‘Daredevil: Born Again’ Directors on Their Successful Series Revamp and Season 2’s “Resistance Tale” (2025)

[This story contains spoilers for Daredevil: Born Again season one.]

Whenever a production has to use the phrase “creative overhaul,” one would assume that the battle lines have been drawn between incoming and existing creative teams. But that scenario couldn’t be further from the truth in the case of the Daredevil: Born Again directing team: Justin Benson, Aaron Moorhead, Michael Cuesta, Jeffrey Nachmanoff and David Boyd. Their unified aim was to simply create a satisfying follow-up for the fans of the preceding Daredevil series, including lead actors Charlie Cox and Vincent D’Onofrio.

The original Drew Goddard-created Daredevil series streamed on Netflix from 2015 to 2018, and on the heels of Marvel announcing Daredevil: Born Again in 2022, the previous three seasons starring Cox as Matt Murdock/Daredevil and D’Onofrio as Wilson Fisk/Kingpin transitioned to Disney+. Daredevil: Born Again then entered into production in early 2023 before shutting down mid-year due to the WGA and SAG strikes. During the hiatus, Marvel Studios brass reviewed existing footage before quickly realizing that their six episodes weren’t scratching the same itch as the beloved predecessor.

To bridge the gap between the two Daredevil series, Kevin Feige and co. hired not only showrunner Dario Scardapane, who wrote for Daredevil’s sister show The Punisher, but also Moon Knight and Loki co-directors, Benson and Moorhead. Their goal was to restore the violent, hard-hitting edge of the previous iteration, while embracing more of the past and recalling several actors who weren’t a part of the first phase of Daredevil: Born Again. Those actors included Deborah Ann Woll (Karen Page), Ayelet Zurer (Vanessa Fisk) and Elden Henson (Foggy Nelson).

Henson, who plays Matt Murdock’s best friend and law partner, was originally slated to die off-screen, but the new creative team insisted on depicting that world-shattering death for the benefit of Matt’s arc. For Benson and Moorhead, the idea of killing off a fan-favorite character was as daunting as one might expect.

“We were looking at Elden, and we started to think, ‘What right do we have [to kill Foggy]?’” Moorhead tells The Hollywood Reporter. “But he gave us his blessing as long as we took it very seriously, and it wasn’t just meant to be something shocking. If it resonated out and was the reason that Matt did the things that he did for the rest of the show, then we’d have permission to do it.”

Overall, the new creative team tasked themselves with helming a new series premiere that says goodbye to Foggy, before putting Matt and Fisk on a parallel trajectory where they try to bury their alter egos. New eighth and ninth episodes were also written for Benson and Moorhead to tie it all together, and the existing directors of Cuesta, Nachmanoff and Boyd would either help update or coordinate refinements to their six combined episodes from round one of production.

Nachmanoff, whose original episodes of three and four turned into episodes four and five, became something of a Swiss Army Knife for the production. He even shot most, if not all, of Zurer’s scenes as Vanessa Fisk without having to manipulate pre-existing footage of Wilson Fisk.

“To Marvel and the producers’ credit, they did not attempt to drop in anything. I ended up reshooting all of the scenes that had Ayelet in them,” Nachmanoff says. “When I watched the series, I was pretty surprised that it didn’t feel like the hodgepodge that the process was.”

In 2021, Jon Bernthal told THR that he wouldn’t reprise his role as Frank Castle/The Punisher in the MCU unless the tone of his previous go-rounds was upheld. (This was before it was known whether Marvel Studios would become more amenable to R-rated material such as 2024’s Deadpool & Wolverine.) True to his word, Bernthal actually walked away from the previous version of Daredevil: Born Again over creative differences at one point.

Fortunately, Daredevil: Born Again had an ace up their sleeve in the form of Boyd, who was also the DP during Bernthal’s tenures on The Walking Dead and Without a Trace. So he helped ease Bernthal’s concerns about appearing during the first wave of the series, and then Scardapane, being a fellow Punisher alum, involved the actor in the discussions around his eventual season finale appearance. (Bernthal will also be leading and co-writing an upcoming Marvel Studios’ Special Presentation about the Punisher.)

Boyd was originally hired to direct the fifth and sixth episodes, but they ultimately became the sixth and seventh episodes, post-strike. He also directed the first Frank Castle-Matt Murdock scene, but it ended up in Nachmanoff’s 104 following the retooling of the series.

“[Bernthal and I] are buds. There was a little bit of hand-wringing before he arrived, and I said, ‘Don’t worry, man. It’s going to be great.’ So we let him fly,” Boyd shares. “There were some over-my-level discussions that were percolating down for a week or something like that. And because we have a shorthand, we cut right through all that immediately.”

As for season two, the fictional battle lines have now been drawn by Mayor Wilson Fisk and his Anti-Vigilante Task Force. Matt Murdock/Daredevil and his outmatched allies now have to find a way to overcome Kingpin with the entirety of New York City’s resources at his disposal.

“You get the sense that there’s a building of a resistance. So that is the kernel of where season two is going to go,” Moorhead reveals. “The board is completely set in which Mayor Fisk has now become Kingpin again, but with New York in his grasp, and then there’s this vigilante thing that now has to go completely underground. So that’s where we start, and we’re going to unfold all of that very, very quickly. It’s a resistance tale.”

Below, during a recent roundtable chat with THR, the Daredevil: Born Again directors fondly discuss their unique collaboration together and the great lengths they went to in order to ensure a worthy follow-up to Daredevil. (Cuesta, who directed the second and third episodes, was unable to attend at the last minute due to his production schedule.)

***

Perhaps the ultimate compliment I can pay all of you is that I thought I’d be watching Daredevil: Born Again with a jeweler’s magnifier, looking for the seams and the stitches between the two phases of the show. But I became so engrossed in the story that I quickly forgot about the behind-the-scenes retooling. Aaron and Justin, when you accepted the assignment to bookend the six existing episodes, how confident were you that you could achieve this outcome?

JUSTIN BENSON (Co-director of 101/108/109) Gosh, this is going to sound like a dodge, but as our fifth TV show overall and third show at Marvel, there wasn’t any difference for us in what was going to be the method and the job going forward. A season of TV is always a giant Rubik’s Cube, and to us, there was almost nothing unusual about it. It was just like coming onto any show to direct it. The only difference was that the show that was already shot was really strong.

AARON MOORHEAD (Co-director of 101/108/109) Of course, you wonder about what the seams are going to look like, but it’s still the same show. It just has a different attitude and some different aims. Also, the visual material that was already shot dovetailed with our instincts pretty well. We still pushed it in some other directions that are subtle even to filmmaking language, but we did exactly what we wanted to do. We didn’t feel like we had to match what we were doing to something else, and it just seemed to already work. The reason we were brought on to do the second round of filmmaking was because it already jived with our instincts. It wasn’t something that was going to be this baffling puzzle. It was more like a fun challenge.

Jeffrey and David, I understand you were both quite active in making adjustments to your episode blocks?

JEFFREY NACHMANOFF (Director of 104/105) Well, as a veteran of before times and after times, I can say it was bizarre. It was crazy. But as you can see from our [pre-recording] conversation, it was one of the most collegial and cooperative directing experiences I’ve ever had. It was super fun. Justin and Aaron get to work together, but David and I are normally out there on our own.

DAVID BOYD (Director of 106/107) Or we pass each other in the night.

NACHMANOFF (Laughs.) Right! So there was a lot of communication between us in working on the challenges together. Having a previous well-loved show is a blessing and a curse. The blessing is not only do you have a fan base, but you also have two central actors who are incredibly comfortable and really great in these roles. So that makes your job as a director already a hundred times easier. The curse part of it is that you have expectations from fans that want to see something that’s familiar, but at the same time, part of the assignment is to create a new aesthetic and expand on what was there. So, the balancing act that Justin and Aaron pulled off in walking that line in the new episode one was just incredibly successful. It’s not only a nod towards the original show with that long oner that they staged, but as it goes along, it also announces that this new Daredevil is something different. Both the characters [Matt Murdock and Wilson Fisk] have matured, maybe the audience has matured and the ideas have matured.

At the end of episode one, Fisk is on a rooftop with the klieg lights behind him, and Murdock is walking in a time shift with the chaos of the city behind him and the lights pulsing on his face. It’s just a stunning set of images, and they really feel like completely original Frank Miller stills. So when we saw what Justin and Aaron were doing, that really said that we’re expanding the visual language and the scope of the show, and I thought that was really inspiring. We then tried to do that whenever we could, particularly in the reshoots that we had. David and I overlapped on one particular set and scene, which involved the Fisk basement where he’s keeping Adam. We coordinated it together, and we scouted it together. It first shows up in my episode [104] where he comes down the stairs, but then David echoed the shot [in 106] with the ax and silhouette backlit at the top of the stairs. So we were really riffing on what Justin and Aaron were doing, and we tried to integrate that into the old episodes.

David, didn’t you also hand off the shaggy Frank Castle (Jon Bernthal) scene to Jeffrey?

BOYD (Laughs.) Yeah, it’s odd in a way because that’s one that I directed in the first iteration. It belonged in one of the episodes I was doing, but in the rejigger, it ended up in Jeffrey’s episode [104].

NACHMANOFF That’s one of those things where you just have to say thank you. Some of the things I shot ended up in [Michael] Cuesta’s episodes [102/103], I think. But I obviously inherited a fantastic scene from David. I was like, “This is great. Everyone’s going to keep telling me what a great scene this is, and all I had to do was slide it in.”

BOYD & NACHMANOFF (Laugh.)

BOYD I’d known [Jon] Bernthal from The Walking Dead, so we’re buds. There was a little bit of hand-wringing before he arrived, and I said, “Don’t worry, man. It’s going to be great.” So we let him fly.

For an actor like Ayelet Zurer — who reprised her Daredevil role of Vanessa Fisk, post-strike —how often was her new footage melded together with pre-strike footage of Wilson Fisk (Vincent D’Onofrio)?

NACHMANOFF To Marvel and the producers’ credit, they did not attempt to drop in anything. We reshot all of those scenes, so I ended up reshooting all of the scenes that had Ayelet in them. By the way, the other actress [Sandrine Holt] is a friend and was terrific. They just made a choice to go back to something that was from the original series. Ayelet is great, and it all worked out really well. But it’s painful for some of the people involved because there were changes that didn’t have anything to do with anyone doing anything wrong. The news from above was: “We want to make sure these two series have more connective tissue.” And to your [opening] point, when I watched the series, I also was pretty surprised that it didn’t feel like the hodgepodge that the process was. But that’s true of many movies. You don’t know how the sausage is made, and you don’t always want to know.

Elden Henson and Deborah Ann Woll also reprised their Daredevil roles as Foggy and Karen in the series premiere 2.0, post-strike. Was there a bittersweet vibe on set since it was both their long-awaited reunion and an immediate goodbye to Foggy?

MOORHEAD Oh my God, without a doubt, especially with Elden, in particular. I remember we were having a conversation about exactly how he would die and what happens in his final moments. There’s a lot to think about; it’s not just lying down on the ground and slowly stopping breathing. What’s his relationship with the afterlife, especially with his best friend being Catholic? We then had to make his death protracted over the course of [Daredevil and Bullseye’s] fight. And truly, when we were talking about it, there was a moment where we went a little quiet and made long eye contact, as it sunk in that we were responsible for photographing the killing of one of our favorite characters from one of our favorite shows. We then felt like interlopers in a way. We were looking at Elden, who was only on set for those couple of days, and we started to think, “What right do we have?” But he gave us his blessing as long as we took it very seriously, and it wasn’t just meant to be something shocking. If it resonated out through the whole series and was the reason that Matt did the things that he did for the rest of the show, then we’d have permission to do it.

BENSON You feel like you have this obligation to the prior Netflix show, which is a masterpiece. You’ve got to get it right for yourself, for the fans, for everything, because that show is amazing. To use a different example, it’s like if someone came along and said, “You get to direct your very own episode of Breaking Bad!” And we’re like, “Yes, we’re in! What are we doing?” And they’re like, “You’ve got to kill Jesse in the first five minutes.” And then we’re like, “Is everyone going to hate us?” And they’re like, “Maybe! But you’ll also get to work with Vincent D’Onofrio, Charlie Cox and Jon Bernthal. So, good luck killing Jesse!”

(The roundtable laughs.)

There’s a fan theory involving the 468 address adjacent to the Nelson, Murdock and Page law office. That number corresponds with a comic in which Foggy fakes his death. Is there any there, there?

MOORHEAD I’ve heard this theory, you eagle-eyed geniuses. I would love to tell you, however, Marvel will snipe me if I say anything else. But what is really nice about Daredevil being a street-level superhero is that, generally, the supernatural doesn’t really interact with this universe as much, even though it is within the MCU. So that often gives much stronger consequences where punches hurt more and blood means more and getting hurt means more and dying very often does mean that you’re actually dead. But that’s all I can say.

I really appreciated the BB Report segments because the MCU, with all the plates it has to spin, sometimes loses track of how the masses are feeling about all the seismic events that happen on any given day.

NACHMANOFF The BB Report was something Justin and Aaron proposed, and I ended up being tasked with going around with two terrific independent filmmakers, Sean [Dunne] and Cass [Marie Greener], of Very Ape Productions. They were sent out as a team, and for legal reasons, they needed to have a DGA director go with them. So I made a couple suggestions, but they were the ones really running it. It was like going back to film school; it was run and gun. They went around New York, and they talked to these people that they had found. So it ended up being a really fun way to integrate the real streets of New York in the Marvel universe, which I’ve never seen done in a Marvel show before.

MOORHEAD Sean and Cass are the best documentarians we’ve ever met. They make these documentaries that are unlike anything else; they’re just so real. So we wanted that for Daredevil: Born Again, and we worked together to basically shoot a documentary that takes place on the streets of Wilson Fisk’s New York. They ran around and interviewed people, and most of it was completely unscripted. There was a script, but then they’d start riffing to see how they feel about vigilantes or anything else that might come out of their mouths. “Imagine the mayor is doing a lockdown. How do you feel about that?” So Sean and Cass just know how to capture real people.

BENSON Credit to Marvel for actually doing it, wow.

NACHMANOFF I was like, “Yes, it actually made it to the end!” It was a real swing and it worked.

There’s nothing quite like shooting on location, especially in New York City. It adds such soul and atmosphere. The one downside is that your sets become tourist and paparazzi attractions. I don’t even seek this stuff out, but the end of 103 still ended up in my feed somehow. Is that something you just resign yourselves to when shooting in NYC?

NACHMANOFF Are you talking about the death of White Tiger in Crown Heights?

Yes, I unwittingly saw shaky cell phone footage of his execution in February 2024.

NACHMANOFF Oh wow. We shot that again when we were up there for the bullet casing sequence. That was a weird night. We had to quit early; we were shut down early because the crew were getting some problems with some people from the neighborhood. They were unhappy that there was filming going on there, and it was decided that it was no longer safe. I was like, “I have two more shots,” but I was told, “You have no more shots.” Luckily, we had the scene in the can. But shooting on the streets of New York is a huge awesome privilege. I’ve shot there before, but on a show like Daredevil: Born Again, I don’t know how you’d really do it without being able to have the New York streets shots. So, of course, people with cell phones come with the territory in the modern age. I don’t really think about it, but I know Marvel thinks about it a lot. They’re really concerned with keeping everything secret until it comes out, and we cooperate as best we can. We don’t control everything. The fact that so many people want to see glimpses and the fan base is so engaged, there’s a weird positive to that, too. Most of the people who are looking for those shots online of what’s happening on set are still going to watch the show. iPhone footage probably just pumps up their interest even more.

BENSON For Aaron and I, it just adds this extra layer of the beautifully surreal. Some of the paparazzi you see around are old-school. They look like characters from the 1989 Batman, and I mean that as a compliment.

NACHMANOFF Or Jake Gyllenhaal in Nightcrawler.

BENSON Yeah, it’s wild. I didn’t even know that existed until we were here. You have to allow a certain amount to keep up the diplomacy, but it’s not something we deal with. It’s the AD department. But the other thing is that we’ve never shot anywhere else in the world where the First AD yells action and nothing else around you changes. Lockups don’t work, and people just walk through shots. There’s something so amazing about standing there as a director, and you can’t tell who’s an extra and not an extra. Everyone’s just wandering around, and then someone bumps into you and they’re like, “Fuck you.” It’s great!

MOORHEAD They hate that we’re on the sidewalk so much. At the beginning, there’s a long lens shot of Elden, Deborah and Charlie [Cox] walking side by side, and our second favorite take of it was ruined at the end by someone walking by and going, “What’s up, Daredevil?”

(The roundtable laughs.)

BENSON It’s so much more fun. Usually, when you yell action, it doesn’t feel real to you until you’re in post-production. It’s too quiet and things don’t move naturally, but on this show, the world keeps going. It feels real while you’re doing it.

David, let’s go back to the shaggy Frank Castle scene that you shot for what ultimately became Jeffrey’s episode (104). With two actors who know their characters inside out, was it just a matter of clearing the runway for them to go at it?

BOYD You bet. I was actually surprised during the shooting of it that it took the several titanic turns that it did. So I just let them go, and within two or three takes, it was really turning into something important.

MOORHEAD Do you find that Bernthal elevates everybody around him?

BOYD I always have. Whatever it is, it’s going to be great.

BENSON Working with Bernthal was the only time we’ve ever been on set where someone would do a take in a scene that’s not particularly important to the plot or anything, and everyone would go quiet after cut and then slowly [start applauding]. I’ve never seen anything like it, and I can’t believe we actually got to work with him.

BOYD Going in, there were some over-my-level discussions that were percolating down for a week or something like that. So I kept saying, “Just hold on. Let’s get him in the room as soon as possible.” And because we have a shorthand, we cut right through all that immediately. There were some aims that the three of us talked about, but it surprised me what that scene turned into. I didn’t want to steer it. I just wanted to see where it went and then push.

BENSON I can’t believe we all got to work on a show where a group of literally the best-living actors today really care about the show. It’s wild that we all got to do that.

David, you might have been the first person to put Matt back in the Daredevil costume. You shot 106 at a time when Aaron and Justin’s series premiere with Daredevil in costume didn’t exist yet. Back then, was everybody on set champing at the bit for his sartorial reunion to finally happen?

BOYD Yeah, everyone, top to bottom, recognized it as a great moment, and they couldn’t wait for it. There was some consternation about what we would see inside the shed locker where the suit is, and so I determined we weren’t really going to be able to identify much in there. We’d just see it in tight shots and quick cuts, leaving people to fill in the blanks before he launches off the roof.

BENSON Aaron and I wandered the building one day to say hello to the departments, and we found the real power-suit shed. We got to dig through and touch all the different stuff.

NACHMANOFF You guys missed it, but there’s three months of my life I’ll never get back from endless shed meetings.

(The roundtable laughs.)

NACHMANOFF And it never mattered because there’s just one shot. We had so many meetings about it, and this is something that Marvel really takes care of. They invest in these types of props, and they’re so successful doing it that way. But as the creatives, sometimes, you’re like, “Just tell us what to do.” Poor Michael Shaw, the production designer.

BENSON If Aaron and I ever got to do a comedy scene about bringing in a new director on a Marvel show, it’d be us in a meeting with the new director getting a lot of feedback on costumes, and being told, “Keep your mouth shut.”

(The roundtable laughs.)

MOORHEAD This is something kind of juicy. During the first round of shooting, there was a shot that isn’t in any of [Daredevil: Born Again]. This shot used to open the show, I believe, and Matt was in the outfit. He then pulled off his mask, and he was just so unbelievably sad, crying and all that. Then he dropped the mask, and that was the whole scene.

NACHMANOFF It was by the water.

MOORHEAD It was supposed to be the last thing that happened after Foggy died, and it explained why he didn’t put the suit on for so long. But now we have a whole episode [101] about that.

NACHMANOFF I was actually there that day. It was freezing cold. But the problem was that they kept trying to do it in a way that wasn’t feasible in one shot. So what you and [showrunner] Dario [Scardapane] did in that [new first] episode needed to be done. There was a lot of time to think about it during the writers’ strike, and they realized that we needed a whole episode to transition. That’s what was really missing.

David, your dual fight sequences in 106 speak to this, but overall, there’s a lot of cross-cutting between Matt Murdock and Wilson Fisk’s parallel arcs. I know it largely falls on the editors, but how much did you account for that back and forth when shooting each separate storyline?

BOYD Honestly, I don’t say anything about it. I know I’m going to intercut them, and I hope they are intercut, but I can’t even remember if they were scripted that way. The whole time, I’m thinking, “I’m not going to say anything, and I’m going to turn in a cut that intercuts them together.”

BENSON Brilliant.

BOYD My fear was that it would be stopped ahead of time. We all know it can be kept separate, but I just turned it in with them intercut together.

NACHMANOFF One of my favorite intercuts in that sequence is when Fisk throws Adam onto the table, and Daredevil throws Muse onto a table. I was like, “Boyd, that’s so great.”

BOYD We can’t resist, right?

BENSON Lou Taylor Pucci, who plays Adam, was in our [2014] movie, Spring. But the reason why we cast him in Spring was because he played Vincent D’Onofrio’s son in Thumbsucker. And as the lore goes, they lived together as father-son because this was back when indie films had more than $20. So he lived with Vincent and Tilda Swinton as his parents for six weeks or something.

(The roundtable laughs hysterically.)

MOORHEAD This was a huge part of our pitch. The character of Adam was written a different way originally.

NACHMANOFF He was supposed to be a big hulking bodyguard. Lou told me that story before you guys had arrived for the [Adam reveal scene in 104].

BENSON Do you remember when Lou was nervous about the squibs going off [in 108]?

MOORHEAD Yep! Lou gets nervous. (Laughs.)

BENSON Spiraling is a strong word, but Vincent came over and, very calmly, was like, “Lou, you’re going to do great. Here’s what’s going to happen. I don’t want you to stress out.” So it was weird because we suddenly saw that they actually did have a [father-son] dynamic. And then we went into the scene where Vincent’s character is beating him up for sleeping with the love of his life.

BOYD During the [106] fight, Vincent said to Lou, “Man, it’s scary when that ax comes toward you.”

(The roundtable laughs.)

MOORHEAD I love how Vincent can say such simple truisms, but they somehow have three levels of depth to them.

BOYD Bottomless.

Speaking of squibs involving Vincent, Matt takes a bullet for Fisk in 108. On first watch, it felt less about Fisk and more about Matt’s heroic self just doing what comes naturally or instinctively. But there was some earlier setup there?

MOORHEAD There’s a lot there, and you are absolutely correct: it’s as simple as gut instinct. The reason it’s his gut instinct is because there’s a line [in 108] that we were really passionate about having Dex Poindexter [Wilson Bethel] say. It’s, “‘Cause that’s what good men do, right? Defend their worst enemies?” And you’re not supposed to think of it in the moment because he is just talking about a legal defense, but then you realize later that Matt just took a bullet for his worst enemy. It’s because he is worthy of, I’ll say, God’s grace. It’s the thing that he thinks he lost because he tried to kill Poindexter when Foggy died. So that’s his turning point at the end of the season where he realizes, “I made a mistake, but I’m still worthy of wearing the mask.” And then there’s another level of it that goes back to how we were talking so much about intercutting. That was something we brought a lot of in the edit of round two. We wanted to intercut Matt and Fisk’s lives a whole lot, and it’s because Fisk is a part of Matt and vice versa. They are so intertwined. If one went away, the other one would too, like particle and antiparticle.

BENSON If you think about the very end of episode one, Fisk has just won the election for Mayor of New York, and he’s just found out that the love of his life has had a lover outside their relationship. Matt is also at the top of falling in love [with Margarita Levieva’s Heather], and he is walking the streets when the election is called. So they both have all these really big things going on in their lives, and some of those things should be big celebrations. But what are they often doing? They’re thinking about each other. They’re obsessed with each other. It’s a love story in some ways.

NACHMANOFF I want to give one shout-out to all the writers who worked on the show. The reason it does work so well as a piece is that a lot of the ideas, like what you were talking about, had the two men fighting their inner impulses and being mirror images of one another. That’s always been baked into the ideas of all of the writers, producers and directors that worked on this. That’s why the heart of it holds together.

BENSON That’s a great way to put it. There have been so many great writers on this show.

Thanks to Karen, season one ends with restraint on a wounded Matt’s part. He and his allies know that they can’t beat Fisk without an army of their own. What tease can you offer regarding season two?

MOORHEAD The end of season one is a tragedy of some kind. And while it’s not exactly a full-blown stand-up-and-cheer moment as there’s very mixed emotions in those final seconds, you get the sense that there’s a building of a resistance. So that is the kernel of where season two is going to go. The board is completely set in which Mayor Fisk has now become Kingpin again, but with New York in his grasp, and then there’s this vigilante thing that now has to go completely underground. So that’s where we start, and we’re going to unfold all of that very, very quickly. It’s a resistance tale.

But, of course, there’s going to be a detour in Jersey City for Matt’s dinner with the Khan family.

(The roundtable laughs.)

MOORHEAD People love the Jersey City-Hoboken thing.

***
Daredevil: Born Again season is now streaming on Disney+.