The most important thing about Jessica Jones is its vehement assertion of the personhood of its characters. David Tennant’s villainy, as Jessica’s unintentionally-formed Kilgrave support group makes clear, is that he sees attributes and not people, and responds accordingly: a car and a driver (not a man with a toddler son); beautiful music (not the cellist creating it). The case of the week1 reflects this. What seems — once Jessica finally decides that Jessica Hecht from Friends isn’t a Kilgrave henchman2 — to be a routine infidelity case turns into a trap: Jessica Hecht lost her mother when the aliens…
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