Obscure Characters Superhero Shows Should Use

Superheroes and comic books are big on both the big and small screens these days, but despite the Marvel empire being built on “Everything’s connected” and DC not having sold all of its shiniest toys to Sony and Fox, there is still a weird Chinese wall between each company’s film and television divisions. DC, as we know, maintains separate film and TV universes and, in most cases, doesn’t allow overlap. Marvel claims to maintain one, consistent universe, spread across the Avengers-based films, Defenders-based Netflix shows, and redheaded stepchild Agents of SHIELD, but Brooklyn 99 and The New Girl cross over more often than any of those branches, limiting the characters the TV branches can use even beyond being banned from using the word “mutant.”

They have, however, found some clever workarounds.

Agents of SHIELD isn’t allowed to use anyone that’s been in a movie, or is a street-level hero in New York, or that Marvel might want to pitch elsewhere. But they have been having one of their better seasons by basing it around a surprisingly effective portrayal of Robbie Reyes, the least popular, least successful, and objectively least cool* version of Ghost Rider. Meanwhile, across the aisle, Arrow’s been having a similar resurgence of quality, and it’s obscure characters all the way down over in Star City. Wild Dog, Mr. Terrific, and Ragman have joined the team, and there have been episodes not only featuring but named after 80s D-listers Vigilante and Human Target (sadly not Mark Valley’s Human Target from the 2010 series getting a Constantine-style revival, but I’ll take any Human Target I can get).

So I say, keep on keeping on with this trend. DC and Marvel each have hundreds of characters to draw on, so why let the big names being embargoed slow you down?

Assuming Marvel Netflix is limited to street-level crime fighters, that Agents of SHIELD can’t touch anyone who could possibly have their own show or movie, and the DCW-verse has to stay away from Batman, Wonder Woman, Aquaman, Green Lantern, and Shazam (though they got Superman this year, so who knows), here’s some characters they should be considering bringing to the small/streaming screen, and some casting thoughts, because welcome to my brain. Hey, I have to live in here.

*No, not because he’s Latino, because he doesn’t even have a motorcycle. You can’t be the coolest Ghost Rider without a flaming-wheeled motorcycle.

For Supergirl: Mary Marvel

mary-marvel

Who’s that?

Maybe you’re familiar with the original Captain Marvel, known for yelling “Shazam!” to get his powers. Ten year old Billy Batson was gifted powers by the wizard Shazam. By yelling his name, Billy became an adult with powers just shy of Superman’s. Also without the vision or breath powers. Lately, they’ve stopped calling him “Captain Marvel” (having grown tired of competing with the many, many Marvel characters with that name) and just started calling him “Shazam” (given that most people call him “the Shazam guy” as it is).

Now, Shazam does have a movie in the works, and even though the only thing I know about it is that Dwayne “the Rock” Johnson is playing his nemesis Black Adam, they probably wouldn’t let a different Billy Batson come to Star, Central, or National City. Which is a shame because every day that DC isn’t casting one of the Stranger Things kids as Billy is an opportunity wasted.

But there is another.

Every iteration of Captain Marvel/Shazam begins with Billy, yes, but before long the power of Shazam is being shared by a team. And the first person on that extended list? His long-lost twin (or more recently foster) sister, Mary.

Of all the superhero shows, none have embraced bright, cheerful optimism like Supergirl. But no DC character has, historically, been as bright, innocent, or hopeful as the Marvels, being children given adult bodies with the powers of gods. So I can’t help but think there’s a fun opportunity to have Supergirl need to deal with someone whose unbreakable cheer (and strength) outshines even her own. And while Billy Batson’s probably on lockdown, Supergirl the show has a history of ducking around embargoes by using less known siblings: no Lois Lane, but her sister Lucy; no Lex Luthor, but his sister Lena and mother Lillian are lurking around National City. Having the DEO need to make a road trip to Fawcett City and encountering Mary Marvel would fit right in.

Hell, given her name, you could even fit in a meta-commentary on how, thanks to Zack Snyder, there’s a perception that DC is all grim and dark and broody while Marvel is bright and fun and colourful. Sure, you’re not going to be able to launch a defense of the film branch easily, but still… Oh! Or have Winn or newly gay Alex get a bit of crush on Mary Marvel, only to find out that she’s actually a neonate girl and man was that dream he/she had last night inappropriate in hindsight… Man, this could be such a good episode and they’re probably not going to do it and why do I do this to myself…

Who to cast?

Millie Bobby Brown and Adrianne Palicki.

marys-marvel

If you’re going to do the Marvel Family, you’ve got to do it right. That means big, imposing, adult for the hero, and small child for the alter ego. Adrianne Palicki certainly has the imposing, ass-kicking credentials, although a complicated relationship with DC. She got the lead in a Wonder Woman pilot from David E. Kelley, who proved that he’s much better at writing lawyers than Amazon warrior princesses and thus the infamously bad show wasn’t picked up. She then entered the superhero world as Bobbi “Mockingbird” Morse on Agents of SHIELD. But since she was written off the show for a spinoff that, again, didn’t get picked up, she might be willing to jump back to the DC side.

But you can’t skimp on mild-mannered Mary Batson, either, and remember what I said about how perfect any of the Stranger Things kids would be as Billy? Millie Bobby Brown captured the internet’s attention as Eleven for a reason. Mille and Adrianne both have good experience as badass, powerful women, and would make a fun duo as Mary Marvel’s various halves.

Maybe if I yell “SHAZAM!” enough I’ll turn into a staff writer on Supergirl and can make this happen…

For the Defenders (et al): Shang-Chi, Master of Kung Fu

shang-chi

Who’s that?

It’s kind of all there in the name. A master martial artist who rebelled against his evil father and decided to use his skills for good. He did a turn as an Avenger a roster shake-up or two ago, easily standing as an equal to Captain America, Thor, Spider-man and the others. Also, of all the superheroes based exclusively on “Super good at real-world martial arts” (Karate Kid, Judomaster, Richard Dragon, sort of but not quite Iron Fist), at least this guy’s actually Asian.

See, the Marvel Netflix shows have a problem with Asian representation. A lot of shows do, a lot of western media does, but it’s a little extra notable when every single Asian character in the Defenders franchise is attached to one of two doomsday ninja cults. Sure, yes, having the Asian guy be a martial artist, you’re steering into stereotype. But their bar is currently set low enough that there aren’t many directions to go but up here.

Also, he once used Pym particles to become giant and kung fu-fight a dragon.

There's not much cooler than ninja kicking a dragon in the face.
There’s not much cooler than ninja kicking a dragon in the face.

More people show know about this guy. Oh, and did I happen to mention that his evil father was old-school pulp villain Fu Manchu? How much to I want to see Fu Manchu and Luke Cage go round and round? A lot.

Who to cast?

I would say Mark Dacascos, but Agents of SHIELD already used him as Discount Magneto and they do hate to double-dip… so let’s say Remy Hii.

remyhii1

Remy Hii’s familiar to Netflix as Marco Polo’s Prince Jingim, Kublai Khan’s son and heir. So not only is he familiar to the network, he’s also used to action scenes and the weapons (other than fists and feet) Shang-Chi would be packing. And he wouldn’t be fighting a foreign language (Steven Chow), being over 50 (Steven Chow again), or being someone I haven’t heard of. I am not currently up-to-date on Chinese film stars, I’m sure I’m sorry, let’s move on.

For The Flash: Firehawk

firehawk

Who’s this?

Lorraine Reilly was a senator’s daughter who was fighting a crush on hero Firestorm when she was kidnapped by one of his nemeses, Henry Hewitt, later known as Tokamak, who attempted to imbue her with Firestorm’s powers to use her as a weapon against both her father and Firestorm. He was largely successful, but Lorraine broke free of his control and became a hero in her own right. Although never to the same level as her male counterpart, because comics and sexism and all of that.

Flash already introduced Henry Hewitt in season two (specifically, and fittingly enough, in “The Fury of Firestorm”), already had him turn dark, named him Tokamak, and gave him a fixation on Firestorm’s power set and a grudge against Team STAR Labs. Why not have him try to get some delayed payback by trying to make his own Firestorm? And before you ask “Why have two people with those powers,” Strawman I’m making up, think how many speedsters are on that show right now. Flash, Kid Flash, Reverse Flash, Zoom, Jesse Quick, Savitar… Now consider how many people in Star City, good or evil, have decided that a bow and arrow is their weapon of choice. Actually, don’t bother. The answer is eight. Eight people, not including League of Assassins flunkies, said “Eh, nuts to guns, I’m-a use a bow.” Two Firestorms won’t hurt anything.

So given that a) they already know how to do the effects, and b) Firestorm and the Flash go way back, that’s why they introduced him on that show in the first place, and c) Firestorm is tied up protecting the timestream on Legends of Tomorrow, why not bring Firehawk to Central City? Give Flash someone to team up with who doesn’t star on a different show or live in a different universe.

Who to cast?

You know who’s killing it lately as a woman who has to break free of her maker’s programming? Evan Rachel Wood.

evan-rachel

Dolores is a “host” in Westworld permanently assigned to one of the uglier narrative loops. (Although the finale may suggest why.) As such, she’s also one of the first to attempt to rise above it, and Evan Rachel Wood fully captured her transition from damsel to badass. As a bonus, depending on things go in tonight’s season finale, she may have a steady gig on Westworld for a while, and cable series have different shooting schedules than network, so she’d in theory (and what more does this discussion require than “In theory” have availability for sweeps month Firehawking without danger of getting booked on whatever the next Chicagobased procedural soap drama is.

I mean she might choose to do movies like previous Firestorm Robbie Amell did, but hey, I can hope. Mostly. Sort of. I remember the basic mechanisms of how to– shut up.

For Agents of SHIELD: Abigail Brand, Agent of SWORD

brand

Who’s that?

In his run on Astonishing X-Men, Joss Whedon (who created Agents of SHIELD, which would be handy) introduced a subdivision of SHIELD: SWORD (Sentient World Observation and Response Department), who monitor extraterrestrial races and threats to protect the Earth from invasion. Abigail Brand, half alien herself, is its head.

Marvel and ABC recently announced plans for a new Inhumans TV series. This makes sense, since it was Isaac Perlmutter, head of Marvel Entertainment, who wanted to adapt the Inhumans, and not Kevin Feige, head of the now-separate Marvel Films. Despite the fact that Inhumans have been a major part of Agents of SHIELD for three seasons now (the focus might currently be on Ghost Rider, but the back half of the season is shaping up to again be Inhumans-centric), the new show has been said to be focused on the classic characters such as Black Bolt and Medusa, and will not be a spinoff of Agents of SHIELD. I see two ways this could play out.

First, this could be the first Marvel property to actually acknowledge, and even crossover with Agents of SHIELD. It’s free of the TV/movie division drama, unlike the Avengers; it would be on the same network, unlike Marvel Netflix; it would (probably) be set in the present day, unlike Agent Carter. All the barriers that thus far exist to keep Agents of SHIELD in its own little lonely box would be, in theory, gone. And between Avengers, Defenders, the ratings spike that happens every time the CW shows crossover, and the absolute lack of a ratings bump that happens when Agents of SHIELD does a shoe-horned, one-way, desperate-plea-for-attention excuse for a movie tie-in episode, the network has to know that having Coulson and Daisy/Quake come face to face with Inhuman royalty is the way to go.

Second… they could not know that and not only continue to neglect SHIELD (which they might be considering cancelling once it hits a syndication-friendly 100 episodes), but demand they stop doing Inhuman stuff.

In the first case, SHIELD already established that the Kree, who created the Inhumans, were concerned that they were active again. SWORD would be the perfect way to bring Coulson and Black Bolt together to deal with impending Kree actions. In the second case, Agents of SHIELD would need a new playground, since they’d be kicked out of their current one. In which case, since SWORD and SHIELD have a patently obvious link… it is all there in their names… SWORD could be the new thing for their fifth (and if Marvel won’t let a second ABC show acknowledge them, almost definitely last) season.

Who to cast?

Once upon a time, rumours circulated that Joss Whedon was looking to cast one of his frequent fliers, Felicia Day, in the role for the Avengers movie.

felicia

Obviously that didn’t happen, but that doesn’t make it a bad idea. Felicia Day has the exact geek appeal that Agents of SHIELD and the DCW-verse look for in casting choices. Also she’s familiar with the showrunners from her work on their older Joss-backed projects, Dr. Horrible and Dollhouse. It would be fun to see her take on a more badassed role.

For The DCW-verse in general: Ambush Bug

ambush_bug

Who’s that?

Created by Keith Giffen, Ambush Bug started as a comic relief villain for Superman, only to decide he’d rather be a (largely incompetent) hero, and eventually became popular enough to star in a sequence of miniseries and specials over the next two decades, all from Keith Giffen and Robert Loren Fleming, the definitive Ambush Bug creative team. One of his signature traits became DC in-jokes and satire of DC itself (and some Marvel).

You know that whole “breaking the fourth wall, being aware he’s a comic/movie character” thing Deadpool does that everyone loves? Ambush Bug was doing it nearly a decade earlier. Let me posit something to you… the DCW-verse is in its fifth year. Arrow just celebrated its 100th episode. We’re nearing the point where a show can start to get away with the occasional self-referential humour episode. (Some might argue Arrow’s 100th started this off with the opening speech-referencing exchange “My name is Oliver Queen—“ “We know who you are.” “Everyone knows who you are!”) Supernatural’s done a handful of those over the last few years, and they’re all great.

Ambush Bug’s one power is the ability to teleport anywhere, even between universes. So Ambush Bug could visit all four of the DCW-verse shows for a fun, comic relief, non-crossover crossover. Or just for random episodes. You know, I can picture the DCW-style “My name is Oliver Queen/Barry Allen” opening now…

“My name is Irwin Schwab. That’s not the name I’m super famous for or anything, but—you know, I’m getting off track here. When a scientist of the planet Schwab sent his clothes from his supposedly doomed planet, hoping that his wardrobe would survive, only to have it intercepted by a giant radioactive space spider… I think? That’s what I heard, but I didn’t actually… I mean it sounds right… I found the bug-like suit, and gained the ability to teleport, ambushing people. So, Bug, Ambush, there’s something there, I feel. I discovered a universe full of repeating tropes and gloomy heroes, and now have made it my mission to help these teen soap multiverse heroes be someone else… something else. No, just that first one.”

“Ambush Bug! I am… Ambush Bug. Did I make that clear? Yes? Good.”

Who to cast?

This looks like a job for Danny Pudi.

pudi-danny

Ambush Bug is a little bit crazy and a lot of self-reference. And six seasons (and a movie? Not yet) of nailing quirks, pop culture, and meta-jokes on Community as Abed Nadir prove Danny Pudi’s got the chops to make Ambush Bug a fun addition to the DCW-verse instead of an annoyance only I enjoy.

Will any of these shows do any of this? I don’t know. Frankly I couldn’t have predicted any of the characters Arrow pulled out this year (maybe Prometheus). But they’d all be fun to see.

Overthinking the Office Part 3: Enter The Nard-dog

When I need background noise while writing, more often than not I turn to The Office. And rewatching a show as often as I have means you have thoughts and opinions.

These are mine.

The Time of Two Offices

The last two episodes of season two, Conflict Resolution and Casino Night, were game-changers. When Michael decides he can do a better job of conflict resolution than Toby (how can he not, in Michael’s mind, given that Toby is… gasp, shudder… divorced), he sets off a chain of events that brings Dwight and Jim’s rivalry to a boil, and begins to expose Jim’s feelings about Pam’s impending wedding. In the chaos, Dwight pushes Jim to transfer to Stamford. By Casino Night, everything seems back to normal… but Jim’s been offered the Stamford position. The episode ends with a kiss between Jim and Pam, and uncertainty as to what would happen…

A lot happened. But it all comes back to the same place. The Office’s third season begins by running to stand still.

Season three opens, and we find that Jim has, in fact, taken the promotion and moved to Stamford, while Pam called off the engagement at the last minute. Why? In Jim’s case because Pam turned him down twice, once before the kiss and once after. In Pam’s case… We don’t see the moment Pam leaves Roy, or the decision that prompts it (it happened during The Documentarians’ annual three-month break… with one exception, they never film over the summer), but the clues are there. Jim declared his love, then left for Connecticut, and in the wake of all that, there must have been a realization that Roy had never, in the last decade, loved Pam the way Jim did. And without Jim’s friendship to fall back on, the hollowness of her relationship with Roy couldn’t be ignored any longer.

So. Stamford.

The Time of Two Offices, Stamford and Scranton, dominates the first act of the third season, until an attempt to shut Scranton backfires, and Stamford comes to Scranton (as we all knew it must, Jim couldn’t stay in Connecticut forever). This won’t be the last time The Office finds its characters split between two locations, and it’s always a tricky prospect. One location tends to get the A-plots, and how well the second location deals with the B-plots kind of depends on who they’re left with. Now, during The Time of Two Offices, Scranton gets the A-plots fairly consistently (save for the Convention, in which a sales convention reunites Jim and his new boss Josh with Michael and Dwight), and they’re all pretty strong. Jim’s left to carry Stamford, but fortunately, he doesn’t have to do it alone… two new coworkers prove more than up to the task. Rashida Jones arrives as Karen Filippelli, who when he first arrives, manages to out-Jim Jim, and they develop a fun rapport that Jim and Katy never really had. Karen, as a match for Jim, has only one flaw… she just isn’t quite Pam.

As for the other.

Meet Andy

Andy Bernard, aka the Nard-dog, played by Ed Helms, the fifth Daily Show veteran to turn up on The Office, and the second most important. Andy wasn’t meant to be a long-term addition to the cast. None of the Stamford staff were. Hell, of the five (six including Jim) who transfer to Scranton, three barely existed as characters before The Merger, save for some deleted scenes, so they couldn’t help but seem expendable. In the beginning, Andy was the new office foil for Jim, a kiss-up with an anger issue that became an irritant to Jim’s new life. Upon arriving in Scranton, his quest to climb the ladder immediately puts him at odds with Dwight, a rivalry that climaxes in Dwight briefly leaving Dunder Mifflin and Andy being sent to anger management.

The question for the producers was… what’s to be done with Andy Bernard? Ed Helms is definitely funny. And there was a sense that he could be an asset to the cast. But how would anger management treat him? Would he fake his way through, relying on his standard tricks of personality mirroring, name repetition, and never breaking a handshake? Would he still be his former, obnoxious self? Or would he return a changed man, having truly learned a lesson? Wisely, they chose the second path, and Andy becomes a permanent and welcome part of the ensemble.

But therein lies the problem with Andy Bernard.

Andy’s a cypher. His core is fluid. His character shifts depending on who the show needs him to be from season to season. The rest of the cast may grow more broad, more extreme over the years, but they’re still basically the same people. But Andy… Andy of season three is barely the same person as Andy in season nine. Or four. Or the end of three. Only three things about Andy are consistent over the years… he comes from wealthy parents that demonstrably loved his little brother more (like, aggressively more at times), he never misses an opportunity to remind people that he attended Cornell, and he loves acapella. Compulsively. Andy’s urge to sing, whether he knows the lyrics or has to resort to his signature “Roota-doo-da-doo,” has a hair trigger.

He’s also super bad at nicknames, but super committed to them once he’s assigned one. Jim eats a tuna sandwich on his first day in Stamford, and based on that alone Andy calls him Big Tuna for seven years. But only one other staffer has to deal with that, despite an attempt to name Ryan “Big Turkey.”

Fortunately, Ed Helms has the charm to carry Andy through the twists and bends. Even through his more abrasive period this year. But sadly for Andy the character, his days of being Dwight’s rival are not done. Season two featured a steady stream of Jim pulling pranks on Dwight, but Conflict Resolution brought that to a breaking point, and from here on in Jim pranks are saved for special occasions, or at the very least until they have something good. Also, Dwight was becoming more popular, so he needed a new nemesis… one he could beat from time to time. And on the rare occasions when Dwight gets a leg up on Jim, I at least find it awkward and unpleasant (Dwight pranks being crueler and more Machiavellian), so despite his efforts to the contrary, Andy was the better fit, and stayed in that role for a few more years.

Jim and Pam: The Illusion of Change

Will they/won’t they has a deadline. No way around it. If you pull the trigger too late, people lose interest (that’s what really happened to Moonlighting, whatever else you heard). Pull it too early, and you risk having too little payoff. That’s why it’s for the best that Daredevil hasn’t shown up in any other Marvel Netflix series… if they all meet too early, it won’t be a Big Moment when they come together in The Defenders. That’s… not entirely relevant to romance discussions, but it’s a shorter road to my point than starting a nine-part blog series breaking down Ted and Robin on How I Met Your Mother.

For Jim and Pam, there was no going back from Casino Night. Jim declaring his feelings permanently altered their relationship, for better (later) or worse (now). Even once Jim’s time at Stamford came to a close, there was no going back to Jim pining for Pam. Jim had moved to a new state to get away from that, and couldn’t let himself go backwards. But they weren’t ready to get those crazy kids together just yet. And so how do you move things forward without actually moving things forward? You flip the bitch.

Jim comes back to Scranton, and Pam’s surely super excited to see him… but he comes back already dating Karen Filippelli. Season three’s Jim/Pam plotline becomes a mirror image of season two’s: Pam pines over Jim, while being forced to watch him date another co-worker. And she even has, in a way, her own Katy: someone she ends up with when watching the one she actually loves dating someone else.

Love is a battlefield

A reviewer for the AV Club hit on a key theme for season three: an infestation of couples that shouldn’t be. Not all of them, of course. Dwight and Angela remain deeply in super-secret weirdly perfect love. Ryan and Kelly remain where we left them, with Kelly getting as attached as possible, while Ryan is simultaneously searching for the exit and pathologically drawn to Kelly. So… they kind of fit the profile.

Everyone else… Hoo boy.

Jim and Karen: Jim and Karen are the best bad match. Karen’s charming, they get along, they have decent chemistry. But Jim doesn’t love her. He still loves Pam. And before long, she knows it, which just makes her dig in harder, while trying to isolate Jim from Pam. I mean, I never found it easy to root against them… for some people, a relationship that 80-90% works is enough. But when the 100% match is right there, a few feet from your desk… being mostly good together just isn’t enough.

Pam and Roy: Jim ran from Pam and Roy by moving forward, taking a promotion and dating Karen. Pam runs from Jim and Karen by running backwards. At Phyllis and Bob Vance’s wedding, she finally gives into Roy’s attempts to win her back. Roy thinks he’s trying harder. He thinks he’s not taking her for granted. He thinks he’s paying attention to her art and other interests. But he falls short, time and time again. Sure, in Business School, he’s one of the only Dunder Mifflinites to come to her art show, and Oscar and his boyfriend didn’t exactly set a high bar, calling her work “motel art” because she lacks courage, which… yeah. It wasn’t bravery or tolerance for risk that made her stay with Roy or keeps her at Dunder Mifflin for over a decade. But when Michael shows up at the last minute, his genuine enthusiasm for her painting of their office building makes it clear how hollow Roy’s comments of “I looked at all of them” and “Your art was the prettiest of the all of the art” are. There is genuine support, which is what she gets from Jim, and finds from Michael at the art show, and then there is lip service, which is Roy’s attempts to play the part of dutiful boyfriend.

Also he brought his brother. How, Roy, how after ten years do you still think that Pam considers bringing your lummox of a brother along on dates is a value add? On their first date he did this. At the art show he did this. And when she wants Roy to accompany her on a group outing to Poor Richard’s (Dunder Mifflin’s go-to pub), he brings his brother. That’s… that’s not why that particular outing is a disaster that ends Pam and Roy as a couple forever and always (and not in a small way: Roy was an upper tier ensemble member, but basically leaves the show after the next episode), but it surely didn’t help.

Michael and Jan: No, you’re not remembering it wrong. Michael started dating his realtor Carol during Casino Night. Something Jan does not take well at all. She’d never admit to being jealous of Michael, or upset about being jilted by him, but there’s no denying that she takes a harsher management style with him at the start of the season. She’s demanding hour-by-hour accounting of how he spends his time, belittling him at every opportunity, and her friendlier interactions with Stamford’s Josh Porter show that it’s not just the way she operates.

Which is not to say that she operates sanely the rest of the time, as her attempt to lure Josh back to her hotel room in The Convention show.

No, all is not well with Jan. All has not been well for a while. If you read the signs, watch her progression from cold but professional in the first years to completely unhinged at the end of season three, it seems clear to me that Jan’s been in a downward spiral since her divorce. Her dalliance with Michael in The Client and his inability to let go of that certainly contribute, but there’s a lot of pain and anger driving her. And when she and Michael finally do get together after Michael’s off-putting over-enthusiasm tanks his relationship with Carol, leading to Jan taking her place on a trip to Sandals Jamaica, it is not a turning point. It is merely another stop on her journey to rock bottom. How do I know this? Her exact words. When she’s explaining why she’s decided to be with him post-Jamaica, she says her therapist has advised her to give in to her self-destructive tendencies. Exact words, self-destructive tendencies. And when they reveal their relationship to corporate in Cocktails, she sums it up as “Cons… I date Michael publicly and collapse into myself like a dying star.” For Michael, showing off their relationship at the CFO’s party is a moment of romantic triumph. For Jan, it’s an acquiescence to her fall from grace, as her dirty little self-indulgence has simply become her life.

On the more comedic side, the moments where she realizes Michael’s habits are becoming infectious are all funny, such as saying Michael’s signature “That’s what she said” during a talking head interview, only to get a haunted look in her eyes and mutter “Oh god.”

Like I said last time… Michael’s pursuit of Jan in season two was unhealthy at best, but his punishment is to finally win her as her downward spiral goes critical. Sure he tries to break up with her, but afterwards she does the one thing that is guaranteed to win him back. It shouldn’t surprise anyone that the one thing she does is something incredibly superficial, and not “self-improvement” or “becoming sensitive to Michael’s needs.” But it does mean that when Jan hits bottom in the season finale, Michael “gets” to be there to catch her. His consolation after losing a major promotion is to have his incredibly toxic relationship move to the next step.

General Thoughts

So really, that’s the theme for the whole season. Things that don’t mix being forced together, whether it’s exes who were better off split up, a relationship based on convenience over passion (for one of them, anyway), or two branches of a company that just don’t blend. Because sometimes you need to see what’s wrong in order to realize what’s truly right. And for our central couple, things are about to go very, very right.

For everyone else, season four’s gonna be a bumpy ride.

Another notable twist of season three: Jim the authority figure. Post-merger, Jim is made the office’s second in command in a far more real way than Dwight ever was. And Jim has an interesting reaction to authority… turns out he actually takes it a little seriously. Which gives a character reason for the diminishment of his pranks against Dwight. They don’t vanish, because birds gotta fly and Jim’s gotta prank people when they’re obnoxious, but he does do his best to cut back.

Key Episodes

Branch Closing and The Merger, obviously. The fall of Stamford and Jim’s return to Scranton. Dwight and Andy’s first, most intentional rivalry peaks in Traveling Salesmen and The Return. Cocktails provides multiple turning points: Michael and Jan’s relationship turns sour, Pam and Roy’s reunion explodes, and Jim makes friends with CFO David Wallace. That one’s more of a subtle development, and causes less property damage than Pam and Roy’s, but it has an impact just the same. The Negotiation begins Darrel’s ascension as a more central character, as Roy makes his exit from the show. And of course Beach Games and The Job, in which someone is getting a promotion to corporate, and someone gets to be manager at Scranton.

Skippables

Not a one. Yes, season three is broader than season two. Things are getting bigger. They have to, in order to accommodate Jan’s breakdown, Andy’s buffoonery, and Michael’s beach day contest to be his successor. But we’re still in the golden years here. The jokes are all landing, the chemistry and timing is into a good rhythm, and you shouldn’t miss out on Karen Filippelli. You’ll miss her a little when Rashida Jones leaves Scranton for Pawnee, Indiana.

Okay, maybe, maybe The Convict, when the staff learns one of the Stamford transfers is an ex-con, and things get awkward in a hurry. It’s the closest season three gets to season one cringe levels, and it isn’t my favourite. Also, it’s focused on a guy we met last week, so it’s hard to get too invested in why he leaves.

Notable Guest Stars?

If Andy Daly is someone you’ve heard of, and people who’s TV comedy tastes are a little more cutting edge than mine tend to have, he turns up as a Benjamin Franklin impersonator/educator Jim hires for Phyllis’ stagette instead of a stripper.

I feel I should talk about writer/producer Michael Schur as Dwight’s cousin Mose, but what can you say about that neckbearded oddball expect that he somehow manages to make Dwight’s life more surreal than it was, while still proving he’s the sane one in the house? Well, I suppose I could decry his cowardice for using a prosthetic neck beard in all but his first appearance, instead of growing it out like Community’s writer/producer Dino “Starburns” Stamatopoulos did, but come on, the man’s responsible for some of the funniest network comedies of the last decade. He didn’t want to have a ridiculous neckbeard for his handful of appearances. (Of the four writer/producers in the cast, Schur was the least fond of screentime, after Mindy Kaling/Kelly, BJ Novak/Ryan, and Paul Lieberstein/Toby in approximately that order.)

When we discuss season four, we’ll look at how a season shortened by a writers’ strike still manages to teach a lesson about “too much of a good thing.”

Overthinking the Office Part 2.5: Love and War (mostly love)

When I need background noise while writing, more often than not I turn to The Office. And rewatching a show as often as I have means you have thoughts and opinions.

These are mine.

Romance is in the air

We’ve covered how Jim and Pam are the central couple of The Office, certainly in its early seasons. But in season two, they’re not the only ones. The ensemble is too big for only two people to have a love story, and besides… Jim and Pam are the swoon-worthy couple from the word go. Their relationship is played for “Awwwws” rather than laughs, and that means that there are places they couldn’t take that relationship. Lines they couldn’t cross and gags they couldn’t do. And that’s where these other couples introduced in season two come in handy. Let’s meet them, while looking at the key episodes that shape their arcs.

Michael & Jan: Michael and Jan’s working relationship changes forever, and not entirely for the better, in season two’s The Client, which is a key episode on three fronts. When Michael and Jan have an off-site meeting trying to sell to the local county government, Pam finds Michael’s screenplay, “Threat Level Midnight,” featuring a superspy version of Michael Scott and his assistant/would-be-lover, Catherine Zeta-Jones. Yup. It’s not subtle. So we have three important things in this episode: 1) Jim and Pam bond during a staff reading of Threat Level Midnight and an impromptu rooftop dinner picnic; 2) despite going against Jan’s wishes at every step (moving the meeting to Chili’s, opening with a joke, playing truth or dare over drinks, an Awesome Blossom, and baby back ribs), Michael makes the sale, demonstrating how exactly he got promoted in the first place and his worth to the company; 3) having learned about Jan’s divorce, and dragged the story out of her during truth or dare, after the sale Michael and Jan share a celebratory kiss in the parking lot, and a night in a hotel room (mostly conversation, mild making out). Michael being Michael, he assumes Jan is now his girlfriend, and when Jan calls the next day with morning-after remorse, he’s completely blindsided. To the point of trying to hide under his desk from the cameras, which provide no escape.

But he does not take this rejection well, easily, or sanely. It’s the self-delusion that propels Michael through most of the series. Despite all the, frankly, overwhelming evidence that this relationship is a non-starter, Michael is unable to let go of the idea that she and he are meant to be. Michael’s pursuit of Jan approaches uncomfortable to the point of scary. He manages one positive act on her behalf on Valentine’s Day, though to be fair it’s just making up for his own nigh-catastrophic mistake.

There are points when being with Jan is supposed to be a victory for Michael. A Pyrrhic victory to a point, because the Jan-related prize usually comes after something bad on his end, but a victory just the same. But even when things between them become good, there is always something… off about them. So if Michael’s pursuit seems uncomfortable, it’s okay, folks… when we reach season three, we find out that the punishment fits the crime. The punishment for his horribly awkward courtship of Jan is, ultimately, successfully wooing Jan.

Kelly & Ryan: In the beginning, The Office doesn’t really know what to do with Kelly Kapoor. They also didn’t 100% know what to do with Ryan but that came later and is another story. She’s mostly there to be one more minority to suffer Michael’s knee-jerk reflex to profile (her Dundie is the Spicy Curry award, a title he is unable to explain, given the obvious answer; at Halloween, he thinks Bend It Like Beckham would be a better costume than Dorothy). But fortunately for the show, Kelly is played by writer/producer Mindy Kaling, who in the back half of the season finds Kelly’s character. Her sometimes vapid, celebrity gossip obsessed, rom-com loving, drama queen character. Which made her an entertaining fit for the more casual, easy-going, one-foot-out-the-door Ryan Howard of the early seasons. Their early relationship is best defined by Valentine’s Day… Kelly excitedly tells Jim that she and Ryan finally got together the previous night (Jim having become Kelly’s confidant during an earlier episode), and is thrilled to have a boyfriend for V-Day. Ryan has a talking head moment in which he runs his hands through his hair, voice calm but a look of terror and sad acceptance in eyes, and says “I hooked up with her on February 13th.” From there, it’s Ryan’s low-key, non-committal attitude versus Kelly’s rom-com-fueled, high-maintenance quest for a husband and babies.

But that is just the beginning. There are amazing depths of dysfunction these two have yet to plumb. And that is what makes Kelly and Ryan one of the show’s most memorable couplings. Very rarely has a show managed to make a relationship so very wrong and so very right at the same time. In season two, there’s just Ryan’s limp acceptance that “Just having fun” has become “long-term relationship” faster than he was in any way braced for. But they evolve into a truly, weirdly hilarious portrait of mutual abuse as Ryan’s character shifts in the later seasons. They’re the couple who are absolutely wrong for each other but at the exact same time weirdly perfect for each other. We’ll check in with Kelly and Ryan as we go.

Angela & Dwight: There are reviewers out there who feel that Jim and Pam are not the true central couple of The Office. That that title belongs instead to the Frank Burns and Hot Lips Houlihan of Dunder Mifflin, Dwight K. Schrute and Angela Martin.

Dwight and Angela would be impossible to like in real life. Both are abrasive, judgmental, and attempt to hold their co-workers to insane standards of behavior that play out like a Victorian England Taliban. And yet… as time goes on, Dwight wins you over. The sheer absurdity of Dwight, and the passion he devotes to everything he does, gradually becomes endearing. And one of Dwight’s greatest passions is uptight accountant Angela.

Their relationship is largely defined by secrecy, which becomes part of the fun. Angela is devoted to maintaining her (completely inaccurate… remember that self-deception is the key theme of this show) self-image as a perfect Christian, which means keeping her affair with a co-worker as secret as possible. Secret enough that despite a few dropped hints, you’d never guess they were together until Email Surveillance, when Pam enlists the Documentarians to help uncover proof that Dwight and Angela are together… a quest she walks away from after Phyllis assumes the “secret office affair” she’s talking about is actually her and Jim.

But it’s too late. The Documentarians know all, and from there, we’re all in on the spycraft-laced relationship of Angela and Dwight. So why would this relationship between, on paper, the two least likeable characters on the show eclipse Jim and Pam? Well, part of it is the same “These two must be right for each other because they can not be right for anyone else” energy that Ryan and Kelly end up having, but a bigger part is that Angela and Dwight are free from the fear of disruption that surrounded Jim and Pam.

See, Jim and Pam’s budding, inevitable romance was treated with such devotion that once it finally happens, the writers are unwilling to throw any real tension at it. Dwight and Angela do not suffer from that, and thus their story can be more epic. Spanning years, blood lost and lives ruined. They’re together, they’re apart, they see other people but cannot resist each other. Their love is filled with ups and downs, twists and turns, it’s a story that lasts all nine seasons, whereas Jim and Pam peak early and stay there.

Plus, there’s a lot more comedy in a weirdly adorable train wreck than a relationship that’s obviously perfect and why can’t they just see that, which is what Jim and Pam are giving us this year.

Anyway, those are the main plot threads in season two. Jim and Pam inch towards to each other, Ryan finds himself in over his head with Kelly, Michael wins, loses, and almost but not quite wins back Jan before moving on to his realtor, Carol… a rare Normal that ends up dating one of the cast.

New Characters

Season two introduces us to some other key people at Dunder Mifflin. Valentine’s Day introduces the new CFO, David Wallace. Wallace becomes the face of Dunder Mifflin’s corporate HQ for the next five years, the straight man who must deal with Michael’s shenanigans. The same episode introduces Josh Porter, manager of the Stamford Connecticut branch, which will be highly important once season three kicks off.

Also of note… Christmas Party introduces us to Phyllis’ boyfriend, Bob Vance of Vance Refrigeration. They become to office park’s weirdly and uncomfortably passionate middle-aged power couple.

And I mentioned Carol, right? Michael’s realtor, introduced in Office Olympics, and played by Steve Carell’s fellow Daily Show alumnus/real-life wife Nancy Carell (née Walls)? She turns up three times, and goes from one-time guest star to person of interest.

Key Episodes

God, so, so many. That’s what makes season two the golden year, every episode feels like a new delight. Office Olympics. Booze Cruise. Take Your Daughter to Work Day. The Injury. The Carpet. And the climax, Casino Night, one of two episodes written by Steve Carrell, in which everything comes to a head.

But if I had to choose one. (Other than The Dundies, which we discussed last time)

Dwight’s Speech, in which, as the company’s top salesman, Dwight has to deliver a speech to a sales conference (something Michael did twice, as he’s swift to remind people), represents a turning point. There have been, for lack of better words, wackiness and hijinks in the show, but they’ve been relatively grounded. Dwight’s Speech, in which Jim pranks Dwight by handing him a speech culled from quotes from famous dictators, is when we begin to cross the line into larger, broader comedy. Dwight’s transition from almost realistically eccentric and power hungry peon to legit supervillain, along with Creed’s breakout lunacy, begin a transition into an Office where the rest of the staff don’t just roll their eyes at Michael or Dwight’s craziness, but contribute their own. Everything gets pushed further and further. Kevin gets dumber. Meredith gets trashier. Creed gets crazier. Kelly’s quest for attention gets bigger. Ryan’s relative normalcy gets chipped away. Even quiet, low-key Stanley and Phyllis get their quirks.

Skippables

None. They’re all great. Have I not made that clear?

Notable Guest Stars?

Amy Adams is back as Jim’s girlfriend, Katy, for two episodes before the whole “He’s only dating her to distract himself from being in love with Pam” thing wears him down. Tim Meadows is the titular client in The Client, and apparently Melora Hardin (Jan) had a terrible time keeping a straight face (let alone a perpetual scowl) playing opposite him and Steve Carell. Our fourth Daily Show veteran (I totes forgot about Larry Wilmore in season one, that’s on me), Rob Riggle, is the captain of the Booze Cruise.

And most notably, David Koechner makes his first appearances as Michael’s ultra-obnoxious best friend, travelling salesman Todd Packer, in Sexual Harassment… perfect timing, because as inappropriate as Michael can be, Todd Packer makes him look like mild-mannered Toby in comparison. Packer made his first appearance over the phone in the pilot, but season two is when Koechner brings him to full, horrifying life. And provides another layer of Michael’s self-delusion: despite what Michael thinks, Packer isn’t as funny, awesome, or nearly as good a friend as Michael (or Kevin) thinks.

Next time… season three gives season two a run for its money, and the last central character arrives.

 

Overthinking the Office Part 2: The Golden Year

When I need background noise while writing, more often than not I turn to The Office. And rewatching a show as often as I have means you have thoughts and opinions.

These are mine.

The Best of Times

Seasons two and three are very much The Office at its apex. There is a joy of discovery happening, as the writers shape and explore the ensemble and the larger world of Dunder/Mifflin. The jokes hit so well and so frequently that there’s typically 40 minutes of material for each 22 minute episode, leading to a wealth of hilarious deleted scenes for those with access to the DVDs. Many episodes involve finding the sweet spot between cringe and heart, as they find ways to make us love these paper-selling misfits while still making us glad we don’t work alongside them.

Three important things happened between the first and second seasons of The Office. First, iTunes sales of individual episodes made up for the initial season’s low ratings. (Honestly, when are we going to move past Nielson ratings? As Last Week Tonight would say, how is this still a thing?) Second, The 40 Year Old Virgin transformed Steve Carell from “ex-Daily Show correspondent” to “Legit movie star,” which helped bring more attention to the show. And third, they adjusted the tone of the show a little.

To the credit of both the producers and Steve Carell himself, this did not involve a major shift to Michael Scott. His worst habits are still there. Still casually racist, still filled with self-delusion, still prone to cringe-inducing attempts at humour or flirting. There are just two differences… first, they give him a more flattering haircut, and second, he is granted the occasional moment of redemption. Because US audiences need the grim, gloomy tone of the UK version to be cut with moments with hope and levity. So beginning in season two, we get a lighter atmosphere to contain all of the cringe and dread.

Now… they don’t always nail it. Sometimes the lighter, redemptive moments can come across as unearned. The best example of this comes in Christmas Party.

Some reviewers have said that The Office shines at Christmas. And it does. Out of nine seasons, only two don’t have a Christmas episode (one and four, when the show didn’t air in December), and they’re typically key episodes. And Michael is not always his best self when Christmas rolls around. But Christmas Party is the year when Michael goes from “terrible and selfish” to “forgiven and everything’s great” so fast it gives you whiplash.

When Michael’s gift in the office Secret Santa isn’t to his liking, he hijacks the entire party, turning Secret Santa into Yankee Swap (you know, the game of many names where you either open a new gift or steal something that’s been opened), in a transparent attempt to relieve himself of a homemade oven mitt while reveling in how much the staff covets the iPod he bought Ryan in a flagrant violation of the 20 dollar limit. The problem is, people bought gifts for specific people, making Yankee Swap awkward for many, and especially for Jim… whose gift to Pam is filled with inside jokes and card containing his true feelings. (Which she won’t read for over seven years, but that’s another thing entirely.) Once Michael’s selfishness has thoroughly spoiled the party to a point where even Michael can’t convince himself otherwise, he rushes out and uses his Christmas bonus to buy a lot of vodka to get the party back on track.

Yep. That’s it. He buys vodka. In the end, he even gets invited out for post-party drinks with everyone, something his improv class invented an unlikely excuse to avoid just one episode earlier.

Sometimes Michael’s redemptive moments are touching. Sometimes he makes a gesture that shows his professed love for his employees isn’t all talk. But sometimes they’re just not willing to settle for a downer ending, and perform narrative gymnastics to get around it. What seems like an insufficient gesture makes up for his misdeeds in Christmas Party. When the improv class (rightfully) shuns him in Email Surveillance, an episode that shows his desperate need to be the center of attention doesn’t end when he leaves the building, he finds acceptance from Jim mostly out of pity on Jim’s end. In Performance Review, Jan lists everything about Michael that’s distasteful, but seeing the hurt in his eyes, backs off and, in an attempt to be kind, accidentally gives him a ray of hope. When season six reveals the Worst Thing Michael Ever Did, a sympathetic voice still points out the silver lining, rather than let him stew in his mistakes. They so seldom let him stew in his mistakes.

But not all redemptive moments go down this way. And there is a more positive example right off the bat.

The show in one episode

You know what? The second season premiere has everything you need to know. You just need to watch it closely.

The Dundies. Not unlike a second pilot, albeit only six episodes after the first one. We witness what seems to be Michael’s proudest achievement as regional manager: the Dundie Awards, an annual attempt at recognizing the staff through trophies with award names he finds amusing. In the course of prepping for and attending the awards, we get subtly recapped on everything introduced in season one, plus introduced to our lighter tone for seasons two and beyond.

Michael’s delusions: Michael truly believes that the Dundie Awards are a beloved institution amongst his underlings, whereas everyone else sees it as a yearly obligation that they tolerate for Michael’s sake. Michael thinks giving Pam “Longest engagement” every year just gets funnier and funnier, whereas Pam sees it as a reminder that another year has passed without her engagement being fulfilled.

Michael’s redemption: This is an instance when Michael’s redemptive moment is earned. After getting heckled by outsiders mid-show, Michael almost shuts the whole thing down. Broken and defeated, he hands one last gag award to Kevin and surrenders. But Pam and Jim lead the rest of the staff into a spirit-boosting round of applause. Because he may be a self-deluded obnoxious jerk at times, but damn it, he is their self-deluded obnoxious jerk, and no outsider gets to take the Dundies away from him.

Michael and Jan: Season one only gave us a few glimpses at Michael’s working relationship with his boss, Jan Levinson-Gould. Here we have it laid out for us that Michael’s unorthodox style is not appreciated by corporate, something he didn’t anticipate, as Jan’s refusal to cover the bill for the Dundies takes him by complete surprise (leading to one of the few attempts on Michael’s part to escape the camera crew. We’ll talk more about Michael and Jan in a minute.

Michael and Ryan: Season one offered glimpses of Michael’s odd relationship with temp Ryan Howard. Michael sees Ryan as his super-handsome best friend/protégé/surrogate son, whereas Ryan sees Michael as his weird boss with an uncomfortable crush on him. It’s all summed up in Ryan being awarded “Hottest in the office.” As Ryan says to the cameras… “What am I going to do with it? That’s… the least of my worries right now.”

Jim and Pam and Roy: They don’t need to recap the Jim/Pam/Roy triangle directly. Everything you need to know you get watching the three of them at the Dundies.

The Documentarians: After a fun and eventful night together, Pam has a question for Jim… but spotting the ever-present camera crew changes her mind. The Documentarians might usually avoid getting involved in the story, but sometimes they can’t help but influence it, as intimate moments are not typically enhanced by the presence of a cameraman and boom mic operator. Well, maybe for Meredith.

The rest of the cast

Most of the Dunder Mifflin staff was briefly glimpsed in season one, but this is where they begin to take shape, as the writers cast their eye beyond the five leads. In the sales department with Jim and Dwight are grumpy, crossword obsessed Stanley and quiet, matronly Phyllis; in accounting are bookish Oscar, slow-witted Kevin, and uptight, judgmental, hyper-Christian (in word if not deed) Angela; behind them, sexually adventurous single mom Meredith and Creed Bratton, who… cannot be described simply; in the annex, on the far side of the kitchen and break room, customer service rep Kelly Kapoor and HR representative Toby Flenderson, Michael’s nemesis. In the warehouse, Pam’s fiancé Roy reports to Darrell, whose importance to the show only grows. Each of these characters gets built over the course of the season, and each has their moment to shine, though I’d like to talk about two in particular.

Toby is an ideal nemesis for Michael. Played by writer/producer/eighth season showrunner Paul Lieberstein, Toby is the low-key, low energy barrier to Michael’s more outlandish ideas. This alone might be enough to make Michael resent him, and that’s certainly why he claims to hate Toby, but there’s more under the surface. When Michael wants to insult, belittle, or devalue Toby, one of his go-to moves is to bring up the fact that Toby’s divorced. They never spell out why, but… Michael wants to be married. Michael desperately wants to be part of a family, enough that he tries to make his office a family through sheer force of will. Toby had it all, and gave it away (save for partial custody of his daughter), and it’s not hard to theorize that that actively offends Michael.

And it cannot help that the employees of Dunder Mifflin actually find Toby funny and likeable in a way they never do Michael. That one goes all the way back to Diversity Day, when Michael kicks Toby out of a meeting in theory because of the content of his joke, but more likely because his joke got a laugh.

Now Creed… where to start. At the beginning, he’s in quality assurance, and manages to duck getting fired by arguing with Michael until he changes his mind and fires another little-seen employee instead. By the end of the season, he’s freely admitting to habitually stealing (“I stopped caring a long time ago. I just love stealing”). By the next, his detachment from our shared reality has become his defining trait. Basically, Creed becomes the repository for any action, idea, or thought process that’s too “out there” for Dwight. How you react to Creed will help determine whether second or third season is your favourite, for reasons I’ll get into.

There’s a lot to say about season two. When every second or third episode feels like a series highlight, that’s bound to happen. So we’ll have to pick this up next time, as romance extends beyond Jim and Pam’s will-they-won’t-they.

Overthinking the Office, Season 1: Mercifully Swift

I’m not someone who needs silence to write. Or wants it. In fact, I typically need something on in the background, if only to keep me off of YouTube. And that’s how I’ve ended up rewatching The Office start to finish about four times in the last two or three years. Because as much as I try to mix things up, I keep coming back, perhaps because it’s become so familiar that it’s enjoyable without being hugely distracting. Scrubs sucks up more attention, especially in the seasons I’m less familiar with (4-8, which I’ve only seen twiceish); Community only has three seasons that I can/want to watch, so it gets older faster; and the Flash only lasts me a few days.

And so I keep finding myself rewatching the antics of Dunder Mifflin paper company. And if that’s going to keep happening, and I’m going to keep having thoughts about it, I may as well start writing them down.

So let’s start at the beginning. The awkward, cringe-filled first season.

Early steps

For those unfamiliar with the Office… I promise to try to make this accessible. Anyway, it’s adapted from a British series from masters of cringe comedy Ricky Gervais and Stephen Merchant. Aside from reality shows, adapting a British series is always a dodgy process, one with more failures than successes. Red Dwarf, Doctor Who, Skins, Coupling, and The IT Crowd all failed and failed fast, and there’s practically a failed American Fawlty Towers alone for every success story. Maybe it’s a failure by American networks to understand how these shows work. That would explain how they take shows like Coupling, Spaced, and The IT Crowd, adapt episodes almost word-for-word, and still end up with unfunny train wrecks.

Community’s Joel McHale couldn’t make American IT Crowd funny, and he was using the same script.

Back to The Office, then. This first season tries to match the original British version’s twin atmospheres of boredom and gloom, as we meet the Dunder Mifflin crew while the branch is staring down the barrel of possible downsizing. Dunder Mifflin is not the corporate titan Michael Scott sees it as, and will be plagued by financial troubles for the next six seasons. So here in the beginning, the bulk of the cast (save for Michael and Dwight, who see paper sales as their life’s calling) are both bored by their jobs, and anxious about losing them.

This is, of course, easier to maintain on a British series designed to run in brief spurts. And since the US version’s debut season was only six episodes long, much like both series of the UK version, they could keep this atmosphere. Once they needed to run longer, some things needed to change. But we’ll get to that.

There’s only six episodes in season one, which doesn’t leave a lot to pry open, so let’s open with a review of the basics.

Central cast

Now, The Office did borrow a few things other than tone from their UK brethren. Mostly the cast. While every character has a different name (Michael Scott in place of David Brent, or “Jim” in place of “Tim…” as Ricky Gervais put it, “Way to put your own stamp on things”), the basics of each character are still there. Everyone starts out in the same place. Michael Scott, regional manager of Dunder Mifflin paper company, would-be father figure and entertainer; Dwight Schrute, assistant regional manager—no, assistant to the regional manager; Jim Halpert, slacker salesman wishing he were anywhere else; Pam Beesley, the receptionist, who stopped chasing her dreams so long ago she doesn’t fully remember how; and Ryan Howard, freshly hired temp. And it becomes clear that they have one thing in common.

Our central theme, ladies and gents

Some sitcoms aren’t content to restrict their narrative to “These people all work/spend time in the same bar/airport/court.” If you dig into them, there’s a deeper theme. Community wears its theme on its sleeve, in its title, even: it’s all about connecting with people, forming a community. Like I said, not subtle. The Office takes a little more attention.

The Office is about self-deception.

And nowhere is that more clear than its leading man, Michael Scott. Michael sees himself as a born entertainer, when in reality his jokes are met with sighs and eye rolls more often than not. Michael sees himself as the patriarch of the Dunder Mifflin family, when everyone else just sees it as somewhere they work. Michael thinks he is adored, when he is often merely tolerated.

But it’s not just Michael. Especially here, at the beginning, no one is who they think they are. Dwight is not a born leader, diabolical genius, sheriff’s deputy, or even assistant manager. He’s a great salesman and decent beet farmer (although that doesn’t come out until season two) with severe delusions of grandeur… delusions that the writers began to buy into from time to time as the show ran on and Dwight drew in popularity.

Jim’s self-deception is more subtle: he thinks he’s above this place. This is just a job to Jim, something he does to pay the rent while he waits for his real life to start. Something which has the added bonus of keeping him near the object of his affection. But Jim is not better than this sales job, not yet. He’s just a slacker trying to do the minimum effort, and pranking Dwight to repay all the ways Dwight makes life at the office harder.

And Pam… Pam routinely falls for the saddest deception… she thinks her life is fine the way it is.

The key couple

Pam’s engaged to Roy, who she’s been with for eight years. They’ve been engaged for two of those, but in season one are nowhere near picking a wedding date. It’s clear to us in the audience… and to Jim, who’s secretly in love with her… that Roy is wrong for her, and she’ll never be truly happy with him, but Pam is scared of chasing a better life if it means risking the flawed, comfortable existence she has now. And not for the last time.

Whereas Jim is stuck not only in a job he hates, but stuck watching the woman he loves settle for a man who takes her for granted over and over.

It’s important to note that this is not a standard will they/won’t they. It can’t be. Those don’t last nine seasons, not without driving people crazy. But here, in the early days, Michael is the lead, Dwight the wacky sidekick, Ryan the new guy, and Jim and Pam are the show’s beating heart.

The Documentarians

The Office didn’t invent the mockumentary format (how could it, it’s a remake), but as far as series television goes, I think it’s fair to say that it boosted the style’s popularity. Since then, we’ve seen the format pop back up in Parks and Recreation and Modern Family, but each of these shows makes the same choice: they keep the “talking heads” sections, in which characters talk to the camera about what’s happening, but that’s it. By the end of P&R’s first season, or by Modern Family’s second episode, they’ve abandoned the pretense that there’s a camera crew following these people around. The Office never does.

It’s not consistent. Sometimes they fade into the background. An entire Diwali party in season three seems unaffected by the cameras’ presence. It’s hard to believe that a convenience store clerk would let a cameraman behind the counter just to get a better angle on Michael, but in season seven, that happens. But in these early days, they really drive home the fact that we’re not just secretly spying on a group of office workers, there are people with cameras and microphones following them around, and their presence isn’t always welcome. Something that stays a trend all the way to the last season, albeit off and on.

Key episodes

With only six episodes in the first season, they’re basically all key episodes. The pilot introduces us to (some of) the cast, Diversity Day is the first big Conference Room meeting, the show’s most common trope; Health Care is both Michael’s failures as a leader and inability to live up to his own self-image and Dwight’s thirst for power in all their early glory; The Alliance is when Jim and Pam’s pranking of Dwight begins to take its proper US shape; Basketball introduces us to the warehouse crew; and Hot Girl… well, it has Amy Adams in it. What more do you need.

Skippables

On occasion, when doing a rewatch, I’ve skipped the entire first season. Like its younger sister show, Parks and Recreation, the short opening season is rougher. The larger ensemble is unformed, and the tone bleaker. And of all of them, Basketball might be the easiest to miss. Diversity Day already let us know that Michael’s kinda racist, and it should be pretty clear that Jim and Roy have an unspoken rivalry, and there’s not much more there.

Notable guest stars?

A lot of big names and/or cast members of The Wire will make their way through the Dunder Mifflin offices over the years, but in season one, it’s pretty much just Amy Adams as a purse saleswoman who Michael and Dwight lust after, but who ends up dating Jim.

Next time… The Office finds its footing, and its own voice. And thanks to iTunes and the 40 Year Old Virgin, an audience.

Three graphic novels that should be movies by now

Funny how a disappointing theatrical tour, three script projects, and some anxiety about turning f… four… thirty-ten can really make you forget you have a blog, huh? Mostly those first two things. I meant to blog about the tour but what creative energies I had in the humid Ontario summer were devoted to that pantomime play I was supposed to be writing… then to the new webseries I want to film… then to a stage play, because damn it that’s still a thing I do. Add that to the script for our Fringe show, and you get quite the full year, writing-wise.

But hey, this still exists, and I still have thoughts on stuff, so, in the words of John Wick, yeah, I’m thinking I’m back.

To my topic for today, then.

I think we all know that comic book movies are the hot ticket at the box office and on the varying things we call “television” these days (streaming services are pretty different from the way TV worked for its first half-century, you must admit). Superhero movies are popular enough that in a year where nearly everything got clobbered at the box office, from cartoon adaptations to long-delayed sequels to popular 90s movies (hey, that worked like gangbusters last year) to the few actually, legitimately fun summer flicks (that admittedly were a sequel and an ill-advised reboot that still worked out okay), only two types of movies seemed to be golden tickets: Disney/Pixar cartoons (or adaptations thereof), and superheroes. Not just Civil War and Deadpool, either. Even superhero movies met with hatred from critics and… um… all of my friends, apparently… did huge box office numbers. (For the record, yes I am planning to get the extended cut of Suicide Squad, I’m hoping its closer to David Ayers’ vision and further from the vision of the editing firm that made a good trailer and then somehow got asked to do the final cut of the movie based on that.)

(Okay there was one mild exception, and it remains to be seen how Dr. Strange will fare, but still.)

As a result, studios are scrambling to find comic book stories to get onto the screen. Marvel scraped most of the underwritten suck off of their popular but narratively weak event book, Civil War, keeping only the basic premise (people want superheros to stop running around all willy-nilly, Captain America says “Nuh uh,” Iron Man says “Yuh huh,” they fight) and spinning it into one of their better movies. Though one I want to talk about later. On the TV side, The Flash did their own spin on the universe-rewriting book Flashpoint (“How much can we use? Flash going back in time and there being consequences? That’s literally it? Okay, well, let’s go for it.”), Jessica Jones jumped straight to the climax of her debut book, Alias, and Agents of SHIELD is mixing things up by introducing the least cool, least interesting, least popular character ever to use the name Ghost Rider.

He doesn’t even ride a motorcycle, for gods’ sake. How am I supposed to get excited about this.

But there is a dark side to this story mining. Batman V Superman leaned a little heavily on Frank Miller’s work with the character, something he’s spent the last 15 years warning people not to do by morphing into a depressing parody of himself. And the internet will just not stop throwing around speculation that Marvel’s moving towards a Planet Hulk movie, something I really, really wish people would give up on, not because of dislike for Planet Hulk specifically (although why do a Hulk movie in with that little non-CGI Mark Ruffalo), since I didn’t read it, but because Planet Hulk led to World War Hulk, and World War Hulk was a garbage fire. Seriously, you’d have trouble filling 20 minutes with what they laughably called a “plot” in that book.

So here’s some graphic novels that should be movies but somehow aren’t. No, not all of them are superhero stories. A comic book movie doesn’t need capes to be the best thing ever.

1. Queen and Country

Art by Tim Sale
Art by Tim Sale

Greg Rucka’s Queen and Country comics (and three novels) tell the stories of Tara Chace, operative for the Special Operations Section of MI6. In short, she’s a spy and sometimes assassin for the British government. The series blended the intense spy action of an operative on a mission in hostile territory with the more real-world bureaucracy intelligence agencies face: red tape from above, inter-agency tensions, the favours that need to be traded to get the better-funded Americans to give up intel. And Rucka managed to make both sides work as engaging stories.

Why a movie?

Look at what Sam Mendes did with the opening sequences of the last two Bond movies and tell me you couldn’t great an excellent sequence out of the first issue of Q&C: in London, the Operations staff wait for confirmation a Russian general turned operative for the Russian mob is in the country they heard he’d be in so that half a world away, Tara can pull the trigger on her first assassination. She takes the shot, gets clipped by his security, and must get away from her pursuers and across the border with a purloined burqa, a well-used car, fake identity papers, and in a clever move to keep the border guard from looking too closely at her forged passport, an “accidentally” dropped nude photo and an embarrassed smile. Try to pull that one off, Jason Bourne.

This all leads to her being used as bait by MI5 (the FBI to MI6’s CIA) when her target’s people come to London for payback… while being forbidden to use a gun because MI6 operatives can’t carry within the UK. Maybe you don’t quite have a movie there, but you are on your way to at least a Sicario’s worth.

The push continues for female led action movies, within the comic genre and without. Look at the undying fandom for Agent Carter. Tara Chace is a female James Bond, more grounded and with less style but more swagger, and freed of the “But is he still relevant outside of the Cold War” think pieces that plague Bond, as she and her supporting cast were designed for the post-9-11 world.

So why isn’t it one?

Development hell. Apparently they’ve been trying for a while. Ellen Page was even attached to play Tara back in 2013. Maybe if Wonder Woman does Deadpool numbers they’ll make some progress…

So who would you cast?

Tara Chace: Ophelia Lovibond

Photo:  Jeff Neumann/CBS ©2014 CBS Broadcasting, Inc. All Rights Reserved
Photo: Jeff Neumann/CBS ©2014 

Okay, so, if you haven’t been watching Elementary, this one’s a little obscure. You’d probably know her best as the Collector’s assistant who tries to steal the Power Stone in Guardians of the Galaxy, and that’s… not helpful to my cause here. If you have, then you recognize her as Kitty Winter, particularly clever survivor of a brutal serial killer who finds a path to recovery as Sherlock’s new apprentice. She brought the exact right mix of tough and capable with an undeniable layer of pain at her center that I’m looking for in Tara Chace. Tara is forced to survive a hit by running at the man with the gun and counting on that throwing off his aim, then comes into work the next day. Kitty survived her ordeal, and with the scars still fresh, started trying to solve crimes (even before Sherlock took an interest). Maybe she’s on the obscure side, but this is my dream cast so shut up.

Paul Crocker: Mark Strong

Mark Strong as Blackwood - Sherlock Holmes movie

Not really much to say about this one. You need someone to play the head of the department, the one who orders the kills but also has to play the politics game to keep the operation moving and his operatives alive? You want Mark Strong.

Tom Wallace: Johnny Lee Miller
miller
Tom Wallace is Tara’s immediate superior and probably closest friend. He’s been in the department just long enough to get promoted to Head of Special Section and out of the field. Ten years ago this would have been a gimme for Colin Firth (even without having seen him go full badass in Kingsmen), but the age gap doesn’t quite… okay, fine, I just want to see Sherlock and Kitty back together, but it would still work.

2. The Sixth Gun

Art by Brian Hurtt
Art by Brian Hurtt

An Apocalyptic western fantasy set after the Civil War, the Sixth Gun is the story of six pistols, each with their own power, that combined have the potential to destroy and remake the world. When Becky Montcrief inherits the Sixth Gun from her father, she reluctantly joins forces with ethically grey gunfighter Drake Sinclair to protect the world from those looking to unleash the guns’ true purpose, including supposedly dead Civil War general and part-time dark sorcerer Oliander Bedford Hume, his crazy wife, and his, well, call a spade a spade, four horsemen.

Why a movie?

Because the lush and terrifying magical old west dreamed up by writer Cullen Bunn and artist Brian Hutt cries out for a live-action adaptation. Because it’s a great (recently completed) story that more people should know about. And sure, like Preacher, it’s way too long a story to be told in one installment, but the first six issues work as a great standalone adventure of four people trying to stop the end of the world, ending in an epic battle at a fort called the Maw. And if the first movie sells, you have material for one of those ongoing franchises studios are addicted to. Even just hitting the highlights, you could manage at least five movies and three spinoffs.

So why isn’t it one?

They tried to adapt for TV recently (a better fit, if you want to pick nits), but the pilot didn’t get picked up, and there’s been little interest since then. Because people are stupid and hate fun.

So who’d you cast?

You know what, here’s a cast photo from the unaired pilot, featuring Game of Thrones/Narcos’ Pedro Pascal as Drake and Leverage’s Aldis Hodge as, I assume, Gord, a key ally they pick up at the Maw, and that’s… that’s about perfect. Only two more to add, I reckon.

General Hume: Clancy Brown

A big guy with a bigger voice, Clancy Brown proved his world-ender bonafides a few times by now, most relevantly in Carnivale, where he played a preacher with dark occult powers out to rebuild the world in his own image. I mean cross out “preacher” and write in “general” and you’re there.

The Widow Hume: Eva Green

The Widow Hume possesses the Fifth Gun, which can heal any injury, even death. The gun restores her youth, at the cost of her sanity, something that is clear in the way Hurtt draws her eyes. Eva Green, an MVP in anything she appears in lately, does crazy and scheming very well, and has some of the most expressive eyes in Hollywood. Perfect fit.

3. Atomic Robo

robo

Built by Nikola Tesla in the early 20th century (in a world where Tesla became a wealthy inventor and Edison is remembered as a demented supervillain… a better, stranger world, in other words), Robo (who’s atomic powered) earned his citizenship covertly fighting Nazi super scientist Baron von Helsingard during World War 2, and has since used his position as owner/operator of his father’s company, Tesladyne, to advance science and fight off the villains, kaijus, Lovecraftian horrors, and highly improbable giant ants that turn up when science goes wrong.

Why a movie?

Because creator Brian Clevenger (who also created the similarly hilarious 8-Bit Theater) has created a whole world and alternate history filled with action packed weird science adventures. Robo alone fought Nazis, trained with Bruce Lee, and got stuck in the old west after a temporal incident with his least favourite and least probable nemesis, Doctor Dinosaur.

mammalrobot

A meeting with Lovecraft unleashed a formless horror that fought Robo in four different time periods simultaneously, one of which involved his employees accidentally building an evil supercomputer.

atomic-robo-shadow-5

Tesla was part of a secret government group including Annie Oakley and a young Harry Houdini, among others. Atomic Robo has fought sci-fi villains up one side of the 20th century and down the other, plus ongoing adventures in the modern day. There is no end to the ridiculous fun the Atomic Robo team have dreamed up, and all of it would look amazing filmed for IMAX.

So why isn’t it one?

Because Atomic Robo’s an indie comic and studios like brands. Every now and then someone comes sniffing, and Clevenger tries to aim them towards Volume Five, The Deadly Art of Science, in which a young Robo ventures out of his father’s lab to work with pulp vigilante Jack Tarot and his daughter Helen, aka the Nightingale, to foil a plot by Thomas Edison. Tesla eventually has to lend a hand as well.

So who would you cast?

Robo: Joel McHale

Robo’s either going to be CG or a giant suit, but his voice is important. Much of the humour of Atomic Robo comes from how ridiculous or annoying Robo finds his adversaries, be they physically impossible like the giant ants attacking Vegas, infuriatingly nonsensical like Dr. Dinosaur, or just jerks like the Nazis. And Dr. Dinosaur. You need someone with a good dry wit who can also nail an angry rant, and to me that’s a job for Community’s Jeff Winger.

So come on, studios… nearly everything the CW superhero shows do prove that you love catering to my tastes. Get catering!

(But seriously, Marvel, I know you love to milk whatever seems popular for all its worth, but ignore the Planet Hulk chatter. That way lies madness.)

 

Comic TV 2016 Part Four: The Top Five

And we come to the end. What are, in my estimation, the top five comic book shows on TV last season, and why. You know the drill, let’s get into it.

5. Daredevil

daredevil-season-2-faq-pic

Premise: Matt Murdock’s war to protect the people of Hell’s Kitchen is complicated not only by a DA out to round up New York’s vigilantes (at least the ones who don’t appear in movies), but by the arrival to the Kitchen of lethal vigilante Frank Castle, and Matt’s dangerous ex, Elektra Natchios.

So we’ve talked about the Punisher. Repeatedly. And for a reason. As long as the Punisher was happening, Daredevil was every bit as good, if not better, than its freshman outing. So why, you might ask, has it slipped from first place to fifth since last year? Because the parts not dealing with the Punisher ended up more lacklustre. We’ll cover that down below. But despite all of the flaws I’m about to list, there’s still enough of the first season in there to make it above average. And what they did well, they did well enough to push Daredevil above Arrow for a second year. Although it was close.

Strengths: All things Punisher. The fight scenes, when you can see them. Deborah Ann Woll is doing amazing work, even if Karen Page’s story gets weird towards the back half. Breaking the season into mini-arcs.

Weaknesses: Okay, we’re gonna need a speed round for all of these plot holes and problems…

  • Elektra’s one of Daredevil’s strongest female characters in the comics. Here she has to decide which male figure is going to determine how she lives her life. That’s… weak.
  • Why did the Hand dig a giant hole? What was that accomplishing?
  • No, wait, the Hand’s big goal, this Black Sky they’ve been hinting at since last year, is just a person who’s good at killing? That’s it? How does that help them rule the world? How does that even help them rule New York, let alone a world filled with Avengers and Inhumans and magic space rocks?
  • The producers are so committed to Matt’s martyrdom that there’s never a fight he wins easily. He has to struggle each time. So the army of ninjas loses some bite when they give Matt exactly as much trouble as the biker gang from episode three.
  • They put a lot of effort into their fight scenes. Maybe if they’d lit a few more of them…
  • Elden Henson seriously whiffs a few of Foggy Nelson’s big emotional moments. He was a better actor last year.
  • How does a legal assistant get a job as an investigative reporter? There have to be dozens of journalism majors for every open newspaper job.
  • How does someone not get fired for spending weeks, maybe longer on a story only to write a junior high essay about heroes?
  • How is the DA targeting New York vigilantes and her number two target (after the Punisher) is licensed private detective and only part-time-at-best vigilante Jessica Jones? Not Spider-man? No Inhumans? No mention of Sokovia, even? I mean, Jesus Christ, Marvel, be a unified universe or don’t.
  • Daredevil sure gets blasé about fighting next to people who are killing people by the end.
  • Every Asian on this show is in a sinister ninja cult. That’s… not great.
  • And how does the season start in a summer heat wave and end at Christmas? Everything seems to happen in a matter of weeks at most, not months.

Feels like a lot, doesn’t it. See, Arrow, if you’d dial back the Felicity drama even a little you’d make the top five easily.

High point: New York’s Finest/Penny and Dime. The best fight, the best Punisher/Daredevil confrontations, Daredevil at its best.

Low point: The Dark at the End of the Tunnel. Poorly lit fights and the Elektra/Hand plot takes a turn for the stupid. Seriously, that’s your endgame? Your Black Sky would have their hands full against freaking Ant-Man, let alone the Vision.

Tips for next season: Turn on some damned lights. Have a better Big Bad, ’cause the Hand flopped hard. Focus on New York if you want but either try to remember that the larger MCU exists, or officially secede. I mean, we’ve seen how multiverses can work…

4. The Flash

The-Flash-Season-2-Premiere-Review

Premise: After the events of last year’s finale, Flash learns that he has opened breaches to an alternate Earth, and drawn the attention of evil speedster Zoom.

Few shows on this list embrace the wacky and weird world of comic books like The Flash. After introducing super powers, time travel, and giant telepathic gorillas in season one, in season two they plunged right into one of DC’s on-again off-again favourite devices since the seminal The Flash of Two Worlds, the multiverse. This helped to propel their early episodes to fun heights. They still manage the best blend of action, humour, and heart. Even if they didn’t quite stick the landing.

Strengths: I haven’t really found a place in these blogs to talk about what an asset to the show Tom Cavanaugh is, but he’s great. Even when the finale handed him one of the most ridiculous comic book nonsense lines of any show this year. Also, new characters Wally West, Jesse Wells, and in particular Patty Spivot ranged from good to delightful. Grant Gustin remains delightful even when Barry is pissing me off. Cisco and Caitlin might not make the supporting character podium, but they did some good work this year. Not only did they bring back the telepathic gorilla, they upped themselves with a giant man-shark.

Weaknesses: First off, Earth Two has the Justice Society, Earth Three has all the evil doppelgangers, come on guys, you know this. That said. The Increasingly Poor Decisions of Barry Allen really did wear thin over the back third. More problematic, when we hit peak Bad Barry Choices, we also ran out of plotline for Zoom. For the last five episodes, there was no nuance, no subtlety, no real surprises. One of the best aspects of Reverse Flash’s plot in season one was that his motivation turned out to be incredibly simple. Zoom’s motivation was also simple, but worse: it boiled down to “Zoom just likes killing.” That’s fine for a one-off villain or Krombopulos Michael, but a season-long villain needs more than that. Ultimately Zoom was a horrible waste of a far better comic villain. A weak ending was enough to knock Flash all the way down to number four. Also, like Arrow, they had to spend some time setting up Legends of Tomorrow, but other than the “Well, need a new Firestorm, I guess” episode, it was low impact.

And man… why’d they have to write Patty out… she was great…

High point: Welcome to/Escape From Earth 2. A high-paced trek through the much-mentioned, until-then-little-seen Earth-2 filled with Easter Eggs (including our first glimpses of Jonah Hex and Connor Hawke, who would later pop up on Legends), fun evil versions of multiple characters, and a big hint towards a coming twist. Not even the first Poor Decision of Barry Allen could sink this two-parter.

Low point: Back to Normal. After a disastrous decision on Barry’s end, Barry learns to adjust to life without powers. Again. Second time in as many seasons. Waiting for Barry to get his speed back slowed the season to a crawl right when it should have been accelerating–that was a lot of speed references in a thing about The Flash, it just happens.

Tips for next season: Okay. I saw what you did at the end of the finale. So let me say this… if you’re doing what we all think you’re doing… don’t drag it out. I’ve been promised a four-show crossover for episode eight, and I do not want it to be a week-long wrap up to TV Flashpoint.

…Actually I want a Flashpoint story featuring characters from all four shows incredibly bad, but I’d rather the other three not to have to put their own stories on pause to make it happen. So maybe try to keep it to four episodes, tops? And then once you’re done, write a better villain. I know you know how.

3. Supergirl

supergirl-social_6

Premise: Kara Zor-El, strange visitor from another planet, decides she’s tired of living in secret as Kara Danvers, and sets out to protect the world as Supergirl. Just like her more famous cousin.

Remember what I said about embracing comic booky-ness? About 630 words ago? Well, there’s one other show doing it as well as the Flash. And it’s also surpassed its brother show in terms of cheer and hopefulness. Supergirl’s first season delivers all the geeky fun of the Flash’s, plus better blends of combat and special effects, and some delightful surprises for long-term fans and newbies alike. It can be a little cheesy at times, but if you can get past that, there’s a lot to love.

Strengths: Melissa Benoist. Chyler Leigh. The evolution of Hank Henshaw’s relationship to Supergirl. Calista Flockhart takes Cat Grant from stereotypical “mean boss” to a surprisingly effective mentor for Kara’s civilian and super identities. Jeremy Jordan as Winn. Top notch special effects for TV. Max Lord worked well as a recurring antagonist.

Weaknesses: Sometimes the feminism can be a little on-the-nose. And sometimes the dialogue can be a little cheesy or clunky. And Kara and James Olsen could have better chemistry if we’re supposed to be invested in them as a thing.

High point: Worlds Finest. The Flash comes to National City, and it is Ah. Maze. Zing.

Low point: Red Faced. Where to start. The episode has four villain characters, meaning it doesn’t have time to do any of them well; the “women can’t be mad in public” issue is a little ham-fisted (and they mentioned but kind of skimmed past “neither can black men”); what did they spend on that Red Tornado costume, fifteen dollars, maybe sixteen; why is Justice League stalwart Red Tornado a villain at all, shouldn’t he have become good after becoming self-aware; killing Red Tornado and his creator was a waste not only of Red Tornado but of T.O. Morrow, one of DC’s bigger and better mad scientists, and that’s saying something since DC has enough mad scientists that they once formed their own sovereign country

Tips for next season: Well, this one’s hard. Their budget’s getting slashed, so it may be enough of a challenge to keep up what they’ve been doing thus far. We’ll probably get less CG, maybe less Cat, and it may be a challenge finding external locations that look like the California desert hillsides that define the outskirts of National City. Kelowna, maybe. The important thing is to maintain and build on the things you’ve done well that don’t cost megabucks to pull off. Flash and Legends of Tomorrow do okay effects-wise on a CW budget, so can Supergirl. And how excited am I at the possibility of Winn meeting Cisco and Felicity? And Superman’s making a proper appearance? Interesting.

2. iZombie

Izombie

Premise: Promising doctor-turned-zombie Liv Moore works with Seattle PD detective Clive Babineaux to solve murders, by using the visions she gains eating the victims’ brains to feign psychic abilities. Meanwhile, her boss/friend Ravi Chakrabarti finds that even if he can recreate his cure for zombiism, it has unfortunate side effects.

iZombie came back for second season firing on all cylinders. They cut some plotlines that weren’t working (Liv’s family), gave Major a much better story now that’s he’s learned the truth about Liv, Blaine’s way more fun this year now that he’s not the big villain, the big villains they do have are great… sure it’s still a crime procedural based around psychic visions caused through zombie brain consumption, but all in all, iZombie remains thoroughly delightful.

Strengths: With improved stories for Major, the cast doesn’t really have a weak link. We dive deeper into the Seattle zombie population that Blaine created in season one, and the issues Blaine’s having keeping them happy, and how that’s complicated by Vaughn du Clark trying to wipe them out. Personal relationships are allowed to grow and evolve. Really, just about everything works.

Weaknesses: If murder-of-the-week crime procedurals aren’t your thing you might struggle a little with this one.

High point: Max Wager, in which Mr. Boss makes his debut, or Abra Cadaver, in which Liv eats magician brains and it’s the best day for Ravi, but it’s probably Dead Beat/Salvation Army, the two-part finale in which the launch of Max Rager’s newest drink threatens to become a full-blown zombie apocalypse, while Ravi and Blaine must join forces against Boss’ men. And Liv discovers a new player that promises to make season three a whole new thing.

Low point: The Hurt Stalker. Liv eats Stalker brains, and subsequently destroys her life. By the next episode, even Ravi’s desperate to move on from that brain.

Tips for next season: So… that thing that happened in the last few minutes? Let’s just see how that goes.

1. Jessica Jones

Ritter

Premise: Super-powered private detective Jessica Jones fights to expose and defeat Kilgrave, the mind-controlling psychopath who once kept her prisoner for weeks on end, out of a twisted sense of love.

Sometimes “bright,” “hopeful,” and “comic-booky” aren’t what you need. Sometimes you want to go the other direction. And if that’s the case, Jessica Jones has you covered. It’s dark, it presents an unlikeable heroine facing a villain that makes your skin crawl, it has streaks of nihilism… it’s also pretty brilliant.

Strengths: The whole cast is top-notch. The series is incredibly bingeable. They never pretend that all of Jessica’s problems have one source or an easy solution. Kilgrave has more depth than most Marvel villains put together. A great introduction to Luke Cage. Best exchange of origin stories ever: “Accident. You?” “Experiment.”

Weaknesses: Agents of SHIELD struggles to be connected to the MCU. Daredevil doesn’t bother much. Jessica Jones seems actively embarrassed to be part of it. When the Avengers are mentioned it’s never by name, merely as “the green guy” and “the flag-waver.” That’s worse than the Supergirl pilot, which seemed full-on allergic to saying “Superman” out loud. Plus I still don’t see Stark/Avengers Tower in the New York skyline, and the whole plot hinges on needing to prove that mind control isn’t impossible in a city where an actual alien invasion was fought off in part by the literal Norse god of thunder. That’s a lot of time I just spent explaining what is, I admit, a minor quibble re: larger franchise continuity. If you don’t care about that, then I’ve got nothing.

High point: AKA WWJD? Jessica and Kilgrave play house as Kilgrave attempts to win over Jessica, and Jessica wonders if she can find a way to redeem the irredeemable. Along the way, they have it out over what, exactly, their past relationship truly was.

Low point: AKA 99 Friends. It’s not bad, per se, but it’s a filler episode, it does end on an awkwardly shot action beat (really more of a tantrum), and you know his name is Captain America, Jessica. “The flag-waver.” Swear to god, if I rewatch this show and catch her namedropping reality TV stars…

Tips for next season: Maybe try mini-arcs, like Daredevil did. Stretching one plotline over 13 episodes can get exhausting. Well, I imagine it might. For people who somehow don’t watch the entire season in two sittings. Whoever they are. Just avoid Daredevil’s mistake and don’t make the last mini-arc poorly-lit garbage.

And that’s the list. Thanks for joining me, those who did, and feel free to leave comments claiming I’m a fool for under/over-valuing something. I’ll just be over here, sulking about having to wait a week for another taste of Preacher.

Comic TV 2016 Part Three: Beginning the wrap-up

I would do another Beyond the Capes section but there’s a lot to cover already and it mostly just would’ve been about Limitless. I liked Limitless and there aren’t a lot of venues to talk about it. But anyway… let’s begin the rankings.

11. Gotham

Gotham

I just… I can’t. I hit a point back in October where I just couldn’t be bothered. Limitless is canceled but this one just keeps going… how is that justice…

10. Lucifer

Lucifer2016 TV seriesSeason 1Series 1handout ...

Premise: Lucifer Morningstar, having abandoned his post in Hell, helps LAPD detective Chloe Decker solve murders (to her chagrin) while angel Amenadiel tries to get him back to Hell.

I only read one issue of the comic this is based on, but I don’t think there’s any way to hear “A spinoff of Neil Gaiman’s Sandman is reimagined as a Castle knock-off” and not think it’s a terrible idea. And yet… there is something there. Most of the appeal is in Tom Ellis’ performance, but there’s a cleverness to the writing at times, and Lucifer’s relationship with his sterner brother Amenadiel is entertaining. Especially in the last two episodes.

Strengths: Tom Ellis. The mysteries-of-the-week aren’t 100% predictable. Lucifer and Amenadiel’s weird sibling rivalry.

Weaknesses: One more time for the kids in the bleachers… it is a knock-off of Castle in which the Devil helps the LAPD solve crimes. Nothing I say can change that.

High Point: #TeamLucifer/Take Me Back to Hell. The two-part finale blows the doors off. Finally, the Amenadiel/Lucifer fight and buddy cop movie we deserved. And a potentially interesting (possibly terrible) twist for next year.

Low Point: Manly Whatnots. Lucifer decides the best way to get over his fascination with his partner Chloe Decker is to double his efforts to bang her. It gets uncomfortable and embraces the weaker aspects of Lucifer’s character.

Tips for next season: More mythology. And less running in circles where “Why does Lucifer’s invulnerability wear off when Chloe’s around.” Also, could one of the human characters figure out he’s not just pretending to be the Devil? Just one? That has to happen eventually, doesn’t it?

9. Agent Carter

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Premise: Peggy Carter transfers to the LA branch of the Strategic Scientific Reserve to investigate a new case… one her superiors don’t want her investigating.

I get that this is still an important show to a lot of people. Agent Carter was proudly feminist and examined the institutional sexism of a period of time conservatives love to call a golden age. But none of that changes the fact that the show lost a few steps this year. The “woman in a man’s world” angle got moved to the villain, so that “woman succeeding in a male-driven group” becomes something to root against. More problematic? “Peggy Carter goes rogue from the SSR because, as a woman, they don’t take her seriously” worked like gangbusters. “Peggy Carter goes rogue from the SSR because they’re being manipulated by the Arena Club (what Agents of SHIELD viewers recognize as a branch of Hydra)” is a lesser copy of that. And it weakens Carter as a character, because if she already lived through the SSR being manipulated by the Arena Club (Hydra’s most successful branch, they seem to already run the US), how on Earth did she miss SHIELD being infiltrated by Hydra Proper? But we know she did. We saw Winter Soldier. Also… it’s a little odd that after a season based around establishing Peggy’s worth beyond being Captain America’s girlfriend, so much of this season revolved around her love life.

Strengths: Peggy’s relationship with Edwin Jarvis. Their oh-so-British banter remained wonderful. The newly revealed and delightful Ana Jarvis. The continued employment of Enver Gjokaj. Chief Thompson’s turn back to the light in the final episodes.

Weaknesses: The Arena Club. Never managing to call Whitney Frost “Madame Masque.” Having ratings that low but still ending on a cliffhanger. Forcing a female lead into a romantic triangle. Spending one whole episode on race relations in the 50s then forgetting about it.

High Point: The Atomic Job. For one episode, Agent Carter became a comic heist flick.

Low Point: A Little Song and Dance. Despite a fun opening musical number, this episode ends with Peggy Carter becoming an “acting tough” version of the simpering girlfriend. Shortly after chastising her ally/would-be suitor Agent Sousa for letting his feelings for her compromise a mission, she allows her feelings for scientist Jason Wilkes to compromise an even more vital mission, risking basically the whole world to protect a man who asked her to let him die. She is not shown the irony.

Tips for next season: At the time of writing there is no next season, but we live in an era of unexpected revivals, the fan campaign to save it is passionate, and frankly, Agent Carter always belonged on Netflix anyway. Short seasons, one plotline, it’s a better fit there than on broadcast. So if the miracle comes… don’t waste it. Found SHIELD. Get it done. You can’t blow this on a third “Peggy Carter goes rogue from the SSR” plot. Two was clearly too many. Imagine a season arc where Peggy reassembles the team from the now-disbanded SSR to solve the cliffhanger from season two, and in the process they become SHIELD. Now that would work.

8. Legends of Tomorrow

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Premise: Rogue Time Master Rip Hunter unites a team of heroes and villains to bring down immortal villain Vandal Savage before he can conquer the world… and kill Rip’s wife and son.

I’ll admit… this one took some time to find its groove. But it was a team adventure featuring some of the best recurring characters of Flash and Arrow, featuring Arthur Darville as a time traveler and Victor Garber as… don’t even care. Love him in everything. That said, Vandal Savage (one of DC’s upper B-list villains who they blended with uninspiring 2000s era Hawkman/Hawkgirl villain Hath-Set) never really clicked as a great villain. And not all of the cast are on Victor Garber’s level. But in the back half, the show really took off. And they managed some impressive twists.

Strengths: Everything/anything Captain Cold. Arthur Darville and Victor Garber. Jonah Hex. The final arc. Wentworth Miller managing to out-badass James Spader with the line “There are no strings on me.”

Weaknesses: Reddit made a running gag out of how often Ray Palmer screwed up. Their habitual abuse of the timeline. Vandal Savage being a lovelorn Egyptian rather than a conquest-hungry caveman. Kendra/Hawkgirl and her frequent reminders of having just been a barista.

High Point: Destiny/Legendary. Legends wraps strong with a strike against the Time Masters, an impressive fight against Savage (in three time periods at once), and a name-drop that has me at the very least excited for another round.

Tips for next season: The last two minutes have my attention. Don’t screw it up. Also maybe make the next female Legend a little stronger than Hawkgirl ended up being.

7. Agents of SHIELD

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Premise: The Agents of SHIELD work with (sometimes against) the government to deal with the rising number of Inhumans caused by a leak of Terrigen, while a branch of Hydra schemes to bring back the One Inhuman to Rule Them All from his exile on a distant planet.

Agents of SHIELD still has two problems. They still burn through plot a little too fast, especially right before the fall finale. A lot of interesting stories got wrapped up in manners too fast and unsatisfying in order to clear the deck before the hiatus. But that’s still better than season one, in which they waited for 16 episodes to even have an interesting plot. Second… they still try to connect themselves to the movies when the movies don’t care about them. They’ve had four movie tie-in episodes in three years and only one of them is good.

Strengths: After three seasons and five radical changes to his character, they finally made a decent villain out of Grant Ward, even if it did involve killing him first. Fitz and Simmons coming together was adorable. Their fight scenes remain impressive.

Weaknesses: Apparently nobody told them that the Civil War movie wasn’t about registering powered people. Guess they wrote their tie-in based on the comics. Like I said, they tossed out too many interesting plots at the fall break. The much-ballyhooed Secret Warriors we’d been promised since the end of season two took forever to show up and were seriously underwhelming. Lincoln the electric Inhuman was never interesting as a character, although they found a way to make his powers interesting to watch in the end. They wrote out two of their best characters way too early for a spinoff that didn’t happen. Although, that said… their cast did need some pruning.

High Point: 4,722 Hours. The show breaks from their format to tell us about how Simmons stayed alive on a hostile planet for… well, it’s right there in the name.

Low Point: Emancipation. The aforementioned Civil War tie-in episode written by people who clearly weren’t shown the Civil War script, ending in a fight between Inhuman heavyweights Hive and Lash that should have been epic but was ultimately disappointing.

Tips for next season: The movie division doesn’t care about you, so stop caring about them. You likely can’t tie-in to Guardians of the Galaxy, so don’t bother trying to tie-in to Dr. Strange. Do like the DCWverse, find a branch of Marvel Kevin Feige doesn’t want (he is still hoarding all the big name Inhumans), and go to town. And do the right thing… bring back Bobbi and Hunter.

6. Arrow

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Premise: After giving up life as the Arrow, Oliver Queen finds himself drawn back to Starling City (now renamed Star City) to join again with his old team behind a new name: the Green Arrow. Just in time to try and prevent magic-powered Damien Darhk and his friends in HIVE from destroying what’s left of the city.

Arrow’s fourth season had its highs and lows. Was it as good as second season? No. Was it still an improvement on season three? Yes. Could they have toned down the Oliver/Felicity drama? Sure. Was it as bad as the malcontents in the Arrow subreddit claim? No. Is anything as bad as that toxic wad of Felicity-hating shitposters claims? No. Screw those guys. There are no actual Arrow fans on r/arrow anymore. The show managed to bounce back from a muddled and emo third season with a more focused (eventually) villain plot, better use of most of its cast, and while Curtis Holt is not quite Ray Palmer (and may never be Mr. Terrific, who by the way is named Michael Holt, why do they do that), he was a solid addition to the cast.

Strengths: Damien Darhk. Curtis. The fight sequences. Oliver beginning to work his head out of his own ass. Finally making good use of Thea as a character. Managing to still have an impact with their fourth major death in four years. And of course, John Constantine.

Weaknesses: While I stand by my dismissal of r/arrow and those who lurk there… I will admit that the Oliver/Felicity drama became a little much this year. Also, the flashbacks are beginning to struggle for relevance. Isn’t a little weird that everything that happens to Oliver in the present mirrors something that happened to him precisely five years ago? And a non-trivial portion of their run-time up until the fall finale was gobbled up in prepping characters for Legends of Tomorrow. But then, the main villain plot never really comes into focus until the fall finale. Hell, we spent the first nine episodes of season two thinking Brother Blood was the main villain…

High point: Haunted. John Constantine fit right into the ensemble. More of that, please.

Low point: Broken Hearts. “Olicity” drama hits its peak as they fake a wedding to lure out a villain targeting happy couples. I’m pretty sure Lois and Clark did this plot better back in the 90s, and that is not something I want to say again.

Tips for next season: Pick a side, people. Oliver and Felicity are together or they’re not. Make a choice, stick to it, and find your drama somewhere other than Felicity’s issues with Oliver’s secrets. Also, consider it a red flag when your episode summaries open with “Felicity and friends,” not “Oliver and the team.” And maybe we can wrap up the flashbacks? I feel you trying to stretch out Oliver’s five years in Hell/on the island beyond five seasons’ worth of flashbacks, and I ask you to reconsider. And please, please, please… we need to see Diggle react to Supergirl, given that he still hasn’t wrapped his head around the Flash.

Soon… a look at the top five.

Comic TV 2016 Part 2: Blood, Words, and Tears

And we continue. We’ve talked about the best characters, now let’s look at who did the best things with said characters.

That was kind of a thin intro. But let’s face it, these get long. Enough jibber-jabber! Somebody hit something!

Best fight!

Thankfully, we are well past the days of spending an entire season building up a fight between Clark Kent and Doomsday only to have it last thirty seconds and involve Clark tackling Doomsday into a hole offscreen. Even effects-heavy shows like Flash and Supergirl know they need decent fight choreo. Which means this isn’t an easy call to make. But I’m gonna give it a whirl anyway.

(Honourable mention: Hive vs. Daisy in Agents of SHIELD for the blend of fight and power use, the one thing I said they were missing last year)

Bronze: Team Waverider vs Vandal Savage, Legends of Tomorrow, “Legendary”

After a full(ish) season of trying and failing to defeat world-conquerer Vandal Savage, the crew of the Waverider finally have a shot at taking him out: which involves fighting him in three different time periods at once.

For a certain definition of “at once.” Wibbly-wobbly, timey-wimey, speedforce, it just works, okay?

(Obviously it’s a little spoilery, it’s the climax of the entire season.)

Silver: Team Arrow vs. the Ghosts, Arrow, “Brotherhood”

Whatever faults Arrow may or may not have had in its fourth season, they still surely know how to put together an action scene. In season four, Green Arrow and his team have been battling Damien Darhk and his mercenaries, known as the Ghosts. One of those limitless armies of faceless minions I’m often complaining about. But one of them turned out to be less faceless than the others, and Team Arrow hits one of their strongholds in order to extract him. Single-take fights, a single-take fight involving a moving elevator, some of the badder-assed moments for Speedy and the Black Canary, and even the Atom gets in on the fun. Hell of a fight.

Gold: Daredevil vs. an entire biker gang, Daredevil, “New York’s Finest”

Look, everything about the third episode of Daredevil’s second season is pretty great. “New York’s Finest” is Daredevil at its best. In the end, Punisher kicks a hornets’ nest full of angry bikers (no, your metaphor is strained!), and Daredevil is forced to fight his way through them after they threaten the building’s super. It’s the season two answer to season one’s infamous hallway fight. It may not actually be a single take like its predecessor, but it makes up for it by being extra badass. And one of the few season two fight scenes that’s properly lit. Enjoy!

Biggest heartbreak!

You’d think it’d be enough to have people in costumes with powers fight each other in awesome ways. But it is not. They also go and create lovable characters, make you feel for them, and then hurt them in terrible ways. Here’s what I’d call the most heartbreaking examples.

There are some mild spoilers. I mean I’ll do my best but they’re gonna happen. Skip to the next section if you’d rather.

Bronze: A Spy’s Goodbye, Agents of SHIELD, “Parting Shot”

At the beginning of season two, we were introduced to freelancer Lance Hunter and undercover operative Bobbi Morse, known to comics fans as Mockingbird. At first, I wasn’t sure why we were bothering with Hunter (Adrienne Palicki as Bobbi made perfect sense). But before long, ex-spouse spies Hunter and Bobbi became two of the show’s strongest characters.

Halfway through season three, a mission to stop the villainous Gideon Malick from extending Hydra/Hive influence into Russia through a coup d’etat goes wrong, when the general Malick is appealing to turns out to be an Inhuman capable of creating a shadow-self to kill people. In order to save Hunter from the shadow, Bobbi does the only thing she can… she kills the general in front of a half-dozen Russian troops. Leading to her and Hunter’s arrest. Coulson does his best to get them out of custody, but to protect SHIELD, they volunteer to be disavowed, cut off from the agency forever.

At the episode’s end, Bobbi and Hunter try to figure out their next move at a bar, when several shots are delivered to them, one at a time, from the rest of the team. They can’t say anything to Bobbi or Hunter, or have any contact whatsoever, lest the Russians get wind of it and re-connect them to American spy agencies, so they give Bobbi and Hunter “A spy’s goodbye.” A final drink (a parting shot, if you will, hence the episode title) and a silent farewell from each team member in turn, ending with Bobbi and Hunter’s oldest friend, gentle giant Mac, tears brimming in his eyes. His probable last goodbye to the people he’s closest with, and he can’t even say anything due to who could be listening. It’s pretty sad, and made all the sadder by the fact that it turns out they won’t be sailing into their own spinoff this fall.

Silver: Alex confesses, Supergirl, “Solitude”

Alex Danvers was forced to do a bad, bad thing, one she knew that Kara wouldn’t be happy about. To save Alex from Kara’s reaction, her boss Hank Henshaw, director of the DEO, takes the blame. This strains Kara/Supergirl’s working relationship with the DEO in general and Hank in specific, and keeping the secret takes a toll on Alex. Eventually, the toll becomes too much, and even as Kara is begrudgingly agreeing to work with Hank again, Alex breaks. Her voice shaking, she tells Kara exactly what happened, then begins to break down as she admits that she let Hank take the fall because she was afraid of losing her sister.

Kara almost walks out, but love overtakes anger, and she gives a comforting hug to Alex, who then truly breaks down. And when Hank tries to leave, Kara shoots an arm out, stopping him, and taking his hand in a silent moment of… thanks? Apology? Or maybe just respect and acknowledgement. It’s a touching moment only slightly undermined by the fact that in the final wide shot, it looks like Hank really doesn’t want to be there.

Gold: The Big Death, Arrow, [episode redacted]

Right from the end of the season premiere, Arrow was warning us that someone was gonna die this year. Someone major. And when it finally comes, towards the end of the season… they made us feel it. Arrow’s known for big deaths, having offed a major character once per year, but between the character’s final moments and the rest of the cast’s reactions, this one hurt. It hurt a lot. And kept hurting for a while, as the aftershocks hit Flash and Legends of Tomorrow.

That’s really all I can/should say.

Worst recurring tropes!

Taking a break from “Best of” for a second, before I get into “best storyline,” because there have been a few recurring story tropes that are starting to bug me. Not my usual go-to trope complaint, Infinite Respawn, it’s really only Damien Darhk that manages a seemingly infinite army of faceless but expendable soldiers. No, there’s some other things.

Bronze: Abandoned plot points

Now, I’m not talking about plot twists here. Those I’m fine with. They keep things interesting. No, this is something else. I’m talking about episodes that open the door for a potentially interesting storyline, but then the writers just say “Nah, fam,” and keep walking. The plot isn’t twisted, it’s just dropped completely. And it happened more than I’d like.

Prime offenders:

  • The Flash: Two characters are given a clear Origin Moment, but as of the finale, the show has actively rejected the notion that they have powers. Look, if you didn’t want her to be Jesse Quick, you didn’t have to keep calling her that.
  • Agents of SHIELD: Simmons is placed in an awkward position: before she’d been swept away to a far-off planet, she and her lifetime friend Fitz had been planning their first date. But on said planet, things very much heated up between her and Will, the handsome astronaut who helped her stay alive. Fitz vows to save Will… but if he does, who will she choose? Well, don’t worry about it. Will’s dead and Fitz gets to have the catharsis of burning the thing that’s wearing his corpse. Simmons doesn’t have to make choices at all.
  • Also, Coulson’s romance with the head of a rival agency sure ended in a goddamn rush but we’ll get back to that.

Silver: “It’s a trap! But what choice do we have?”

Here’s the scenario. The villain has abducted someone close to the hero. They make their demand. Everyone, literally everyoneespecially us in the audience, senses that this is a) a trap, and b) a terrible idea. But the hero tearfully asks what choice they have, and walks right into the goddamn trap. I mean, at least try. At least try, even a little bit, to outsmart the villain. You know they’re going to betray you, and it’s never a desperate person pulling their last job before retiring, it’s always someone truly dangerous, and you’re just, what, falling for it. You couldn’t make a token effort to betray them first?

Prime offenders:

  • The Flash again: Zoom threatens to kill someone close to Barry’s adoptive dad if Barry doesn’t give Zoom his speed. But, see, Barry… if you do give Zoom your speed, he’s going to use it to kill or torments thousands… no, millions of people that you know about, and you won’t be able to stop him. And Barry does it. Zoom even gave up his hostage first! You didn’t even try to double-cross him, and it got a dozen CCPD officers killed and led to the season’s low point.
  • Lucifer: When the season’s only true recurring villain, a corrupt cop saved from Hell to target Lucifer, kidnaps Detective Chloe Decker’s daughter, she’s determined to do whatever he wants. Even though Lucifer makes clear what we all know… he’ll kill them both anyway. There is no way in which Chloe goes alone and walks out alive, but she refuses to even try to think her way out of it. Fortunately, Lucifer ignores her wants and shows up anyway. Unfortunately, since Chloe’s there, he’s not bulletproof, which causes some issues.
  • Arrow: Damien Darhk kidnaps someone close to Oliver to make him drop out of the mayoral race. To his credit, Oliver at least tries to mount a rescue. Sadly, they blow it, Oliver caves, and a supervillain becomes mayor. But at least he tried.

Gold: Women in refrigerators

Named for the time rookie Green Lantern Kyle Rayner came home to find his girlfriend had been murdered and shoved into the fridge, “Women in refrigerators” refers to the unfortunate trope of female characters being killed to service the plotline of a male character. Superman turns evil because Lois Lane was killed, Vesper dying helps shape James Bond into the man he becomes, that sort of thing. We had a few this year. More than I’d prefer.

Obviously spoilers.

Prime offenders:

  • Agents of SHIELD: RIP Rosalind Price, head of SHIELD’s rival agency the ATCU, whose relationship with Director Coulson went from adversarial to adversarial yet flirtatious to authentically flirtatious to blossoming into a kind of adorable over-40 power couple, which is not something network television embraces often… and then it’s over because she’s dead so that Coulson has the necessary motivation to kill traitor Grant Ward. Because agent Hunter being determined to murder Ward at any cost wasn’t sufficient.
  • Agent Carter: Yes, feminist-loved Agent Carter went to the “Women in refrigerators” place. And not a gender-swapped version, because sorry, MRA crowd, “Men in refrigerators” isn’t a thing since it lacks decades upon decades of gender marginalization to back it up. No, Agent Carter did something else… Ana Jarvis, adorable and supportive wife to Peggy’s partner-in-crime Edwin Jarvis, is shot to cover villainous Whitney Frost’s escape. She lives, but we learn her injuries left her unable to have children. We never see her reaction to this news. Only her husband’s. Ana Jarvis’ potentially life-changing sterilization is a story about how it affects Edwin. We sort of expect better than that from Agent Carter.
  • Arrow: No, not what happened to Felicity. Her story is far too dominant in the back half, sometimes eclipsing Oliver’s, to count for this trope. In fact, this one’s kind of fudging the rules… see, they didn’t kill Argus boss and Suicide Squad engineer Amanda Waller to advance Oliver’s storyline. No, they abruptly killed off Amanda Waller for a far stupider reason: because the Suicide Squad movie’s coming up, and DC Films doesn’t like to share. Weak. Sauce.
  • Legends of Tomorrow: I guess since I’m on this subject, the entire plotline is about Rip Hunter’s wife and child being killed, causing him to go rogue from the Time Masters and do everything he does in the first season. So, you know… there that is.

Enough of that. What did storytellers do right this year?

Best Storyline!

It’s kind of all there in the header. So let’s make this quick.

Bronze: Smile, Jessica Jones

While Daredevil broke its second season into multiple story beats, Jessica Jones was still doing the binge-friendly approach of one story spread over 13 episodes. The entire season, save for one filler episode near the start, is Jessica vs. Kilgrave. And sure it drags in places around the middle, but overall, it works.

Silver: The Secret History of Hank Henshaw, Supergirl

When I heard that the head of the Department of Extranormal Operations on Supergirl would be named Hank Henshaw, I was pretty sure I knew where this was going. You may or may not have noticed from all of the everything, but I’m a long-term DC aficionado. You say Ronnie Raymond, I brace for Firestorm. You say the new barista’s named Kendra Saunders, I know to expect wings and a mace. They said Hank Henshaw, and I thought I knew where we were going. I was wrong. The Berlanti And Friends Cape-based Action Fun Factory hoodwinked me, the way they like to do. And instead of what I expected, they did something pretty great.

Gold: Rise of the Punisher, Daredevil

Simply put, the best story on comic book TV, maybe on TV in general, of last year. Daredevil made some mistakes this year, but everything involving Frank Castle worked like gangbusters. Not much else needs to be said.

Next time, the rankings begin.

Comic TV 2016, part one: Characters!

With last night’s season finale of Arrow, I can now call what I believe to be the biggest season for comic book TV in history closed. Which means it’s time once again to rank the superhero/comic book shows, and take a look at who did what best.

Because it’s my blog and I do what I want.

(Gonna drop “Worst,” though, that’s less fun.)

We lost one show from last year, as Constantine went from leading his own show to only having a guest spot on Arrow (with hopefully more to come, said basically the entire internet), but gained three more as Supergirl, Jessica Jones, and the Legends of Tomorrow hit the small screen. Also, this year I’m dropping “beyond the capes” and just inviting Vertigo to the party, so we’ll throw in the improbably successful Lucifer and the sophomore season of iZombie.

(Sorry, no Walking Dead… still haven’t watched it since 2011.)

(And no Preacher. The pilot just aired, they can play next year.)

(Also I will NOT call them “Marvel’s Agents of SHIELD” or “DC’s Legends of Tomorrow,” I hate that trend, we know you’re from Marvel/DC already, there’s a better way to announce that.)

Let’s start by looking at the best characters.

Best Male Lead

This should be a harder category to judge, given how dude-heavy the superhero market is. And yet, a few male leads fell short, often through finding themselves under-written rather than a fault in the actor. These are the three who, through a blend of solid writing and great performances, pulled ahead of a crowded pack.

Bronze: Tom Ellis as Lucifer Morningstar, Lucifer (a-doy)

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Lucifer, a series about the Devil himself living in LA and helping the police solve murders, should be awful. And yet it isn’t, thanks largely to Tom Ellis in the lead role.

There’s an undeniable charm to his take on Lucifer, and the amount of fun he’s clearly having in the role is infectious. Okay, yes, in large doses, his amused surprise voice and general lustiness can get… samey, but he still kept me coming back for an entire season of, and really listen to how ridiculous this sounds, a Castle knock-off in which the Devil helps the LAPD solve murders.

The ridiculousness of the premise bears repeating. And yet thanks to its lead, the show works. If that’s not a testament to Ellis’ skills and the writing of his character, I don’t know what is.

Silver: Grant Gustin as Barry Allen, The Flash

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I’m surprised he slipped a spot too. It’s not Grant Gustin’s fault, Grant is still the best in the biz in many ways. Still funny and heartbreaking. Grant/Barry helped deliver two of the best episodes of other series just through dropping by to lend a hand. But in the back end of the season, Barry Allen just made so. Many. Bad. Choices. Yes, I get it, EVERY character makes bad choices, it creates drama, but it just got overwhelming. Starting in episode 10, it may as well have been called “The Increasingly Poor Decisions of Barry Allen.”

I don’t like being that angry at Barry so often. But when he wasn’t screwing up royal, he was still the most noble, most dependable, most lovable hero in a uniform. Sorry, no… in a costume.

Gold: Clark Gregg as Director Phil Coulson, Agents of SHIELD

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It’s like all of a sudden the writers of Agents of SHIELD remembered what an asset they have in Clark Gregg. Freed of the endless and slow-moving Tahiti/resurrection/space madness plot that dominated the first season and a half, they actually started finding more emotional and engaging things for Coulson to do. From his rivalry/flirtation with ATCU head Rosalind Price, to his unnervingly calm determination to end traitorous ex-agent Grant Ward, to how haunted he was by succeeding in it, to his awkward mismatched-buddy cop partnership with former nemesis General Talbot, Coulson had a lot of great levels and moments this year. And without all of that “Why is he alive” and “What is he hiding from the team” malarkey, he really came into focus as a leader.

This was the most fun Coulson’s been to watch since The Avengers, and it made this the season I remembered why I was glad he didn’t stay dead.

Best Female Lead

What a difference a year makes. From having so few female leads on TV that I had to stretch the definition just to have the category, to having enough that last year’s winners got knocked clean off the podium. Here are comic book TV’s top ladies.

Bronze: Rose McIver as Liv Moore (GET IT?), iZombie

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Frankly last year I did “Beyond the capes” because I wanted to rave about Rose McIver’s performance on iZombie. When zombies on iZombie eat a brain, they take on aspects of the former owner’s personality. Which means every week we meet a new twist on Liv Moore: eternal optimist, magician, fighty stripper, caped superhero, and somehow they all stay Liv at their core. This year Liv found love, lost love, and lost hope as a promised cure to zombieism began to fail, and along the way Rose McIver will make you laugh and make your heart bleed for the pale mortician with a hunger for brains.

Silver: Melissa Benoist as Kara Danvers/Zor-El, Supergirl

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Supergirl was a breath of fresh air for people tired of the darker tone of DC’s movies. Or, indeed, some of their TV. She’s bright, smiling, hopeful, colourful, and at the heart of the character is a ridiculously adorable performance from Melissa Benoist. When she smiles, you smile, and when she cries, you cry. It’s a knockout performance as a lovable character that could only be surpassed by, as it turns out, one thing…

Gold: Kristen Ritter as Jessica Jones, Jessica Jones (I reiterate… a-doy)

Ritter

…a knockout performance as a wonderfully UNlovable character that you end up liking all the same. Jessica Jones is hard-drinking, angry, confrontational, violent, and wonderful to watch. She is a great example of what someone more knowledgeable than me on feminist lead characters discussed in an article called “The Importance of the Unlikable Heroine.” For those who didn’t read, a) for shame, b) she talks about how female characters, unlike their male counterparts, are forced into boxes of likeable, ladylike behaviour. I could go on, but this would get long and stop being about Jessica, so… like her or not, you rooted for her. She was compelling to watch, and the first hero of any gender to turn surviving sexual assault into a super power.

There’s room on TV for Supergirl and Jessica Jones, but if forced to pick (and I guess technically I wasn’t but here we are anyway), Jessica has the edge. If only for how she nailed her line when accused of being paranoid… “Everyone keeps saying that. It’s like a conspiracy.” Black Widow wishes she did that well with the same set-up.

Best Male Supporting Character

There are too many great supporting characters on TV to limit them to just one category this year. Most of these shows are made by their ensembles. Flash wouldn’t be Flash without the geeky enthusiasm and wit of Cisco, Arrow finally clicked in its first season when Oliver partnered with Diggle, Karen Page remains the beating heart of Daredevil… It’ll be hard enough just to pick out three of each gender. But let’s give it a try, starting with the dudes.

Bronze: Rahul Kohli as Dr. Ravi Chakrabarti, iZombie

Ravi

As strong a lead as Rose McIver is, the heart and soul of iZombie is her partner/boss and confidant, Ravi Chakrabarti. Ravi provides backup at the morgue, searches tirelessly for a cure to zombieism, and is a best friend to Liv’s ex-fiance Major Lillywhite (yeah, I know, this show does like to be blunt with the naming). He’s also charming and effortlessly funny, such as when a barista tells him a quote is from Ghandi, and he points to himself saying “Clearly I know who Ghandi is. I’m British. He stole the crown jewel of our empire!” And he managed to sum up me watching any episode of Hannibal… after Liv whipped up that week’s brain-based meal, he leaned over her shoulder and let out a whimper of “God help me but that looks delicious…” And hey, a positive and non-stereotypical role for an Indian. And Aziz Ansari didn’t even have to write it himself.

Silver: Wentworth Miller as Leonard Snart, Flash/Legends of Tomorrow

Captain_Cold

Last year, Captain Cold had knocked it out of the park as the Flash’s second best villain (not entirely fair, he had four episodes to Reverse Flash’s entire season). Not only a delight to watch, he posed an actual challenge to the Flash, beating him three out of four times they crossed paths. So it’s no surprise he made the list of “great recurring characters we want to have their own show” that is the cast of Legends of Tomorrow. What I wouldn’t have necessarily guessed, given that his team includes Brandon Routh’s Ray Palmer, Victor Garber’s Martin Stein, and Arthur Darville back in a time machine, is that he’d become the show’s MVP. Just the right level of camp, and one of the best character arcs, as Snart goes from being out to steal across history to becoming a true believer in the mission… while his long-time partner Heat Wave did not, leading to a difficult choice. As much as I’d love to see Captain Cold back in Central City leading the Rogues, I’d be sad to see him leave the Waverider. But as it turns out, next year he’ll be doing both. Or neither. It’s really uncertain right now. I just know he’ll be around somehow.

Gold: Jon Bernthal as Frank Castle, Daredevil

Castle

In one of the best scenes of Daredevil’s second season, in fact, of superhero TV this year, the main character just sits quietly for like five minutes while someone else gives a monologue. That’s all it took to deliver an amazing scene. Because that’s how good the Punisher was.

Jon Bernthal’s magnetic performance as Frank Castle was the single best thing about Daredevil’s second season. Frankly (sorry, that was an accident) it was one of the best things on TV this season. Daredevil had some faults this year, no getting around it, but the rise of the Punisher wasn’t one of them. No wonder he’s getting his own show, he basically stole this one out from under its lead.

Best Female Supporting Character

Remember that thing I said about ensembles? That again, only now we’re talking about women.

Bronze: Chloe Bennet as Daisy Johnson, Agents of SHIELD

Skye

This wasn’t a sure thing until a few weeks ago. Daisy, formerly known as Skye, soon to be known by her comic alias of Quake, has always been a central figure to Agents of SHIELD, even in the beginning when she wasn’t quite up to it. But season three wasn’t just when they figured out how to use Coulson. Daisy/Chloe finally found her niche, became a badass, and as the resident Inhuman in SHIELD, the voice of her people. But it was the final episodes of the season where she really shone. After having her mind influenced by would-be Inhuman messiah Hive, Daisy finds the belonging she’s always craved… but when her mind is freed, all she’s left with is a horrible slurry of PTSD, withdrawal, guilt for her actions, and crushing grief. And when she finds out she can never get that belonging back… powerful, powerful rage. And Chloe Bennet just nailed it, leading to an amazing fight scene blending some of the show’s better choreo and Daisy’s powers.

Silver: Chyler Leigh as Alex Danvers, Supergirl

Chyler

Kara may rely on her friends to help with her crime fighting, but the one person she counts on above all is her adoptive sister Alex. The love these two sisters-by-choice have powers the show more than any other relationship. Also, Alex kicks a certain amount of ass. And I’ve been a fan of Chyler Leigh’s since she and Captain America made fun of teen movies back in 2001.

Gold: Rachael Taylor as Trish Walker, “Jessica Jones”

Patsy

Speaking of sisters-by-choice… Jessica Jones makes every effort possible to shove everyone in her life away from her, but there’s one person who will not budge. Patricia “Trish” Walker, radio personality and former child star of “It’s Patsy,” stands by Jessica no matter what. One could argue that every positive impulse Jessica has is thanks to her friendship with Trish, who Rachael Taylor sells as a friend worth having, no matter what. And as a badass-in-progress. Even when trying to lure out Jessica’s mind-controlling nemesis almost gets her killed, Trish stays in the fight, and remains Jessica’s lifeline until the very end.

Best Villain

So, this is where I got some flak last year for naming Gotham’s Oswald Cobblepot and Agents of SHIELD’s Calvin Zabo instead of Vincent D’Onofrio’s excellent take on Wilson Fisk (Reverse Flash I stand behind). That’s on me, that’s my bad. Let’s see if I can do better this year. It’ll be a challenge, since this season saw a lot of great comic book villains hit the screen… Vandal Savage, Maxwell Lord, Killer Frost, Mr. Freeze… but these three stood out.

(Honourable mention to Agents of SHIELD’s Brett Dalton, who, as always, basically played two characters this year, both villains, one almost good enough for the podium. Six variations on Grant Ward in three seasons, at least three of them decent, that’s a little impressive.)

Bronze: Eddie Jemison as Stacy Boss/Steven Weber as Vaughn Du Clark, iZombie

Or vice versa

 

In season one, the big villain of iZombie was Blaine, formerly a low-level dealer of a drug called utopium, who infected Liv at the fateful boat party that began the zombie plague. But Blaine was too fun to kill off, and couldn’t be the main villain forever. So season two made Blaine a more necessary evil, and gave us larger roles for two of Seattle’s more nefarious businessmen. Each with their own connection to the cocktail that created zombies: a tainted batch of utopium combined with Max Rager energy drink.

Season one introduced Max Rager, its apparent connection to the zombie outbreak, and its possibly psychotic CEO, Vaughn Du Clark. In season two, Vaughn stepped up from simply pushing a product that caused outbursts of zombie-like rage in certain customers (and hiring an assassin to cover that up) to full-on supervillainy, running a secret lab studying zombies, all for the goal of successfully launching his new product Super Max, which was somewhere between Red Bull and Super Solider Serum. And he also lured one of Liv’s allies into hunting down Seattle’s zombie population to cover his tracks. Steven Weber is gleefully amoral in the role, relishing his devious acts, making Vaughn Du Clark one of those villains you love to hate.

And in this corner… season one dropped rumours and allegations about Blaine’s old employer, the kingpin of Seattle’s utopium trade, Mr. Boss (as I’ve said, they love their on-the-nose names). Season two had Liv’s best friend and Seattle ADA Peyton Charles begin putting together a case against Mr. Boss. Soon after, an unassuming man at a barber shop, played by Ocean’s 11’s Eddie Jemison, described a perfect murder that would send chills up your spine, and then later in the episode, strolled into Peyton’s office to update her board laying out Boss’ syndicate. And so did we meet Stacy Boss: mild-mannered accountant-slash-ruthless crime lord, past and future problem for Blaine’s brewing rival drug empire. Stacy Boss is a subtler, but no less dangerous evil than Vaughn, and in his own way is more monster than the zombies.

They’re both a delight, and add new layers of long-term villainy to what is still primarily a murder-of-the-week show.

Silver: Neal McDonough as Damien Darhk, Arrow

Damien_Darhk

Speaking of villains you love to hate.

Last year, Arrow got to use one of DC’s big guns as their Big Bad: Batman nemesis and leader of the League of Assassins, Ra’s Al Ghul. And they whiffed it a little. This year they went the opposite direction, a villain that even I couldn’t place when he was first name-dropped at the end of season three. I probably have every comic that Damien Darhk ever appeared in somewhere in my basement, but I still had to Google him.

And they nailed it.

The sheer glee Damien had in his sinister work radiated out of him. After three years of increasingly angry and/or angsty main villains on Arrow, to have a villain who so relished the role was a breath of fresh air. And more importantly, they had Neal McDonough. He owned every scene he appeared in, no matter which show. So much so that he caused problems for one of the other DCW series villains… comic book A-lister Vandal Savage’s debut in the Flash/Arrow crossover was completely overshadowed by a one-scene cameo by Damien Darhk. Early in the season, I would actually flinch a little when Damien turned up unexpectedly, because he managed to exude that level of grinning menace just by walking into a room.

Neal McDonough gave a masterful turn as a villain we loved to hate. What could be better? Well…

Gold: David Tennant as Kilgrave, Jessica Jones

Kilgrave

…A masterful turn as the villain we hate to love. The one who makes your skin crawl.

Oh man. Kilgrave. I knew, I knew from the second I heard who was cast, that Kilgrave would give us all the jibblies pretty hard. But I think I may have still underestimated it. David Tennant was horrifyingly spellbinding in the role. And how good was Kilgrave as a villain? He was able to create high stakes without putting the world at risk. Kilgrave didn’t want to destroy and/or rule the world, unlike the majority of this year’s Big Bads (six out of eleven, maybe seven, it’s hard to be sure with the Hand). He just wanted to make Jessica love him. But he was power without conscience, an immoral monster able to impose his will on anyone, and that was enough to make him a menace. Plus, thanks to a non-cheery Cracked article, I learned how incredibly effective he was as a powers-as-metaphor representation of abusive relationships and stalkers. Kilgrave rivals Wilson Fisk for Best Marvel Cinematic Universe villain ever, and he was head-and-shoulders above the pack on TV last year.

Next time… fights, stories, and tears.