I viewed the first and second season of this TV travesty, which surprisingly holds some defter points of the writer’s trade. The science-fiction premise for this 3-D comic is the super soldier one, making it a less magical and more realistic version of the X-men. All superhero stories are stupid and easily dismissed, so I looked to this series as a setting template, sure that the PC Hollywood types would craft a setting in line with mainstream values.

Jessica Jones is a not very pretty, pale, black-haired, goth bitch with a nice ass, her only real sexual asset, which is commented on by a sleazy white guy in a bar, leading Jessica to bend over against an alley wall while the crass man screws her savagely. Although rape and the term rapey are constant Social Justice obsessions with Jessica, she revels in meaningless sex as she looks away, shoving her paramour rudely off after she has her orgasm, unconcerned with him, of course as he is just a walking dildo. She promotes this casual sexual ethos in dialogue as well, “Don’t knock meaningless sex.”

Before getting back to Jessica, she operates in the same universe as the rest of the Netflix TV series I have seen recently:

-The only positively depicted religion is Judaism.

-The only thing left of Christianity is the vapid curse, “Jesus!”

-Most sex is lesbian or homosexual.

-Most marriages are same sex unions.

-All villains are white men, with the occasional Asian man.

-All heroic figures are white women.

-These white women are served by black male sex drones and best friends.

-The few heroic black men behave exactly like ancient Arуan heroes, strong, silent and enigmatic, musclebound ebony versions of the iconic Clint Eastwood characters of the 60-80s.

-All white men who are not villains are either emasculated pudges or sexy, lover-boy arm candy.

-The only balanced, male characters are Latino, with modern screen writing apparently immune to the idea of a balanced, masculine character of black or white designations.

Jessica is freakishly strong and is known as “a super” having been experimented on after a near death experience that killed her family.

Jessica has no personality, with the writing stilted and the acting either poor or an excellent depiction of a person with no human spark, like Arnold’s depiction of The Terminator.

Stuck with this uninteresting, unappealing bitch character, the writers—at least one of them—have decided to put the female superhero on trial in the form of Jessica, who one villain notes, “You are the weakest person I have ever met.”

And Jessica is just that, a scarred, bitter, dull-witted girl with marginal sex appeal, but ten times normal human strength, walking round brooding unconvincingly announcing to bad guys, “I’m strong.” Halfway through the first season, it becomes clear to the viewer that Jessica does not have the mental capacity to match her physical strength. This screwed up girl is not capable of heroics without heavy film editing and stunt extra assistance, partially because the actress is not athletic enough to be convincing, but primarily because her writers are having a very difficult time writing a man-hating woman, whose motivation is not, God, tribe, nation, brotherhood or compassion, but simple, dull bitterness. Some quotes below give us a window into the postmodern ideal of the heroine:

“With great power comes great mental illness.”

This is universally true of women who gain the power of life and death over others, where about 1 in 4 men can wield such power without going nuts.

“To open the door wider…” was uttered in an episode in which Jessica discovers she has powers she is unequipped emotionally to have in her possessions.

In the end, the dead-end setting imagined for the scene of this tale, forces the writers, perhaps out of shear boredom, to consider the dilemma of the postmodern woman of power: mean, bitter, uncompassionate, lacking humor and incapable of staying emotionally level under stress, guaranteeing her monstrous devolution.