There are signs that some studios have begun to acknowledge that their Leftist activism has absolutely wrecked cinema. Be it hiring practices that have placed identity politics over merit and talent, or storytelling that has prioritized social campaigning over quality, even the behemoths have begun to feel the financial strain of producing one box-office disaster after another. A fraction of those seemed to have also started making efforts to course-correct. Whether these titans of the entertainment industry are ultimately salvageable or not remains to be seen. However, one company continues to prove itself almost impressively unwilling or unable to pay even lip service to righting things, at least in their small-screen offerings.

Disney, the onetime revolutionary entertainment trendsetter, has shown again and again that nothing short of a complete gutting of its executives and creatives offers its past fans any hope that it might once again offer a glimpse of its former glory. For the most optimistic, the news that Charlie Cox, Deborah Ann Woll, Elden Henson, and Vincent D'Onofrio would return for Born Again was a shining beam of light in the darkness. Then, they killed off Henson's Foggy and sidelined Woll's Karen in the premiere, and turned D'Onofrio's Kingpin into a waffling cuck for most of season 1. Toss in a forgettable villain, some truly awful subplots, and a bloated cast of subpar characters, and season 1 was a forgettable bust.

So, here we are, three episodes into season 2 and far from improving, Daredevil: Born Again's showrunners have learned nothing. It's a poorly paced snoozefest in which Daredevil has become a perfunctory afterthought, as though the writers are embarrassed by the character, and Kingpin is a cartoon Donald Trump twirling his mustache while a cadre of poorly written and poorly performed secondary characters fill the runtime with flat intrigue and flatter interpersonal drama.

Clunky "man on the street" videos and video cutaways that mock Fisk substitute for subtext and narrative momentum, and serve to remind chronically doomscrolling teens of what they are supposed to think and feel.

The Netflix series delivered some of the most intense and visceral action sequences and fight scenes ever produced, and while the choreographers are composed of many of the same people who brought us iconic moments like the hallway fight scene in season 1 of the Netflix series, the cinematography in Disney's lacks as much dramatic oomph as the rest of the composition. More than that, the action in the original hit hard because the audience cared about the characters and the stakes. This new season engenders none of that. So, what you end up with is boring, well-choreographed fights to complement a poorly filmed and boring story.

At this point, Daredevil: Born Again isn’t just a misfire—it’s a case study in how to squander a proven formula. The bones are there, the talent is there, and the blueprint was already written, yet the show seems determined to ignore every lesson that made its predecessor resonate. Instead of tightening its focus and rebuilding trust with its audience, it drifts further into self-indulgence and creative misjudgment. If this is meant to be a revival, it feels more like a hollow imitation—one that mistakes surface-level familiarity for substance, and in doing so, reminds viewers exactly