It’s strange that Daredevil could go ten hours before one of television’s dreaded “transition episodes.” Part of that is due to the breathless pace that she show has established, and another part is due to the seamless way that Daredevil has interwoven past and present; a transition episode simply hasn’t been necessary until now. But after the emotional fireworks of “Nelson v. Murdock,” the pieces needed to be rearranged on the table. Luckily, “The Path of the Righteous” isn’t a slog like most episodes of its nature. Daredevil remains damn good television, even when it has to embrace conventions.
There’s some catch-up to be played, for sure. Karen definitely knows about Fisk murdering his father, and she tells Matt, who doesn’t think that there’s much that can be done with the information. Vanessa is in the hospital, her fate unclear, and Leland is doing himself no favors by loudly reminding everyone that he could have been killed. Dude, get a poker face. Foggy is ignoring Karen’s calls and hooking up with his ex Marcy, who continues to be the worst. Oh! We finally get a Claire sighting. Rosario Dawson hasn’t been used as often as I’d like, but she makes the most of her screen time. She and Matt have an interesting relationship. When she says that he can call her to patch him up, but not for anything else, there’s a hint of finality to it. I applaud Daredevil for not prioritizing romantic relationships; any other show would have had both Claire and Karen madly in love with Matt by now.
Speaking of Matt, it’s great to see him start to get his groove back. It’s a bold choice on Daredevil‘s part to sideline its hero for almost two whole episodes, allowing Matt time to recuperate. Eventually enough is enough and Matt decides to get some body armor, like the kind Fisk has lining his suit. He tracks down Melvin Potter, who’s kind of simple but knows his way around protective mesh. (In the comics, Melvin becomes the Gladiator. I, uh, don’t see that happening here.) After a fight that leaves both men winded and Melvin in tears, Daredevil convinces him to make him a suit – “a symbol,” as he puts it. Again, Daredevil deserves to be commended for waiting this long to have its hero even talk about the iconic suit.
Foggy and Karen have a heart to heart, and Karen calls Matt to tell him and Foggy to “get their shit together.” Deborah Ann Woll has done marvelous work as Karen, and if nothing else, “The Path of the Righteous” shows that she’s more than a damsel in distress. Wesley abducts her and takes her to some creepy warehouse (so many creepy warehouses on this show) for a different kind of heart to heart.
Instead of threatening her – well, he does threaten her – Wesley offers Karen a job: convince Ben and everyone else she knows that she was wrong about Fisk, or else Ben and everyone else she knows is going to die. When Wesley is distracted, Karen grabs his gun, and while he’s taunting her she empties the clip into him. Karen isn’t your usual comic book heroine; she’s not some helpless doe-eyed waif (although Woll does have big, beautiful eyes), nor is she some cold-hearted badass who thinks nothing of taking a life. Killing Wesley – even though it’s Wesley – clearly shakes her, but probably not as much as it’s going to shake Wilson Fisk.
A Few Thoughts
- Can we talk about Bob Gunton for a second? That guy is the unsung hero of Daredevil, and I’m convinced that he was bred in a lab to play characters like Leland Owlsley. He’s doing terrific work
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“We all do what we can. Sometimes it’s enough”
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I will sincerely miss Toby Leonard Moore as Wesley. His quietly menacing performance mixed menace, professionalism, intelligence, and genuine affection towards Fisk. Playing a right hand man is often a thankless task; you can either define yourself by your employer, a la Waylon Smithers on The Simpsons, or you can use it as a way to show your own worth, a la Dan Dority on Deadwood. So long, Wesley, you were never less than compelling when you were on screen
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Father Layton knows that Matt is Daredevil
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