Interesting. The tonal variation in the Marvel Cinematic 'verse doesn't bother me at all, I suppose because I'm so used to the comics -- provided that a given Cinematic's tone is at least roughly in line with the corresponding comic, it feels right to me. For example, the _Alias_ comic that Jessica Jones is based on was brilliant, but absolutely pitch-black, one of the darkest stories Marvel's ever run. (Although based on your spoiler, they may have simplified the story a bit. Haven't seen the show yet.)

Indeed, IMO the way they've broken down the properties was very smart, with the Hell's Kitchen stuff largely separated from the glitzy heroes. That's true to the comics (what Netflix is calling the Defenders roughly corresponds to the old Marvel Knights line), and helps keep tonally separate "sub-worlds" that only barely interact. Hadn't thought about it that way before, but now that you point it out, it's pretty clever...