Ramirez ran the second season of Daredevil, balancing a courtroom plot, a lethal vigilante and a ninja conspiracy without letting any of the three collapse into the others. He went on to run the crossover series that assembled several street level protagonists, a structural problem of a completely different kind.
He came from theatre, where his plays have been widely produced, and he wrote for an outlaw motorcycle drama and a women's prison series before moving into superhero television. Stage writing shapes his approach to confrontation: his best scenes are two people in a room with incompatible positions and nowhere to go.
Recurring subjects: codes that characters cannot articulate but will not break, communities policing themselves, and violence with legal consequences. He writes dialogue with a distinct rhythm for each character, a habit carried from theatre, and he structures seasons so that the antagonist's argument is genuinely difficult to dismiss by the end.
His superhero season is regularly named the strongest of the adaptation, and the crossover he ran was an unusual structural experiment in shared universe television. His stage work has drawn major playwriting recognition independently of his screen career.
For viewers who want confrontations written like theatre. Not suitable for younger audiences. Suited to anyone following the connected street level series in order, and to those interested in playwrights who moved into television writing.
