The season is produced by Marvel Television in association with ABC Studios, with Doug Petrie and Marco Ramirez serving as showrunners, and series creator Drew Goddard acting as consultant.

[1] When asked about the future of the series following the first season, showrunner Steven S. DeKnight said that Daredevil "is one part of the bigger plan—Jessica Jones, Luke Cage, Iron Fist, and then The Defenders.

[3] What's fantastic about the story is, is that it's created this enormous division in his life, because the woman that he once loved has returned, and she certainly has some issues with morality, and how you get the job done, and going on the other end of the spectrum is Frank Castle, who believes that justice needs to be served in a particular way.

[40] Charlie Cox, Deborah Ann Woll, Elden Henson, Rosario Dawson, and Vincent D'Onofrio return from the first season as Matt Murdock / Daredevil, Karen Page, Franklin "Foggy" Nelson, Claire Temple, and Wilson Fisk / Kingpin, respectively.

[5] Also returning from season one are Royce Johnson as Brett Mahoney,[8] Susan Varon as Josie,[9] Geoffrey Cantor as Mitchell Ellison,[11] Scott Glenn as Stick,[13] Peter Shinkoda as Nobu Yoshioka,[14] Rob Morgan as Turk Barrett,[15][16] Matt Gerald as Melvin Potter,[16] Peter McRobbie as Father Paul Lantom,[17][18] Amy Rutberg as Marci Stahl,[19] Kevin Nagle as Roscoe Sweeney,[10] Wai Ching Ho as Gao,[20] and Suzanne H. Smart as Shirley Benson.

The costume consisted of "black moto pants, a one-piece zippered body suit, a sleeveless vest, and red cloth to provide the highlights and the hood covering Elektra's face."

[44] Filming locations included the Metro Theater; Roosevelt Island; Greenpoint, Brooklyn; Long Island City; SoHo for exterior shots of Murdock's apartment; Newtown Creek; the Forest Park Carousel; Bayside, Queens for Castle's old home; Green-Wood Cemetery and Catacombs; East Village; the Bronx County Courthouse; Tribeca; Hell's Kitchen; the Brooklyn Navy Yard; Fort Totten and tunnels inside Bayley Seton Hospital for when Murdock confronts the Hand; and Calvary Cemetery.

An Ultimate Arm, "a motorized crane mounted on a Porsche Cayenne", was used for the sequence, a break from the series' usual handheld and steadicam operations.

The chase was shot over two nights in Greenpoint, Brooklyn, with the interior of the car then filmed on a green screen stage, a rarity for the series, "to give the actors a better environment to act in".

[48] Cox's stunt double, Chris Brewster, explained how the series' fight choreography has evolved, with the first season having shown Murdock just starting out as a vigilante—"he fought with all heart and soul, but wasn't a polished fighter.

[49] The season uses multiple different martial art styles, including kali, Chinese kung fu, wing chun, kenjutsu, and boxing.

Petrie stated that the writers wanted to "keep it in Hell's Kitchen" and focus on issues such as "the air conditioner doesn't work at Nelson and Murdock.

[8][57] Scott Mendelson of Forbes felt the first part is "clearly going for a vibe similar to that first full-length Dark Knight teaser back in December of 2007, with Castle being framed as a natural byproduct of/reaction to Daredevil's own vigilantism".

Mendelson's one drawback to the trailer was when Castle starts "monologue-ing" in the last third, feeling Bernthal "casts such an imposing and grim shadow as a near-silent angel of death that the [haunting and mythological] mood is almost broken".

[62] Joanna Robinson at Vanity Fair felt that the premise of the trailer, with Daredevil facing the Punisher, is "right in line with the big superhero trend this spring", comparing it to Captain America: Civil War and Batman v Superman: Dawn of Justice, which feature Captain America fighting Iron Man and Batman fighting Superman, respectively.

[76] As Netflix does not reveal subscriber viewership numbers for any of their original series, Symphony Technology Group compiled data for the season based on people using software on their phones that measures television viewing by detecting a program's sound.

Jumpshot, which "analyzes click-stream data from an online panel of more than 100 million consumers", looked at the viewing behavior and activity of the company's U.S. members, factoring in the relative number of U.S. Netflix viewers who watched at least one episode of the season.

The website's critical consensus reads, "Bolstered by some impressive action, Daredevil keeps its footing in season two, even if its new adversaries can't quite fill the void left by Wilson Fisk.

[85] Reviewing the first seven episodes, Brian Lowry of Variety said, the season begins "on an uneven note", comparing some of the early moments to the works of Sam Peckinpah, "complete with slow-motion bullets and blood sprays.

Stick with it, though, and the show blossoms, featuring a few terrific action sequences while introducing into this grim world seminal characters the Punisher and Elektra.

He also praised the castings of Bernthal and Yung as Punisher and Elektra, respectively, and enjoyed "the improved spotlight" for Foggy and Karen, given the reduction of Dawson saying, "So many superhero series struggle to draw its supporting characters as compellingly as the action, and Daredevil's particular blend of set piece and legal thriller feels inescapably original".

[81] Collider's Chris Cabin also praised the first seven episodes of the season, giving it four stars, and saying that the series "finds overwhelmingly sincere and effective traces of humanity in a genre that has been hard-pressed to feel overtly pre-conceived in its political, societal, and philosophical ideas".

Cabin also felt that "the show's use of sound and image to infer or suggest as much as any line of dialogue [...] continues to set this series apart from its half-measured kin."

Club awarded the season a "B+", missing D'Onofrio's "towering menace as Wilson Fisk", but feeling that Bernthal and Yung "make Castle and Elektra an effective season-long two-pronged assault on Matt Murdock's heroic identity, which gives Daredevil's supporting characters a clearer purpose as well.

[82] Daniel Fienberg, reviewing the first seven episodes for The Hollywood Reporter, expressed similar sentiments as Shepherd, feeling the episodes missed what Vincent D'Onofrio brought as Wilson Fisk in the first season, or at least "the through-line threat that he presented...Fortunately, the [Punisher and Elektra] are vividly realized and the action is still visceral and brutal and maybe the big picture will emerge in the season's second half.

Despite being "right on the edge of desensitization" regarding the fight scenes, Fienberg still praised them, highlighting the different styles Elektra and the Punisher used "vary[ing] the dynamic enough".

Calling the early episodes with Daredevil's face-off with the Punisher "skimpy and sluggish from the get-go", Jensen also added that they were "a flatline of inert drama, with long scenes of windy exposition or dull skulking interrupted by the occasional well-staged if ridiculously gory fight sequence."

Jensen added that "hope for improvement" came with the introduction of Elektra, and that the sixth episode should be a template for the rest of the season, which ultimately, he felt was "stiff and silly.

"[89] Daniel D'Addario for Time was also disappointed with the season, saying, "it's hard not to feel that one is being taken for a long, and not particularly enjoyable, ride [...] Daredevil just wants to dole out fun doses of extreme gore on the path to an endpoint on a business plan.

"[90] Vulture's Abraham Riesman joined the criticism, calling the seven episodes reviewed "a dour parade of one cliché after another, recycling themes, images, and rhetoric that audiences have seen countless times before."