Petrie ran the second season of Daredevil, which introduced a lethal vigilante as a counterargument to the protagonist's refusal to kill. The season is structured as a debate rather than as a conflict, with a courtroom running underneath the fights, and that structural instinct comes directly from his television background.
He wrote for a supernatural high school series and its spin off during a period when those productions were redefining what genre television could attempt with serialised character work. That school taught him to build a season around a thematic question and to let an antagonist articulate a position the protagonist cannot easily refute.
Recurring subjects: moral argument staged as plot, mentors and their failures, and genre premises used to examine ordinary ethical problems. His writing gives antagonists coherent reasoning and lets supporting characters disagree with the lead in ways the story treats as legitimate.
The supernatural series he wrote for is among the most studied in television, frequently taught for its structure and its dialogue. His superhero season is widely regarded as the point where the adaptation's ethical framework was fully articulated, and the vigilante it introduced was spun off into a series of his own.
For viewers interested in genre television as moral argument. Not suitable for younger audiences in the superhero work. Suited to anyone approaching the supernatural series that formed a generation of writers.
