Jessica Jones

Fragility and toughness form the juxtaposed themes of the pilot of Jessica Jones, which debuted yesterday on Netflix. I know nothing of Jessica Jones from the comics, and I haven’t read any reviews of the show, so this is an unadulterated first impression.

JonesI couldn’t not think about the Veronica Mars pilot in the first few minutes. A female private detective spies on a tawdry hook-up as her voiceover provides exposition. We’re then transported to a hallway outside a dingy office where the textured glass proclaims the name of the business, Alias Investigations, not unlike the door to Mars Investigations. Then a client’s head comes through the glass and the similarity is, shall we say, shattered. (Doors are a recurring symbol, as well.) Continue reading

Punky Brewster: The child welfare system in three acts

Kids living with substitute parents were big on 80s TV. Television would have had us believe you could will your kids to your employer (Diff’rent Strokes), take in homeless teens (Growing Pains), force two guys you slept with to share custody of your kid (My Two Dads), or raise a robot as your daughter (Small Wonder), all without any legal intervention. I don’t know if the networks were just trying to be inclusive of less traditional families or catering to kids who wished they could trade theirs in.

PUNKY BREWSTER -- SEASON 1 -- Pictured: Soleil Moon Frye as Penelope 'Punky' Brewster -- Photo by: NBCU Photo Bank

In this climate, Punky Brewster’s premise wasn’t hard to buy, but the show went above and beyond in attempting to be realistic. In making the pilot a three-parter, the network expressed their confidence in the audience’s willingness to stick with it, and the creators acknowledged the complexity of the subject matter. Don’t misunderstand; the show debuted with all the trappings of an 80s sit-com, including a whimsical montage, but it boldly adopted the tone of a “very special” episode right out of the gate. Continue reading