Daredevil: Born Again had all the makings of a monumental return. Touted as a continuation of the beloved Netflix series, the revival on Jiostar finally debuted after years of speculation, reworks, and restructuring. The return of Charlie Cox as Matt Murdock and Vincent D’Onofrio as Wilson Fisk had fans hopeful that the spirit of the original would be resurrected. While it delivers solid drama, fantastic performances, and some genuinely riveting moments, Born Again stumbles in its attempt to walk the tightrope between MCU-safe storytelling and gritty character work. It’s the best Marvel series since Loki—but it’s also the most frustrating.
Set years after the events of the original series, Born Again begins with Matt Murdock stepping away from his vigilante persona after a personal tragedy rocks his world. When Wilson Fisk resurfaces as the newly elected Mayor of New York City, Matt finds himself pulled back into the shadows. The season focuses on the ideological clash between the two men—both determined to “save” the city, but through radically different methods.
Matt now operates more as a lawyer than a vigilante, partnering with Kristen McDuffie while maintaining a complicated romantic relationship with Heather Glenn, a marriage therapist who also counsels Fisk and his wife. Subplots explore police corruption, the power of journalism, and rising political extremism. The arrival of Daniel Blake (Michael Gandolfini), a young aide to Mayor Fisk, and the brief but chilling appearance of The Punisher (Jon Bernthal) add layers of tension. Meanwhile, Daredevil’s masked persona remains mostly absent—visibly and thematically.
The good
There’s no doubt that Born Again is a well-acted, competently directed show. Charlie Cox and Vincent D’Onofrio reprise their roles with remarkable ease, anchoring the story with nuanced performances. Their café scene in the early episodes crackles with tension and quiet threat—proof of how magnetic their chemistry remains. Jon’s short but brutal appearance as The Punisher is a standout, bringing the kind of primal, violent energy that shakes the narrative awake.
The action, when it arrives, is visceral and satisfying. One extended fight sequence with Bullseye evokes memories of Netflix’s legendary “hallway fights,” and the courtroom subplot involving White Tiger adds genuine emotional weight. The show’s cinematography deserves praise too—New York is portrayed with a lived-in grit, and small details, like Matt’s heightened senses, are cleverly visualized.
The bad
Yet, for all its moments of greatness, Born Again feels oddly restrained. The core issue lies in its identity crisis. It wants to recapture the magic of the Netflix series while still toeing the MCU line. The result is a show that often plays it too safe—politically aware but unwilling to challenge, dark in tone but afraid to get truly grim. Its commentary on police corruption and populist politics starts strong but is ultimately diluted.
Despite the emotional stakes, Matt’s arc feels repetitive. The absence of Daredevil from the action for much of the season is a glaring problem. For longtime fans, the limited screentime in costume, especially after such a long wait, is a letdown. Many of the new characters, while serviceable, feel like distractions more than additions—particularly Heather Glenn and Daniel Blake, who lack the emotional resonance of past supporting players like Foggy Nelson and Karen Page.
And yes, Muse—the show’s supposed big bad—is criminally underused. Introduced late and barely fleshed out, his threat never feels substantial. It’s another missed opportunity in a show that’s clearly nervous about pushing boundaries.
The verdict
Daredevil: Born Again is a frustrating paradox. It’s often gripping, occasionally brilliant, but rarely daring. It aims to be prestige drama within a superhero framework but pulls back just when it should be going all in. The performances carry it far, and it easily ranks as the strongest MCU series since Loki. Still, the charm, the grit, and the daring edge that made Netflix’s Daredevil iconic are missing here. Instead, we get a sanitised version—still watchable, still intense, but not quite the devil we were hoping for.
