Daredevil: Born Again S2 gives us a dark, shiny screen

We loved the first season of Daredevil: RebornMarvel is eagerly awaiting the revival of the popular series in Netflix Protectors universe, and his second outing did not disappoint. The show just finished its second season of fame, and a third is already well under way, all part of the MCU’s Phase Six plan.

(Some spoilers below, but we’ll let you know before S2 airs.)

From the beginning, Daredevil: Reborn it was built around the conflict between Matt Murdock / Daredevil (Charlie Cox) and Wilson Fisk / Kingpin (Vincent D’Onofrio), where Fisk tries to leave his past criminals as the newly elected mayor of New York, and Murdock decided to give up his vigilante duties as Daredevil to always focus on his laws.

Those goals are temporary, because personal tragedy and political intrigue eventually caused both men to abandon their usual ways. The end of S1 saw Fisk pull the trigger by declaring martial law in New York City and banning any visible heroes. The second season takes place six months later and deals with the inevitable fallout from this important election. Murdock and his vigilante allies were forced underground, while Fisk forced more people to control the city to strengthen his power.

S1 confirmed Being born again being a fun, character-driven series that feels like a part of Netflix’s predecessors while still having its own unique feel. Much of this was due to cinematographer Hillary Fyfe Spera, working closely with the production team to bring it to life. Being born againThe opposite beauty is the beautiful life. (You can read our 2025 interview with Fyfe Spera HereFyfe Spera and his team are back in S2, which gives us a welcome continuation to the overall design of the series.

For the best look of the first season, Fyfe Spera pulled a lot from 1970s movies like. Taxi driver, The French Union, Discussionand Clute. Second, he mentions Michael Mann’s 1981 film Thief as a major motivation. “It was set in Chicago as opposed to New York, but the look of the film, the grit, the use of darkness and contrast, was very good for us,” Fyfe Spera told Ars. “Our goal was to pick up where the story left off (in S1) and change it, and that made it darker and darker.”