cox as the adult Matt Murdock, describing his father and his boxing career. His Grandma claimed the Murdock boys had the “devil in them,” which didn’t make me snort because of Cox’s delivery.

“I’m asking forgiveness for what I’m about to do…” Murdock trails off, and the priest grumbles, “that’s not how this works.” This show is traditionally not how Marvel has worked either, thrusting us immediately in the action, a speedy origin story unfolding parallel.

Daredevil almost arrives in the night fully formed: the only thing missing is his trademark red outfit. Now, he’s in all black, with a black mask tied over his eyes. When he saves a slew of girls from being sold into the sex trade or a new Taken movie, the violence has a sense of urgency. It’s brutal but balletic; it’s definitely not ABC.

The credits are great: SO MUCH RED, blood dripping down Lady Justice (blind!), and the streets and buildings of Hell’s Kitchen, pooling into Daredevil. I’m so in right now guys.

Foggy wakes up Matt, but our dutiful sidekick/fellow defense lawyer is proudly off to “bribe a cop,” gifting cigars for an old friend/enemy officer’s mother, “who will outlive us all.”

Hell’s Kitchen is cheap, thanks to the Chitauri, and it’s the new home for Nelson & Murdock. They just need clients.

Cut to: Karen Page (Deborah Ann Woll), bloodied, in front a bloody corpse, holding a knife, absolutely freaking out as cops come in and cuff her. New client/love interest!

When they come to visit Karen, they admit: they’ve been practicing law for…7 hours. Karen Page would be their first client. She doesn’t have any money, which is enough for Foggy to leave, but Matt thinks the arrangement could benefit both of them. Wink wink, but not really, but kinda.

Apparently, the dead man was Daniel Fisher, a co-worker, a nice man with which she had a few drinks. Next thing she remembers, she woke up on the floor next to his body. “You have to believe me,” nearly delirious. But Murdock believes, listening to her heartbeat, a human lie detector.

Someone new in town has taken over the books from the local crime boss (can you say Kingpin?) and his “lapdog” is terrifying, blackmailing a Mr. Furnum to do his bidding by showing they have eyes on his daughter.

Foggy and Matt bicker, for what will likely be many times, about taking a deal. Considering the evidence stacked against her, Foggy thinks they should take anything. Matt smells something fishy, wondering why they haven’t charged her with such overwhelming evidence. Something else is going on. Foggy sighs, Matt has a knack for beautiful women with questionable character. Heh.

That night, Karen gets attacked in her cell, nearly choked to death by a miserable Mr. Furnum/the guard, until she claws his eyes. Hell yes. This gets her out and into Murdock’s offices, where she reveals her tale: she happened upon an e-mail at her company Union Allied, that has profited from the west side’s reconstruction following the fight in New York. The e-mail reveals a pension fund with a lot of money that isn’t exactly a pension fund, you know criminal stuff.

Page is a wreck; she was drugged on her date, and knows Daniel killed because of her. She isn’t safe…so Matt takes her to his place, and he has a massive over-arching loft apartment. Thanks to a Blade Runner-y advertisement and construction and whatnot, he got it for cheap. I love how the Avengers movie is being used in this show.

Karen changes shirts/gets naked in front of Matt because he’s blind. Lucky!

Matt wonders why Karen wasn’t killed in the first place, and guesses that Karen still has the file, that this is why she wasn’t killed. She lies and denies it.

VILLAIN MEET UP! In an empty high-rise somewhere in the Westside Reconstruction, Leland (Bob Gunton), the man who will/would be The Owl, Wesley (Kingpin’s second in command), Russian gangsters Vladimir and Anatoly and Chinese drug lord Madame Gao (Wai Ching Ho) talk about their villainous plans, upset that Wesley’s boss doesn’t show up. “Don’t say his name.” Wesley claims they’re handling the Union Allied problem, and it’s clear all the crime bosses are operating through Union Allied and in on it.

Karen slips out of Murdock’s apartment and back to hers, like a moron. She retrieves the bluetooth, and promptly gets attacked and is about to be killed when Matt arrives. During the scrum, they end up toppling out the window, knocking him to flashback land, where Young Matt gets told to go to school, because Jack doesn’t want his son to end up like him, his face puffy and bleeding on the table. Jesus. “Get to work,” he says.

And this unleashes a great rainy, gritty battle. Daredevil, of course, wins, grabs the bluetooth, and because it’s not safe with anybody, he sends it to the New York Post (and presumably Ben Urich!). The next morning, the Union Allied cover up is in the papers, and Wesley, on the phone with our Mysterious Crime Boss/Wilson Fisk, is cleaning up the mess and removing their implication in the events.

Fisk tells him to start a file on Nelson and Murdock; “they might prove useful.”

Karen’s happy as a clam, and as a thank you, has made a meal for Foggy and Matt that she was told to only prepare for her future husband (foreshadowing?!). The three are as giggly as we’ll probably ever see them, and Page offers her help with the law offices. “I’ll work for free.” That’s how you get hired in this economy.

Our first episode ends on a series of shots, intercut with Matt at the decrepit and dark Fogwell’s Gym, hitting a punching bag endlessly, a poster for a fight advertising “Carl Crusher Creel vs Jack Murdock” on the wall. As he fights, we get a glimpse of the entire Hell’s Kitchen criminal network: Leland’s still happy, transferring illegal funds from account to account, Furnum’s daughter walks in on her poor father murdered during laundry day, representatives of what is probably The Hand have a nefarious grid plan in Hell’s Kitchen, drugs are being manufactured and overseen Madame Gao, and Vladimir and Anatoly kidnap a kid.

Daredevil, standing on the top of a building, in a classic comic book pose, hears the city all around him, focusing on the screams of the kidnapped child. He puts down his mask. “Time to work.”

What a pilot.