And there's also massive value to know when to drop a character. I his death had been just a matter of the audience noticing "Oh hey, that guy who's been around since Iron Man just died.", a minor line might be enough. But they made a big deal out of it. Bloody trading cards, "His name is Phil!" etc. It would need to be addressed, and nobody cares enough for it to be worth the time it'd cost.
I gave my opinion on a few earlier in the thread. Not sure how many I skipped, but I don't think I left any out that are really good. Oh, the Emperor made some really strange decisions, particularly considering he's supposed to be a forty thousand year old psychic genius. There's a popular theory that everything actually went exactly as the Emperor had foreseen. Maybe he knew he couldn't save humanity through enlightenment, and he couldn't beat Chaos even with the Primarchs fully on board, but maybe he saw a chance of protecting humanity long enough to ensure its continued survival if he became a god by virtue of being worshipped throughout the galaxy. If that was the goal, he took a really convoluted and painful path of getting there, though.
I found that really believable here. Not only was the event itself traumatic, Jessica is already dealing with massive trauma on top of it. She feels extremely guilty for it, despite her telling Hope that "none of this is your fault", she hasn't really internalised that truth at all. She then fell into bed with Luke (after apparently keeping tabs out of guilt) without telling, then being reminded of what she did when she found the picture, getting even closer to him etc. It was only because he was about to murder a (mostly) innocent man that she found the strength to get part of the truth out. And lastly I also don't think the qualifier would have made much of a difference.
No, it's the aftermath of the Heresy that "ruined" it. As bad and universally genocidal as the Imperium was during the Great Crusade, it was still much better than the oppressive theocracy that it has become by M41. It's also better than what would have happened if Horus had won, obviously.
The Imperium as it was during the Great Crusade was also a means to an end: unite humanity long enough to safely oversee the full development of the species' psychic potential. Given the treatment of psykers in the modern day Imperium, that backfired ever so slightly.
There were also degrees of awfulness. Some legions were just brutal conquerors, others were much more reasonable. There was a world of difference between the treatment meted out to newly discovered worlds by the World Eaters and the Thousand Sons, for example. Cain is probably often being a bit harsh on himself. He's not the shining hero that Imperial propaganda portrays him as, but it's not like he spends all his time cowering in a corner somewhere. He even has brief moments of genuine heroism that he's incapable of explaining away. His most despicable qualities are the ones he doesn't reflect on at all. For all his pragmatism, he's still as violently xenophobic as any good Imperial citizen, even towards aliens that are currently acting as his allies, for example. That's not quite what the alternative is, though. First comes a fairly long time, possibly generations, of all humans everywhere in the galaxy effectively living in hell, as the influence of Chaos grows and turns every planet into a Demon World. If it leads to extinction in the long term, the path to get there is utterly horrifying, even compared to many of the Imperium's methods. And not all worlds in the Imperium are created equal. Life in Ultramar is pretty great, whereas hive worlds like Necromunda or Armageddon can get pretty terrible. And then there's the death worlds, and particularly insane places like Cadia or Krieg.
And bringing him back would retroactively cheapen this series. The resurrection plotline on SHIELD also turned out to be a major misstep. Not only was it nowhere near as interesting as the writers clearly thought it was, it's also one of the things that prevents the show from being tied into the movies more directly. A reappearance of Coulson would require a lengthy explanation, and time is precious in a two hour movie. I was thinking that, too. Maybe they gave up on their program to create superpowered people by having trucks loaded with their chemicals cause random accidents at some point and pursued a more direct approach, resulting in the experiments that gave Luke his abilities.
As Jace said, the comic book storyline was kind of stupid. The basic idea was fine, but the execution was pretty terrible.
The trigger incident in the comics was a superhero team of b- and c-listers (who were financing themselves by shooting a reality show) fighting a group of b- and c-list villains. One of the villains caused a major explosion that killed hundreds of people, including a large number of school children. So basically something that should be happening pretty damn often in superhero comics, but doesn't because that's generally not what the stories are about. The government then pushed through legislation to handle superheroes, which was not only implemented faster than any other piece of legislation in history, but immediately went into insane directions, including a horrible prison for non-compliant supers (built in a parallel universe) and employing supervillains to capture defiant heroes.
Yes, I gathered that was the plan as well. She was just still much too far away to effectively interfere by the time Trish revealed herself, which makes it look really weird. I think it's less an issue with the writing than the direction of the scene. No. Bringing him back would be the only thing worse than keeping him alive in the first place. He was a great villain, he served his purpose, he's done.
Maybe simply seeing him dead helps? His power isn't purely pheromonal (or whatever undefined particles they referred to in the show), he has to actively command his victims, so perhaps seeing him die sets them free since there's no point in following the commands of a dead man. As Jessica said, there was no way of knowing in advance.
From a meta perspective it's similar to how taking out the command vessel stopped the remaining bad guys in Avengers (or TPM...), a storytelling decision made for the sake of expediency, because watching the heroes do mop up work for a few more minutes to tie off that loose end is boring. Well, in the case of this show it would more likely be horrifying, but same difference.
She literally says this when he asks her. I don't think it's very convoluted. She doesn't even have to be able to predict exactly what he's going to say and do (though she's only a few metres away, odds are he isn't going to waste much time trying so be specific). At the end of the day, Kilgrave isn't very complicated. He is all about satisfying his immediate desires, and the fact is that getting her back under his control is what he wants more than anyting else. He doesn't care about anybody else on that pier. Odds are, even if he's going to use them against her somehow, he's first going to stop the violence going on, even if it's for no other reason than that it's a distraction (though I actually think the likeliest outcome would be for him to let them go in a vain attempt to impress her).
The part of the finale that is either weirdly staged or badly thought out is the scene in the building, with Trish as decoy so that Jessica can... scamper about in the back of the hall, far away from Kilgrave and the armed police officers?
She hasn't decided to ignore the other people. She's decided to pretend to ignore them in order to scare Kilgrave into issuing the stop command. It's kind of a reversal of the dynamic they had when she had him locked up, where she realised that, despite him not being able to compel anyone, he was still in control. Once that's accomplished she needs to get close to him without him being able to harm another person. And he completely plays into her hands, because she totally has his number at this point.
I'm not sure that Jessica qualifies as an anti-heroine. Beneath the rough exterior she is a genuinely caring person, which is why she tries to stop Kilgrave instead of running away. She also always prioritises saving people over going after him, which he uses against her mercilessly.
I'd say that including a bunch of relationships that feature various levels of abusive behaviour was a sound one, to contrast it with the exploration of abuse through the lense of Kilgrave's supernatural abilities. The execution isn't flawless, but I feel that in most cases, including Robyn, at least the payoff was worth it, even if there were some missteps along the path to get there.
I put down some general thoughts in the spoiler free thread yesterday, might as well add some specifics here.
Both Jessica and Kilgrave were excellent, though if you create a series with this setup you'd better get the title character and her antagonist right, else there's no point to the rest of the show.
Most surprising standouts from the rest of the cast were Trish and Malcolm. Trish's relationship with Jessica becoming so strong and central wasn't something I would have predicted early on, and Malcolm's quiet realisation that he wasn't done helping people was possibly the most unambiguous moment of triumph in the entire narrative.
Kilgrave's end was also well done. Tennant was great in the role, but this character really needed to die. Not only was he clearly virtually impossible to contain, having him stick around would inevitably lead to the character losing his edge mid- to longterm. Many, many shows make the mistake of keeping good characters around for too long, so good on the showrunners for not falling into this trap here. Jessica tricking him was a great way to finish it. She turned the tables on him completely, getting him to do what she wanted.
The more distracting elements were the annoying/grief-stricken neighbour and Simpson. I thought the neighbour situation ultimately was worth it, even if the character remained fairly unlikeable, but while I liked the idea behind Simpson's arc, him reacting so strongly to the loss of control when compelled by Kilgrave that he essentially went insane trying to reassert control over his life and make sure it could never happen to him again, its pacing was at odds with the Kilgrave plot. By the time he'd gone full psycho and was willing to murder innocents to get at Kilgrave he was just a distraction. He'll be another villain with a personal connection to the heroes next season, but he has obivously destroyed his relationship with Jessica and Trish enought that neither of them will pull any punches if they run into him again, so I really don't think this disruption was worth it even as setup for season 2.
Overall an excellent entry in the MCU. I haven't unconditionally loved everything they've put out over the years, but the level of quality of the franchise is still damn impressive.
There are degrees to that, though. There's a huge difference between evoking a feeling that things make sense, for lack of a better term, and a sense that the technobabble is mostly there to paper over plot holes. It's usually one of the big differences between a good Star Trek episode and a bad one, for example. One is smart, the other lazy, and I feel that Doctor Who has been leaning heavily in the direction of lazyness for quite some time now. There's also a difference between the basic concept of a show ('this spaceship can travel faster than light/through time') and the driving forces of individual episodes. The former is just background, the latter is what gets us engaged in the stories.
It's not a hard and fast rule, obviously, strong aspects of an episode can make up for weaker ones, so maybe it's just that the show as a whole isn't working for me any more and I'm simply trying to latch on to a few things I can easily point to in order to explain it.