Best of Comic TV 2019: The Rankings!

Okay. Here we go. But first… one piece of new business.

In Memoriam

Every year, some show in the rankings has been in its last season, but never enough to keep the list from growing from seven to twenty-two. But we’ve hit a point where there are enough that they’re killing themselves down to a more sustainable level. Thus, some farewells.

  • The Tick. Oh, The Tick… like always, maybe you were just a little too cult to live. But while you lived, you were nailing it. Wait– you had one fewer episode overall than Iron Fist? No wonder God has forsaken us.
  • Gotham. You were never the best show, not by a wide margin, but there were flickers of greatness… well, pretty-good-ness… that meant you weren’t the worst, either. Well, okay, sometimes you were the worst, but not recently.
  • The Gifted. You may have been the Agents of SHIELD of Fox’s X-Men universe, the red-headed stepchild not allowed to play with the other kids, but you did your best. Still, that Disney buy-out was your death. And come on, man, you did not have the ratings to be ending on a cliffhanger.
  • Literally all of Marvel Netflix. In the beginning, you set a high bar for comic TV, but you never quite matched those first seasons of Daredevil and Jessica Jones. Until the end you struggled with pacing issues, unnecessary side characters, inability to pick a main villain, and a refusal to do anything too “comic booky.” And yes, you bungled the big crossover. Still, the franchise had more good than bad overall. Even Iron Fist was starting to get its act together. Was Jessica Jones’ third season a fitting send-off for the entire franchise? No, and that’s irrational, it couldn’t have been, that would have required a second, hopefully better Defenders series, maybe involving the “Who can stop Luke Cage, King of Harlem” fight they kept teasing, but “proper send-off” wasn’t on Netflix’s agenda. Disney+ was your franchise’s end. Via con Dios, Defenders.
  • The idea that the Marvel movies and TV shows share a universe. Not even Agents of SHIELD, which is normally first in line to name-drop any event from the movies, acknowledged the events of Avengers: Infinity War. And given when season six takes place, and when Endgame takes place, it would have to. So… guess that’s over.

Now, on with the show! (I apologize if the last two posts maybe drained some suspense out of who’s taking the top spot.)

Next page: From “I can’t be bothered with this” to “Good, not great”

Best Comic TV 2019: Characters!

Okay! Let’s get into the best superheroes, supervillains, and other comic-related characters of the season!

Honourable Mention: Real talk… few of these characters delighted me like the one character who defies every single category I have: Doom Patrol’s Danny the Street.

YOU HEARD ME.
Image: DC Universe

Danny’s a sentient, teleporting, genderqueer street that houses a community of misfits and outcasts, and they’re delightful, and I was so happy the writers embraced the Grant Morrison weirdness of the Doom Patrol franchise enough to include Danny. Their debut episode, “Danny Patrol,” was a blast.

(I may eventually need more non-gendered categories, especially if one of these shows casts Liv Hewson or Asia Kate Dillon or another non-binary actor of their caliber… but not today.)

Anyway, on to characters a little easier to categorize. So easy they don’t even need introductory paragraphs to explain the categories.

Best Female Supporting Character!

Honourable mentions: Carrie-Anne Moss and Rachel Taylor had some good spirals into self-destruction on Jessica Jones; Yara Martinez remained fun as Miss Lint on The Tick; Julie Ann Emery had great edge as Featherstone on Preacher.

Bronze: Rachel Taylor as Trish Walker, Jessica Jones

If you think she finally gets her superhero name this year, you don’t know Marvel Netflix.
Image: Netflix

For the first two seasons of Jessica Jones, and a bit of The Defenders, Jessica’s best friend and adoptive sister Trish pushed Jessica to be a better hero, to use her gifts to help people and fight evil. But after the events of season two, Trish finally has powers of her own. She can finally be the hero she’s always wanted Jess to be. Sure the process that gave her powers has a slight history of also causing homicidal rage, and yes, her need to feel powerful caused all sorts of bad choices in season two, but this should be easy! Right?

Trish’s journey over season three is a rollercoaster, I tell you what, and Rachel Taylor came to play.

Silver: Tala Ashe as Zari Tomaz, Legends of Tomorrow

Even if there were other snarky hackers from the future on TV, she’d still be the best.
Image: CW

Playing a character whose classic hero name they can’t really use anymore, Tala Ashe’s dry wit was a welcome addition to Legends last season, and it remained so this year. But we also got to watch Zari’s tough shell begin to crack, as her survival instincts from the ARGUS police state future she came from began to relax. Her gradual, mutually awkward flirtation with fellow Legend Nate Heywood (spurred by something simple: pretending to be a couple for a heist and then thinking “Huh, we’re both hot, we could just do this”) was consistently adorable, and led to both one of the year’s best musical numbers (see last entry) and an emotional finale where she has to risk having her entire history rewritten to save Nate.

Plus she cut loose on some witch hunters (emotional), impersonated a 70s DJ (funny), and got turned into both a cat and a puppet (legendary). And if all of that weren’t enough, she opened the season with a powerful monologue on how fear took over her society, ending with one small but killer line. Lots of shows tackled fear and hate this season, but few managed as simple and powerful a moment as Zari watching her hijab-wearing mother smiling and laughing with young Zari in a playground, and asking “How could anyone be afraid of her?”

This season may have had slightly too little time for all of its character arcs, but Zari always shines.

Gold: Katie McGrath as Lena Luthor, Supergirl

Pretty please with cherries on top don’t turn evil?
Image: CW

There is a marvellous subtlety to Katie McGrath’s performance as Lena Luthor. She went through a lot of unpleasantness this season, loss and heartbreak and betrayal and more betrayal and a global hunt for her brother, and Katie McGrath managed to convey all the pain and sorrow Lena went through without dropping the cold, hard exterior she’s had to develop as both a successful businesswoman and a Luthor. Not the most open and loving family. Katie handled Lena’s bleak year with incredible nuance.

Katie is masterful at this role. Lena’s heading to a dark place, but I’m hoping she doesn’t go full-villain, because I don’t think I can bring myself to root against her.

Best Male Supporting Character!

Honourable mention: Jay Ali’s take as the tortured Agent Nadeem on Daredevil; most if not all of the male cast of The Umbrella Academy. Unless you consider all the Hargreeves kids to be leads, in which case just Hazel and Hargreeves Sr, I guess.

Bronze: Jesse Rath as Brainiac-5, Supergirl

Seen here using his “Save the makeup department some money” disguise tech.
Image: CW

Last season, Jesse Rath swiftly won me and others over as Querl Dox, aka Brainiac-5, the Legion of Superheroes’ resident super genius. In season four, he takes the departed Winn Schott’s place at the DEO, working as both a DEO agent and secret superhero ally to Supergirl and her band of alien do-gooders when relations between the two groups deteriorate.

Rath’s always done a good and amusing job at portraying Brainy’s alien, calculating nature, existing somewhere between and to the left of Data and Spock, but as he began an awkward flirtation with Nia Nal, who he swiftly recognized as an ancestor of his old teammate Dream Girl, Brainy found new levels of cute.

But what really gets him on the podium came late in the season, as the alien-hating Children of Liberty accidentally unleashed Brainy’s dark side. As anyone familiar with Superman’s rogues gallery knows, the Brainiac line is not filled with pleasant people, and under torture, Brainy lost control of his ancestral memories. After an emotional moment, a darker, crueler Brainiac was unleashed, and Brainy went from cute to chilling.

I miss Winn sometimes, but damn Brainy’s fun to have around.

Silver: Robin Lord Taylor & Corey Michael Smith as Penguin & Riddler, Gotham

TV’s best frienemeses.
Image: Fox

There were definitely a few things Gotham did well, in the sea of things they did poorly. The art design, cinematography, at least half of their villain creations. But if I were to point to one thing that kept me going through all 100 episodes, one facet of the show that made coming back worthwhile through all the Mad Hatters and Jeromes and Jim Gordon never bringing backup, it was Robin Lord Taylor’s performance as Oswald Cobblepot. There is a time and place for restraint in acting, and Taylor understood that Gotham is not it, throwing every inch of himself into every scene he had. But he worked best when part of an unexpectedly great double-act.

Because when Penguin’s plots linked up with Ed Nygma’s? Magic. As begrudging allies, best of friends, or sworn enemies, their scenes together routinely popped. As we bid farewell to Gotham, it seemed fitting to give a final tip of the hat to their two best and most consistently entertaining villains.

Gold: Pip Torrens & Joseph Gilgun as Herr Starr & Cassidy, Preacher

Another “don’t make me choose” incident between costars.
Images: AMC

Last year I talked about how perfectly Pip Torrens captures the cold, vicious, and utterly captivating Herr Starr, chief enforcer for the Grail, Earth’s secret rulers. Well, I’m not going to do that this year.

Because if anything he is surpassing his comics counterpart.

The chilling calmness with which Starr goes through his bloody business is always riveting to watch, and often hilarious. It’s at the point where I’ll be sad to see his joust with Jesse come to an end. And not just because I wasn’t ready for the show to be over after next season.

Meanwhile, Cassidy had some big moments this year, from fighting his best pal Jesse (a few times) over Tulip, even taping himself back together to go an extra round; to a quiet, sad, moment of choice where he realizes there are lines he can’t cross to keep Tulip; to his discovery of Les Enfants du Sang, a group of vampire wannabes led by the first fellow vampire Cassidy’s met in decades. Gilgun found new depths to Cassidy this season, and nailed them all. And he keeps the humour of the character, if his debate with the Enfants over how to kill a Grail infiltrator proves anything.

Starting around 1:46

Next Page: The Captain Cold and Charlotte Richards awards

Best of Comic TV 2019: We Begin!

A tiny slice of the selection.

It’s that time again! Time to look through a season’s worth of comic book TV shows, look at who did what best, and deliver a conclusive ranking, based on my highly scientific standard of “Which ones I liked more, and also you didn’t watch them all so you don’t know I’m wrong.”

So, here are this years’ competitors, with links to blog posts if posts there do be:

(Why are the two seasons of Cloak and Dagger ranked separately but not Sabrina? Because Netflix ordered twenty episodes of Sabrina then released them in two chunks and a Christmas special, while Cloak and Dagger did ten episodes then had to get renewed before they made ten more.)

TV shows are constantly being released. Krypton and Legion started up new seasons in the past couple of weeks, and The Boys is coming up fast. So I have to draw the line somewhere. As such, I’m only including shows that ended their season between July 1st 2018 and June 30th 2019. This means some personal favourites are off the list this year because their finales are still a few weeks or months out, and Game of Thrones reminds us not to build monuments to the living, for they can still disgrace the stone. Or in other words, any show can trip over its own feet at the finish line.

So this year doesn’t include the latest seasons of Agents of SHIELD or Krypton, the final seasons of iZombie and Legion, or what is apparently the only season of Swamp Thing.

Or Walking Dead because I don’t care and you can’t make me care.

Or anything I hadn’t heard of until it was already cancelled, like whatever Deadly Class was.

Allons-y!

Next page: Certainly one of my favourite categories to start us off.

Superheroes in a Dangerous Time, or Fear and Loathing in the Arrowverse

Image: CW

Things are bad out there, you guys. Really bad. The world is dangerously close to climate-based mass extinction, and instead of banding together to stop it, more and more of the world is getting sucked into alt-right, arch-conservative, anti-science, bigoted, “us first” nationalism. The American south is attempting to treat women and reproductive rights with all the care and respect that the Confederacy treated people of colour, and Canadian conservatives are watching it happen and thinking “Say, that gives me an idea.” Nobody’s willing to call a mulligan on that whole Brexit debacle. Disney owns 40% of the concept of entertainment, and the layoffs have begun.

It’s dark out there. But I don’t have a lot of answers for that, outside of STOP. VOTING. FOR. CONSERVATIVES, so today I’d just like to talk about something related to the apparent collapse of human society.

How do superheroes respond to today’s world?

The CW superhero shows, still known as the Arrowverse and not the DCW-verse because we are incapable of coming up with good names*, devoted themselves this question this season, potentially their final season as The Best Superhero Franchise on TV. (The CW shows are of higher average quality than Marvel Netflix was, fight me, but the DC Universe streaming service came to play, peeps. Titans was better than it deserved to be and Doom Patrol is so good you guys.) Each of the four Arrowverse shows (Black Lightning remains separate for at least another half-season) spent their season addressing the state of the world in some way or another, some more nakedly than others.

So instead of a typical review of the Arrowverse shows, I want to look at how each one tackled the state of the world and their home country.

*The Canadian two-dollar coin is called the “toonie,” as the dollar coin was called the loonie, but “dubloonie” was on the table. I will never forgive my country for making the wrong choice.

Allons-y.

Next page: Arrow and the Police State

Gotham: Requiem

Image: Warner Bros

Five years ago, Fox greenlit a series about Gotham City in the years before Batman. Why? Out of faith in one of comicdom’s better supporting casts of flawed do-gooders and colourful villains? Maybe, but as I’ve explained in the past, there were better ways to do that. Maybe it was because Smallville lasted ten years and– ten years. Son of a bitch. I watched that show for a decade. That is not a trivial percentage of my life. I was young and married and full of hope when that started, thinking George W. Bush was as bad a president as we’d ever see… all of that sure changed…

Anyway, five years and 100 episodes later, Young Jim Gordon’s quest to redeem Gotham City but not to a point where it wouldn’t eventually need a bat-themed superhero saviour has come to an end.

Earlier this season, I did defend portions of Gotham, if only to underline all the problems I had with Cloak and Dagger’s first season, but in the end… and we have hit the end… it was unique. Not in its subject matter… “DC Prequel Show Named After a Place” is basically a genre at this point… but in its devil-may-care bonkers approach to the subject matter. Gotham’s willingness to try any idea, no matter how insane or ill-conceived, led to some truly operatic battles between order and chaos, many of them really stupid, some of them bizarrely compelling.

As we say farewell to Gotham and brace for the showrunner’s new prequeller prequel Pennyworth…

We both wish I was kidding.

I thought it worth a look back, through the veil of this 12-episode final season.

If anything else… they made 100 episodes of a show about the origins of Batman and a large amount of his rogue’s gallery that never said “Batman,” “Joker,” or “Catwoman” out loud, and that’s… kind of an achievement?

Next page: The Persons of Interest, or Lack Thereof

The Kids are Alright: Comic TV With Dan

This season, because I love nerd stuff more than I apparently like myself, I decided to binge my way through two shows that I had very little reason to suspect I’d enjoy. Very little. But so determined am I to keep up on any and all comic book TV series… based on comics I’ve heard of… that don’t rhyme with “Smocking Smed…” that I dove in anyway.

On the one hand, we have the Runaways.

One of them is holding a magic wand, another has glowing hands, and if you look closely one has glowing eyes, which makes them more super-heroey than every promo shot of The Defenders combined.
(Image: Hulu)

Their second season hit back in December. Their first season was… okay… (ranked 15th of 22 last year) but sluggishly paced, and didn’t really get anywhere. I described it as a ten-hour pilot, because I can’t really remember any storylines that weren’t just gradually getting pieces in place for the origins of the runaways or storylines from season two. Sure Preacher’s first season (5th of 13, 2017) did kind of the same thing, ending the season at the end-point of the first story arc, but it felt like Preacher had a lot more going on than Runaways did (hint: Preacher almost always has more going on, it’s great). Runaways isn’t the first show I’d name when describing how a slow burn can go wrong, but it’s on the list.

Also Cloak and Dagger, the other Marvel Young Adult TV show, left a bad taste in my mouth.

And in the other corner, we find Titans.

Teen Titans GO! To Hot Topic.
…Someone else has already made that joke, haven’t they. Don’t tell me.
[Image: DC Universe]

Titans, the first entry from the DC Universe streaming service (available here through Netflix), didn’t have a predecessor to compare to, favourably or otherwise, but it did have a super dark and very baffling trailer that made it look like an impending train wreck.

So we have two shows, based around younger heroes, that I had every expectation of not being good… and both surprised me. Runaways seemed to take my criticisms to heart… which, yes, heavily implies that I wasn’t the only one making them… and Titans managed to be the season’s biggest surprise so far. I came in expecting to make another “Let’s laugh at how bad Iron Fist was” post, and instead it’s… legitimately interesting?

That’s nearly all they have in common. One’s a YA series with occasional mild profanity that’s as grounded as a show with aliens and magic and a dinosaur can rationally be; the other is a hard-R, curse-filled, graphically violent tale of four damaged youths trying to learn to be a team. So I guess they both have “found family is sometimes better than blood family” going on as well, and that’s all I need to justify the joint post. And along the way, I bet we find more. Rock it.

Next page: An overview.

TV Crimes and Punish(er)ment: Comic TV with Dan

Image: Netflix

With the last cancelations now announced, Marvel/Netflix’s Defenders franchise is winding down and will end with season three of Jessica Jones.

So it kind of makes sense, at this point, to begin looking back at this sometimes great, sometimes terrible collection of shows… and it makes extra sense, because within Punisher season two, we can see nearly every way they went wrong.

Now, I’m not saying Punisher will show us why Netflix started canceling the whole lineup. We already know why that’s happening. Disney, Marvel’s parent company, is starting their own streaming service, and that soured their relationship with Netflix, which like a white man in Hollywood is probably really annoyed that they’re no longer the only game in town.

No, I’m saying that if we examine all the ways Punisher season two didn’t work, we find nearly all of the routine failings of the five series (and one mini-series) that made up the Defenders-verse.

Including the fact that it’s not connected to the films and it never was. If Kevin Feige reboots Daredevil in three years with new actors, will you all believe it then? Or will you just blame it on the Thanos snap somehow? Probably the latter.

As I go… I’ll slip in the things they did well. Unless I run out.

Let’s begin.

Next page: Back to Square One. Again.

The Arrowverse in Review: Year Two

I loves me some superhero shows, I loves me some DC heroes, and the CW delivers me both of those things through a series of shows that, while flawed, I find overall much more entertaining than annoying.

So I wanna talk about ’em. And I have a blog, so I’m gonna, in a series chronicling the highs and lows, successes and failures, twists, turns, and tragedies of what shouldbe called the DCW-verse, or if you prefer whimsy, the Greg Berlanti Mask-Based Action Fun Factory, but remains called the Arrowverse because the internet makes bad choices.

So let’s dig into it.

Year two remains a simple one… just one show, Arrow season two. But it began to set the stage for something bigger, grander, and glorious.

The journey from Arrowverse to Beebo-Verse begins in year two.

Arrow: Season Two

Season two is thought of as one of, if not the very best season of Arrow. It’s based on the five-year-old rivalry of friends-turned-nemeses Oliver Queen and Slade Wilson, although they spend the first nine episodes on Oliver vs Brother Blood so we won’t know what’s coming. It’s an operatic battle of revenge that forms Oliver’s first real crucible as a hero, and there’s only one season of Arrow that can compete with it.

So far.

Season seven is… ongoing at time of writing.

In the flashbacks, Oliver, Shado, and Slade are living on Lian Yu, but find themselves being targeted by a group of mercenaries working for a mad scientist named Anthony Ivo who have arrived via a freighter called the Amazo. Ivo’s seeking a Japanese super soldier serum called mirakuru, which I thought was going to be a reference to Miraclo, the drug that gave golden age hero Hourman his powers, but ultimately wasn’t. Just a similar bastardization of the word “miracle.” Mirakuru gives a person enhanced strength, speed, and resiliency, but also drives them a little crazy, and when they inject Slade with it to save his life, he soon turns on Oliver. Thanks mostly to the death of Shado, which Oliver indirectly causes by choosing to protect Sara Lance.

Oh, yeah, hey, Sara Lance isn’t dead. Not in the flashbacks and not in the modern day. They hide this from us for a couple of episodes by recasting her with Caity Lotz, who later takes the character to heights they didn’t even think possible back in year two. We’ll cover that below.

In the present, Oliver graduates from being the Hood to the Arrow, and in Tommy Merlyn’s memory, attempts to give up killing. It’s… a rocky road, as he does arrow-murder the heck out of the Count a few episodes in, but he’s mostly determined to stick to it.

Elsewhere…

Diggle begins to reunite with his ex-wife. Felicity becomes a full member of the cast, with a clear crush on Oliver that he’s trying to duck around. (They play it fairly subtly at this stage… when Oliver has a questionable hook-up, she asks “Why her?” and only subtext in her delivery makes it clear that there’s a second part to her question of “And not me?”) Comics-Roy Harper classically had issues with heroin, and as a possible reference to that, TV-Roy Harper gets injected with mirakuru, which makes him predictably unbalanced. There is no similar comics equivalent for Laurel, who becomes an Assistant District Attorney but loses the job when she gets hooked on pills. Thea has taken over Oliver’s nightclub, despite not being old enough to drink there, but when she finds out her biological father was actually Malcolm Merlyn (who, surprise, isn’t dead), begins to unravel back into whiny season one Thea. And Detective Lance, a rock we didn’t fully appreciate in season one, has faced a career setback for working with the vigilante, and is now Officer Detective Quentin Lance.

The Rough Spots

I call it “Felicity interruptus.” Every time, every single time that Oliver needs to attend a meeting to protect his company or have a quick conversation to save his personal life, Felicity or sometimes Digg will call/show up with news about whoever needs Arrow-justice that week, and he’ll have to run off. Without fail. Every time. I gave Spider-Man: Homecoming crap for the same thing… if he chooses hero stuff over personal stuff every single time an important personal matter turns up, it gets old and loses impact.

In one case Felicity actively asks him not to go, and to instead sort out his family business so that he, his mother, and his sister wouldn’t lose their home, their nightclub, and their trust funds (who gave the board of Queen Consolidated control of Oliver and Thea’s trust funds? That is eight brands of dumb). Something that could have been accomplished by saying “Call me back when you have a minute” when Oliver said “I can’t talk right now.”

That’s the one that broke me. That’s the worst one they ever did. It might also be the last one they ever did. In season three I believe he runs out of friends and loved ones who don’t know his identity. But it was still a bad, bad trope.

Also, when Thea’s being written better, Laurel develops a pill addiction that is not a flattering colour on her. As soon as Laurel gets clean, Thea starts endlessly whining about being lied to all the time. Which… she isn’t wrong, but there’s being right and there’s being… not insufferable.

Why is the worst written character always a woman? Well… except on Supergirl, but we’re still two years out from that.

The soap opera romance is better this year, though… the only major occurence being some awkwardness between Oliver and Laurel when Laurel’s sister Sara Lance turns out not to be dead and she and Oliver start banging again.

Let’s see… Felicity interruptus, Laurel’s on pills, Thea bitching about being lied to… I think that’s it.

The Heroes

Oliver’s quest towards being a hero begins with his attempt to stop killing people, which, yes, kind of an important step, especially when you consider how many of his season one victims were just hired security as opposed to actual villainous millionaires. So the transition to hero continues, expressed by changing his vigilante name from “the Hood” to “the Arrow,” but I really want to talk about one of the most important Arrowverse leads, who makes their first appearance this year.

Aside from Barry Allen, I mean.

This one.

So. Sara Lance. In the flashbacks, Sara’s on the Amazo working for Ivo… in the present day, she’s the Canary, who spent five years with the League of Assassins before returning to Starling City to prey on men who get violent with women. Soon she and the Arrow are crossing paths, and she joins Team Arrow.

Sara continues the trend of “the costume predates the character,” as she is called “the Canary,” but isn’t A-list comics hero Black Canary. That’s still to come. Still, Sara was such a compelling addition to the show that fans couldn’t help but fall for her. Like Oliver, she’s doing her best to put killing behind her. Like Oliver, her past isn’t exactly willing to let her go that easily. Like Oliver, she’s an impressive badass. Unlike Oliver, she manages not to get lost in brooding and self-pity all the goddamn time.

There’s nothing about Sara Lance, proto-Canary, that screams “make her the captain of a time-travelling spaceship,” not yet anyway, but she was a breath of fresh air and the franchise was and is lucky to have her.

The Villains

This is the first example of an Arrowverse trend… a warm-up villain who sets the stage for the Big Bad to come. It’s also one of the few times that said warm-up villain sticks around for the whole season. It’s Sebastian Blood, played by Kevin Alejandro, formerly of the James Woods legal drama Shark (not the only Shark veteran to sign on this season), and soon to be of my beloved celestial drama/crime procedural Lucifer. Despite the fact that he’s named “Sebastian Blood,” I somehow didn’t figure out that he’d be the Arrowverse twist on Teen Titans nemesis Brother Blood until someone called him that, probably because Brother Blood has never been a Green Arrow villain per se, but there really aren’t so many iconic Green Arrow villains that they can limit themselves to that. He basically works. Kevin Alejandro is a solid performer, and the growing mystery behind Sebastian Blood is well-played.

But the primary villain of Arrow season two is, perhaps, the very best villain the Arrowverse has ever, ever done… Deathstroke.

The season two flashbacks show how Oliver and Slade Wilson (Manu Bennett) began to turn from friends to enemies. At the end of the fall finale, it’s revealed that he’s alive, well, and has been in Starling City for some time, plotting some truly operatic revenge against Oliver. Called “Deathstroke” by ARGUS, the Arrowverse’s clandestine government agency of choice, Slade is a physical menace that Team Arrow combined can barely hold up against, and a tactical threat Oliver can hardly keep up with. And it’s all rooted in a compelling performance by Manu Bennett. The complex relationship between Oliver and Slade, past and present, gives the season bite and depth. Plus, flank him with Brother Blood and an ice-cold Summer Glau as Isobel Rochev, and we’ve got a highly effective cabal of villains. I like a good cabal.

Fan Service

Fan service in the Arrowverse comes in three varieties: the good (characters from the comics and geek-friendly guest stars), the bad (characters grossly misinterpreted), and the weird (characters named after comics characters but not even vaguely similar to them).

The Good

  • Two, count ’em, two Firefly vets this season. Sean Maher makes a couple of appearances as the Arrowverse version of Shrapnel (minus the meta powers and exploding body), but far more significant is Summer Glau’s season-long turn as Isobel Rochev, who on the show and in the comics makes a play to steal Oliver’s company.
  • Bronze Tiger isn’t traditionally a villain. Yes, I certainly know him best as a member of the Suicide Squad, but one of the “good characters who guides the squad” rather than one of the villains pressed into service. And while the episode Suicide Squad gives him a moment of redemption, it will take five years for Tiger, as the show calls him, to begin to move from villain to complicated potential hero. But he’s played by Black Dynamite himself, Michael Jai White, and that’s great.
  • Early in season two, Oliver and the Canary take on a serial killer named the Dollmaker. This might be the one time Arrow and Gotham both use a villain and Arrow does it better.
  • Robert Knepper, formerly of Prison Break and Carnivale, soon to be of iZombie, menaces Oliver as the precision-timed villain Clock King.
  • Can’t ask for a bigger fan service episode than the assembly of the Suicide Squad, on a mission to DC Comics’ fictional European nation of Markovia.
  • Nicholas Lea of The X-Files helps Moira Queen run for mayor.

The Bad

  • The Huntress is back, and still evil. They call her episode “Birds of Prey,” because it involves the Huntress meeting the Canary, but they do not bond or become friends. Failed WB series Birds of Prey did this pairing better, and that’s nothing to be proud of.
  • Amanda Waller comes to the Arrowverse, with the Suicide Squad in tow… but maybe because this is the CW, they went with a young, skinny Amanda Waller. The New 52 reboot of DC tried the same thing, and it just doesn’t suit the character. Cynthia Addai-Robinson does well enough with the role, but it’s just not… well, she’s no Viola Davis.

The Weird 

  • The flashbacks… and one present-day episode set in Russia… introduce Anatoly Knyazev, known to Batman readers as the KGBeast. He isn’t called KGBeast for another five years, and he bears little resemblance to his comics counterpart (being more of a tactician than a physical menace), but I do love him.
  • Speaking of season two fan service that would be corrected five years later… Professor Ivo’s boat is named in honour of comics-Ivo’s most notable creation, the android Amazo, who can copy the powers of the entire Justice League and is not, canonically, a boat. In year two, it’s an Easter egg for comics fans. In year seven, they introduce Ivo Labs, and a proper Amazo android, who in deference to season two is infused with mirakuru. It was a bit of a wait, but worth it.
  • Slade’s first mirakuru-enhanced minion is named Cyrus Gold, a clear reference to classic comic villain Solomon Grundy, something backed up by Gold’s fascination with the Solomon Grundy poem. Once again… Gotham did this one better. I hate saying that. They keep making me say that.
  • Diggle’s ex-and-future-wife, Lyla Morgan, has the codename “Harbinger” in the episode “Suicide Squad.” Making her a reference to the comics character Harbinger (real name Lyla), a key player in the mack-daddy of all comics crossovers, Crisis on Infinite Earths. At the time, we had no reason to believe that they might be working towards a TV version of Crisis. Things… things have changed.
  • Jean Loring, the Queen family defence attorney, and Starling City DA Kate Spencer both have one thing in common with their comics counterparts, in that they have similar professions. But Kate never fights crime as the Manhunter, and Jean seems unlikely to marry Ray Palmer or… do any of the dark-ass things Jean got up to starting with Identity Crisis. A story DC is probably trying to queitly walk back.

The Crossover!

There still isn’t a real crossover in season two, because there’s still only one show… but we have a crossover of sorts in “The Scientist” and “Three Ghosts.” After filling the first third of the season with TV reports on the impending and controversial opening of a particle accelerator at Central City’s STAR Labs, future Flash Barry Allen makes his way to Starling City in the eighth episode… which for the next few years is exactly when the crossovers happen. Barry assists Team Arrow in stopping Brother Blood’s first successful mirakuru minion, gets closer to Felicity than Oliver liked, and returns home to Central City just in time to get struck by lightning after the STAR Labs particle accelerator goes kablooey.

This is more of a proto-crossover than last year’s introduction of the Huntress, because they very much intended for Barry to spun off into his own series. He was supposed to come back for episode 19 as a backdoor pilot for a Flash series, but reaction to his first appearances was positive enough that they decided to make a proper pilot instead. Episode 19 does, however, introduce two of Barry’s future best friends: Cisco Ramon and Caitlin Snow. And name drops Harrison Wells and Iris West.

RIP

There’s always deaths in the Arrowverse, and it’s usually someone you didn’t want to go.

Needless to say, here there be spoilers.

Farewell to Oliver’s mother, Moira Queen. She was complex, rarely entirely trustworthy, but as soon as they revealed that she knew Oliver was the Arrow we had to know her time was limited. Moira Queen is a casualty in Slade’s war against Oliver.

Moira’s final episode also involves flashbacks to a fling of Oliver’s who ended up pregnant. This… this is going to be important down the line.

Parting Thoughts

Isobel Rochev was on Robert Queen’s list.

Arrow season two introduces us to Nyssa Al Ghul, the lesser known daughter of Batman villain Ra’s Al Ghul. Lesser known to the point where even I’d never heard of her. Later Nyssa would be given her own DLC in the Batman: Arkham Knight game, which I have to believe Arrow is responsible for. Nyssa is a very popular character with Arrowverse fans, but sadly actress Katrina Law got busy, so we don’t see much of her lately.

Nyssa’s debut is also the first occurrence of something the Arrowverse is really good at. The Arrowverse has a strong track record with LGBT characters, and they’re great at one specific thing… normalization. People don’t strongly react to a character being gay on an Arroverse show, even one who’s just come out. Being gay or bi isn’t a scandal or a shock or a Condition, references to same-sex relationships aren’t treated differently. Which is how it should be. In “Heir to the Demon,” Nyssa’s first appearance, the entire gang learns that Sara and Nyssa were romantically involved during Sara’s five years with the League of Assassins. Everyone, from her sister to her parents to her past and future lover Oliver, responds with at most a simple “….Oh.” And then they’re fine. Hell, Quentin’s just happy that Sara had someone special for the last five years, he could not care less what gender they were.

I talked to Manu Bennett shortly after Moira’s death aired. I told him that in the moment, I almost felt bad for Slade, because it seemed like he wished he didn’t have to do this. His head popped up, a smile on his face, because this was exactly what he was going for, and he was glad to know it landed. Cool guy, Manu Bennett. Shook my hand twice.

Next time in this series, The Flash becomes the makeshift Superman to Arrow’s pseudo-Batman… something they dig even further into… and a certain British con-artist magician garners attention.

Next time on the blog in general… who knows. I have other projects demanding my time. We’ll see.

The Details in the Devil: Comic TV With Dan

Oh hey guys. What’s up? Been a little while. Plenty to talk about. I have a nostalgia trip to wax poetic about, stories to tell about the Big Apple, and since by the time I’m done my Doctor Who rewatch series 11 will be done I guess I may as well write it up… but before I get to any of that, there’s just oooooone little thing I need out of my brain.

Let’s talk Daredevil.

Daredevil Season Three: Fall and Rise

Daredevil season three dropped not so very long ago, making 2018 the first year that Marvel Netflix released a solo season for each of the four Defenders… and, given that it came on the heels of the cancellation of both Iron Fist and Luke Cage, the last.

(Also, real quick, gonna cram in another blog topic I’m probably unlikely to get to.)

(Ahem. Dear Iron Fist. You were pretty shit in your first season, and you dragged down the first and only season of The Defenders, making this whole Marvel Netflix connected universe feel like a let-down. But damned if you didn’t at least try to bounce back. You took some of the big problems of season one… Danny has no personality beyond being the Iron Fist, Danny is bad at being the Iron Fist, Colleen was more interesting as a lead… and made them into your narrative arc for the year. Clever move that made for a better show. The show still wasn’t perfect… I never had any sympathy for Joy Meechum as a character, Colleen’s subplot got put on hold so many times I kept forgetting what it was, and your A-plot boils down to two five-episode slogs to two plot points of interest… but hey you were trying. Shame you left so much on the table for a third season that isn’t coming, but you were no longer Marvel’s worst TV show, not even the worst this season.)

(Look, I’m sorry if you disagree, but Cloak and Dagger had some goddamn flaws and maybe we could just admit that.)

So. Yes. Daredevil. A few spoilers will result, there’s really no way around that if I’m going to discuss this in any detail, and I mean to do just that.

First off, the basics, in which Daredevil has fallen but the Kingpin is on the rise. We pick up a couple of months after Defenders. Matt, presumed dead by his pal Foggy Nelson but merely missing by still-not-his-love-interest Karen Page, is in the church where he was raised after the death of his father, healing from having a building fall on him, and spiritually crushed from the whole business with Elektra. Wilson Fisk, meanwhile, begins to enact a plan to get himself out of prison and back into the heights of high society, while building a new crime empire. Matt, Foggy, and Karen each search for ways to get Fisk back in prison, but he’s worked hard to be untouchable, sets out to destroy Matt and the very name of Daredevil, and begins grooming a new chief enforcer in Ben “Dex” Poindexter, an FBI agent with lethal aim and severe borderline personality disorder.

Yes, I know exactly which comic character he is, thanks, but I’ll call him Bullseye when they call him Bullseye. Until then he’s “Dex” or “Fake Daredevil.”

It’s the follow-up to Daredevil’s great first season that season two failed to be, the Fast and Furious to season two’s 2 Fast 2 Furious. Season two, in fact, is all but scrubbed from memory. There are some lingering effects… The law firm of Nelson & Murdock remains broken up, we address what happened immediately after the season two cliffhanger of Matt confessing his other identity to Karen (through a flashback, since all of Defenders happened since then), Fisk seeming to have figured out Matt’s secret comes into play, and Elektra gets mentioned exactly once, but otherwise season two is forgotten. We just pick up on everything that’s been dangling since season one and try to pretend the Hand didn’t happen.

Which is for the best. Marvel Netflix fucked up the Hand so thoroughly there’s no real redemption for it now.

So how’d it turn out?

Good. Pretty good. Couple… couple of problems I want to get into, but first let’s cover what they did well.

The cast is stellar. Charlie Cox does solid work as the spiritually lost Matt Murdock, turning his back on his old path and considering breaking his no-kill rule to keep Fisk from hurting anyone. Vincent D’Onfrio remains excellent as Fisk, now adopting the name Kingpin (leaving him off the Best Villains list three years back remains my biggest blunder in comic TV rankings… also I seem to be the only Flash fan who liked Tom Felton as Julien Albert, but that’s another issue). Deborah Ann Woll is riveting as Karen Page. She’s been doing great, subtle work conveying Page’s guilt and torment over killing Fisk’s right-hand man Wesley back in season one, but this year it finally comes to a boil. Wilson Bethel kills it (excuse the expression) as Dex, and newcomer Jay Ali is great as FBI Agent Ray Nadeem. And Elden Henson (Foggy) doesn’t whiff his big moments as badly as he did in season two.

A more centralized arc makes for a stronger season than… most Marvel Netflix seasons. The focus on Nelson, Murdock, and Page against Fisk and Fake Daredevil means no third act collapse like early Luke Cage or season two Daredevil, and no games of villain roulette like early Iron Fist. All without spending six episodes getting to the point like Jessica Jones’ second season.

There is, however, one large problem. Let’s discuss it.

The Problem With Kingpin

In last season’s rankings, the silver medalist for “Worst Trend” was the all-knowing mastermind, and that one’s all over Daredevil this year.

Okay. Let’s assume that you, reader representing all readers, don’t watch as much comic book TV as I do. This seems highly probable because I don’t actually know anyone who watches as much comic TV as I do. So based on that, let’s further assume that you haven’t done this dance with Prometheus, Cayden James, Ricardo Diaz, Shadow King, Hiram Lodge, and lesser versions like the Thinker. That your reaction isn’t “Jesus, not this again.” Kingpin being five steps ahead of Daredevil and pals all season still doesn’t really work. Allow me to explain.

Yes I have to get into spoiler territory. I’ll try to avoid specifics but I have to talk about the season as a whole, yeah?

For twelve episodes Kingpin can’t be touched. For twelve episodes we learn again and again that his influence is worse than we knew, that he has leverage everywhere. For twelve episodes every single move Matt, Karen, or Foggy makes fails completely.

It is one thing for Ethan Hunt to be playing defence for an entire Mission: Impossible movie. Over two or two and a half hours, with action movie pacing, it’s thrilling. Over 13 hours, it’s a slog. When you’re ten episodes deep on a show, and the heroes haven’t had a win yet, and there are three episodes left, it can make pushing through a challenge. And it’s repetitive. It’s a slog and it has no levels. Daredevil’s first season managed this so much better, with Fisk’s criminal cabal of international stereotypes acting as minibosses, giving Matt a sense of progress as the season played out. Now it’s just Fisk winning more and more and the audience thinking “I don’t know, maybe Matt does need to kill him.”

And the other issue is, when Team Daredevil hasn’t managed a win in twelve episodes, it makes the wrap-up super forced and very unearned. There isn’t a thing they’ve been able to do to get Fisk one step closer to prison the entire season, their one big chance collapsed at the finish line in episode 12 because Fisk is that good, and then in the finale, they topple his entire operation with two phone calls and a viral video. Poof. Mission accomplished in one afternoon, with time to grab a slice downtown before dark. Fisk was a brilliant mastermind, constantly five steps ahead, able to counter any gambit, and then all of a sudden he wasn’t and his whole life fell apart (literally, thanks to the big final fight). That’s weak writing. Maybe if over the course of the season Team Real Daredevil had actually made progress, whittled down some of Fisk’s infrastructure and support system (like they did in the superior first season), the ending would have felt more earned. But they didn’t and it felt forced. They reached a mega-happy ending that would make a decent series finale so fast that it’ll give you whiplash. Of course, if the Marvel TV purge that brought down both Iron Fist and Luke Cage hits them next, we’ll be glad for the closure, but still.

Agent Nadeem

At first, towards the end of the premiere, when all the characters we knew disappeared and we shifted to some guy we’d never met having a party for his kid, it was a little throwing. He’s Special Agent Rahul “Ray” Nadeem, and he’d had to foot the bill for his sister-in-laws’ cancer treatments, which makes him ineligible for promotion because he’s seen as a criminal recruitment risk, or so they tell him. If you’re like me, when he takes up maybe a third of the premiere, you might think “What’s up with this guy?”

But do it with genuine curiosity in your voice, not annoyance, because he works pretty damn well.

Agent Nadeem puts a human face on Fisk’s ability to control people. The way he creates a need, provides a solution, and then leverages that to control his target. Ray’s a good guy, but he’s forced into a bad place, because that’s what Fisk does. Were it not for Ray, Fisk’s growing influence would have been even harder to choke down as a long arc, but viewing it all through Ray’s increasingly troubled eyes makes it almost work (again, all-knowing masterminds are just… they’re not as interesting to watch as people think).

And as I said above, Jay Ali sells the hell out of it, especially as he tries to dig his way back out.

Would that our actual lead was quite as well realized. However.

Matt’s Moral Code (Or Lack Thereof)

The ethics of killing are always, always a talking point in Marvel Netflix shows. The Defenders take a much harder line against bloodshed than the cinematic Avengers ever have. The morality of killing was the point of contention between Daredevil and the Punisher in the good part of Daredevil’s second season, and between Danny Rand and Davos in the second season of Iron Fist (although Davos’ willingness to kill his enemies proved to be slightly less of an issue than how quickly he was willing to classify someone as “enemy”). A desire to prevent deaths was Luke Cage’s only contribution to the main story of his second season. Jessica Jones is tormented by every death on her hands.

Of course this branch of Marvel TV also has The Punisher, a story driven by dozens of justice murders, which is kind of a mixed message, but anyway.

So the big question facing Matt this season is whether or not he’ll break his moral code and kill Wilson Fisk, assuming he can even get an opening to do so. They certainly try to make the stakes on this as high as they can, but… this hard and fast “no killing” rule they’re talking about hasn’t been hard or fast for a while. The second season, which they might want to forget but definitely happened, already established that while Daredevil doesn’t kill, if someone else is killing his enemies to help him out, that’s just fine by him and God, I guess. In the second season finale, both Elektra and Frank Castle killed a bunch of Hand ninjas right next to Matt and I didn’t see him complaining.

Man. Remember when the Hand actually had ninjas? We didn’t know when we were well off.

At first, Matt just wants to get Fisk back into prison, where the Albanian gang he betrayed to set his plan in motion can kill him at their leisure. That seems to fit with Matt’s moral code thus far. He isn’t killing Fisk himself, he’s just arranging for someone else to do it on his behalf, like Frank sniping all those ninjas so Matt could throw Head Ninja off the roof and Stick could cut his head off. Like that but less colourful and more prison-stabby. But something changes after Plan A goes awry with the arrival of Fake Daredevil. From there, Matt becomes determined that he must kill Fisk himself.

Him and him alone, it seems. Because upon arranging matters to put Fisk’s life in mortal peril (those two phone calls I mentioned), Matt then saves his life so that he can do it himself? That seems unnecessary. I guess not wanting to sully anyone else’s hands with the act seems like Matt’s endless martyrdom all over on paper, even if the hands he’s keeping clean are already drenched in blood, but letting someone else do his killing for him actually is Matt all over based on his actions in season two.

Man but season two has a lot to answer for. No wonder they’re trying to forget it happened so hard they gave Punisher a second origin.

And there’s a second failing on Matt’s part. His sin, as the Operative from Serenity would say, is pride.

Standing Alone

Despite having just made three super-powered pals (four now, with Colleen), and having a potential new friend inside the NYPD in the form of Misty Knight, Matt decides to take on Fisk’s nigh-infinite resources and unstoppable muscle all by himself, only begrudgingly turning to Foggy and Karen for help.

When Sister Maggie, the nun who raised him (and comic fans know where that’s going), asks why he doesn’t focus on healing and ask any other powered hero to take point on this, he just says “It’s not their fight.”

That is just the laziest goddamn excuse.

I’m not saying this should have become the defacto second season of Defenders, the way Captian America: Civil War was essentially Avengers 2.5. That isn’t how these things work, and ultimately it’s too easy. The real reason he never calls Luke Cage for help, even when he finds himself needing to be in two places at once, is that they needed Fake Daredevil to win his first two rounds against Real Daredevil, and Fake Daredevil wouldn’t have lasted five minutes against Luke Cage, given that being able to throw a pencil with lethal precision won’t matter to someone with bulletproof skin and super strength. But they really needed a better excuse.

Outside of the annual crossover, the Flash almost never comes to save Green Arrow, and vice versa, and nobody ever thinks to ask Supergirl to pop by and solve all of their problems (Earth-1 in the Arrowverse has maybe four villains who aren’t laughably outmatched by Supergirl). This doesn’t happen because “The Hero Bravely Asks Someone to Solve Their Problems” might sometimes be the right play, but it isn’t narratively satisfying. But at least there are reasons why this doesn’t happen. First and foremost, these are episodic shows that air simultaneously, so we can always see what the Flash is busy with that’s keeping him from popping over to Star City when Green Arrow’s stretched thin. And if necessary, they come up with other reasons. Such as in this year’s Flash premiere, when they have a time travel problem, and someone actually thinks to say “Hey, why don’t we ask that spaceship full of time travellers we know for help?” and then they do (off camera), and we’re given an explanation as to why they can’t fix everything. A made-up-science explanation but still an explanation.

Marvel Netflix shows drop months apart from each other, and we’re often shown they happen sequentially (Iron Fist season two clearly takes place after Luke Cage season two, although it’s anyone’s guess when Jessica Jones’ second season is in comparison). So while Danny Rand is probably out of town, Jessica, Luke, Colleen, Misty, and Frank freaking Castle aren’t, and I have no idea what they’re doing that’s so great they can’t take an interest in the return of Wilson Fisk. Hell, Fisk’s plan should absolutely be of interest to the new King of Harlem. And while I can’t see Matt asking the Punisher to come and help him do a murder (as we discussed above, he became really weirdly insistent on doing it himself), I can certainly see Karen Page turning to her super-violent friend for backup, or at least protection.

Not to mention Punisher vs. Fake Daredevil would be a fight to see. But the Punisher isn’t even mentioned. Jessica Jones at least had her name dropped once, if not in a flattering light.

No, all we’re given is “It’s not their fight,” an excuse so hollow it becomes a weakness of character, Matt’s pride not letting him reach out to his new friends, even if they could have tipped the scales before he suffered some hard losses. I mean come on, Matt, at least let them know you got out from under that building.

(Also why did none of them come poking around when Fisk made Daredevil public enemy number one? Stubborn idjits, all of ’em.)

Stray Thoughts

The more I think about it the less I’m on board with Matt giving up the Daredevil costume to go back to those black pyjamas from season one. His whole thing was giving up being Matt Murdock to focus on being the Devil (I know I say this a lot but this time for sure, can we be done with “The Devil of Hell’s Kitchen,” please? At least they only said it once that I remember this time), but why go all the way back to his first outfit? Sure he mumbled something about turning his back on what the costume represented, but it’s not like he completely changed methods and tactics when he put the red suit on. He’s the same hero in red he was in black, and going back to the PJs simply means less protection. Daredevil loses one of his fights with Fake Daredevil for only one reason: Fake Daredevil is wearing body armour and Matt isn’t. Matt was landing way more blows, but Fake Daredevil’s armoured suit could take the punishment better than Matt’s sweatshirt, something I could swear he learned back in season one when that ninja sliced him up like lunch meat. It feels to me like somebody decided the Daredevil suit is a little too comic booky, and that’s the mindset that turned the Hand from a ninja death cult to a multinational corporation of diverse businesspeople who also do crimes sometimes, and that’s the worst thing Marvel Netflix ever did other than hire Scott Buck to write a TV show, so to Hell with that approach. In the event that Daredevil survives the apparent Marvel TV purge, ditch the PJs and get him back in the suit.

Dex is never called Bullseye because he isn’t Bullseye yet. This is meant to be his villainous origin, with Fisk pulling him into the dark he’s spent his life trying to avoid. I just… I never really thought of Bullseye as needing an origin. And since the whole lethal aim with any object thing turns out to go back to childhood, it still kind of isn’t an origin? That skill is never explained. It’s just something he can do.

For the second time, Stephen Rider is credited as a series regular as District Attorney Something-or-Other. Beats me why. He is a minor recurring character, plain and simple, and should just be a guest star.

No Claire Temple, no other Defenders, not even Turk. I don’t know that any Marvel Netflix show has skipped a Turk appearance.

[spoiler title=’Okay so this is about the actual final climax’ style=’default’ collapse_link=’true’]I disagree with the AV Club on one thing. I thought that the big final free-for-all between Daredevil, Kingpin, and Fake Daredevil was at least thematically sound, as it involved literally destroying the home Kingpin had spent the season piecing together. It provided a physical representation of Kingpin’s downfall, the collapse of everything he’d built.[/spoiler]

Grade: B

A lot of people are doing talented work, but there comes a time when the writers have to figure out that 13-hour TV shows need more dynamic arcs than two-hour movies.

The Morals of Black Mirror, Drinking Game Edition

Black Mirror is an anthology show which started in the UK but began drifting into America (in terms of production, cast, and location) when Netflix picked it up for season three, and is known by many as “technophobic Twilight Zone,” or to the more basic meme-makers, the anthology show where the twist is always “It’s ’cause you be on your phone.'”

That, I feel, is not a fair assessment. Yes, most (but certainly not all) of Black Mirror examines technology from a future that feels right around the corner, and yes, in most (but not all) of these cases said technology helps the main character’s life collapse around them in spectacular fashion, but Black Mirror isn’t afraid of technology.

It’s afraid of us.

Technology doesn’t (usually) create the problems in Black Mirror, the dark side of human nature does. Creator Charlie Brooker doesn’t seem to fear technology so much as he fears lack of empathy. Without empathy, without the ability to care about others, then tech makes terrifying things possible.

To prove this, having now watched every episode (non-sequentially, ’cause that’s an option), I shall walk you through each episode and what its moral is. But let’s keep this interesting. In the style of the inimitable Soren Bowie, I’m making a drinking game out of this, drinking every time the moral breaks down to “For the love of Zod, do not let people hack your perception of reality” or “We are not ethically advanced enough to be digitally transferring or recreating consciousness.”

That last one’s wordier than I wanted it to be. Um… “If we learn how to digitally transfer or copy human minds, we’ll abuse that so fast.

Spoilers… (and there may be more of those) the moral might sometimes be “What if technology… was bad?” but will almost never be “It’s because you be on your phone.”

Let’s begin!

(….I said his style was inimitable as I was planning to imitate it. I am… I am not getting us started on the best foot… okay, push through it. Push through it. Maybe one drink to get going…)

Next Page: Season one, in which that poor pig did nothing to deserve this