Three episodes in, and Jessica Jones is already breaking new ground… and breaking one bed. But in all seriousness, it’s doubly refreshing to see innovation in the superhero realm, especially when the culture is so saturated with this kind of story. It wasn’t just the amount of sex “AKA It’s Called Whiskey” had — which was a lot — but also how thoughtfully it was handled.
Because if you think about it, yeah, sex between two superheroes would be the most satisfying intimate experience for either one.
The scenes between Jessica and Luke weren’t superfluous and only there for the shock value, either. (Although, I appreciate any justification for working “Sweet Christmas!” into the dialogue.) While there is a genuine mutual attraction between the two heroes, there’s something much more complicated going on just beneath the surface. For as much as the third episode of Jessica Jones was about getting down, it concurrently was a look at how these characters handle personal trauma. Some drink. Some (literally) pick people up at bars. Some convert their apartments into fortresses and take personal defense classes.
Speaking of those last two, “AKA It’s Called Whiskey” dove deeper into the character of Trish Walker than ever before. Anyone capable of typing her name into Wikipedia should have no problem discovering more about her past and her — let’s say — troubled history with her mom. (I mean, whose mom hasn’t tried to sell her soul to the devil?) What’s clear strictly from the content of the series so far is that Trish has had her share of trouble in the past, some of which probably came via her mother. But there’s also the strong suggestion that Jessica may have hurt her friend while under the control of Kilgrave. (Readers of the comic book will no doubt see some parallels forming.)
What’s most interesting about Trish, with her strong desire to go after Kilgrave through a radio interview with Hope Schlottman, and that (Hell)cat-like reaction to the unsolicited touch from a fan, is that she works as a foil to Jessica, who’s coping methods she sees as destructive.
Everyone has their traumas, and we’re beginning to see the conflicts that arise when two pasts rub up against each other. (Get your mind out of gutter.) For Jessica and Luke, the overlap comes in the form of that picture he keeps in his medicine cabinet, Luke’s now-deceased wife, as we learn. It now seems that Reva Connors, the only person to die in the bus crash on the night Jessica escaped from Kilgrave, was married to Luke. And it wasn’t the crash that killed her. Kilgrave ordered Jessica to “take care” of Reva, and the super-strong woman super-punced Luke’s wife back into the street. In one heartbreaking moment, we have the explanation for Jessica being able to break free from Kilgrave and her fascination with Luke.
NEXT: Jessica fights back