Okay. Here we go. But first… one piece of new business.
Every year, some show in the rankings has been in its last season, but never enough to keep the list from growing from seven to twenty-two. But we’ve hit a point where there are enough that they’re killing themselves down to a more sustainable level. Thus, some farewells.
The Tick. Oh, The Tick… like always, maybe you were just a little too cult to live. But while you lived, you were nailing it. Wait– you had one fewer episode overall than Iron Fist? No wonder God has forsaken us.
Gotham. You were never the best show, not by a wide margin, but there were flickers of greatness… well, pretty-good-ness… that meant you weren’t the worst, either. Well, okay, sometimes you were the worst, but not recently.
The Gifted.You may have been the Agents of SHIELD of Fox’s X-Men universe, the red-headed stepchild not allowed to play with the other kids, but you did your best. Still, that Disney buy-out was your death. And come on, man, you did not have the ratings to be ending on a cliffhanger.
Literally all of Marvel Netflix. In the beginning, you set a high bar for comic TV, but you never quite matched those first seasons of Daredevil and Jessica Jones. Until the end you struggled with pacing issues, unnecessary side characters, inability to pick a main villain, and a refusal to do anything too “comic booky.” And yes, you bungled the big crossover. Still, the franchise had more good than bad overall. Even Iron Fist was starting to get its act together. Was Jessica Jones’ third season a fitting send-off for the entire franchise? No, and that’s irrational, it couldn’t have been, that would have required a second, hopefully better Defenders series, maybe involving the “Who can stop Luke Cage, King of Harlem” fight they kept teasing, but “proper send-off” wasn’t on Netflix’s agenda. Disney+ was your franchise’s end. Via con Dios, Defenders.
The idea that the Marvel movies and TV shows share a universe. Not even Agents of SHIELD, which is normally first in line to name-drop any event from the movies, acknowledged the events of Avengers: Infinity War. And given when season six takes place, and when Endgame takes place, it would have to. So… guess that’s over.
Now, on with the show! (I apologize if the last two posts maybe drained some suspense out of who’s taking the top spot.)
Okay! Let’s get into the best superheroes, supervillains, and other comic-related characters of the season!
Honourable Mention: Real talk… few of these characters delighted me like the one character who defies every single category I have: Doom Patrol’s Danny the Street.
Danny’s a sentient, teleporting, genderqueer street that houses a community of misfits and outcasts, and they’re delightful, and I was so happy the writers embraced the Grant Morrison weirdness of the Doom Patrol franchise enough to include Danny. Their debut episode, “Danny Patrol,” was a blast.
(I may eventually need more non-gendered categories, especially if one of these shows casts Liv Hewson or Asia Kate Dillon or another non-binary actor of their caliber… but not today.)
Anyway, on to characters a little easier to categorize. So easy they don’t even need introductory paragraphs to explain the categories.
Best Female Supporting Character!
Honourable mentions: Carrie-Anne Moss and Rachel Taylor had some good spirals into self-destruction on Jessica Jones; Yara Martinez remained fun as Miss Lint on The Tick; Julie Ann Emery had great edge as Featherstone on Preacher.
Bronze: Rachel Taylor as Trish Walker, Jessica Jones
For the first two seasons of Jessica Jones, and a bit of The Defenders, Jessica’s best friend and adoptive sister Trish pushed Jessica to be a better hero, to use her gifts to help people and fight evil. But after the events of season two, Trish finally has powers of her own. She can finally be the hero she’s always wanted Jess to be. Sure the process that gave her powers has a slight history of also causing homicidal rage, and yes, her need to feel powerful caused all sorts of bad choices in season two, but this should be easy! Right?
Trish’s journey over season three is a rollercoaster, I tell you what, and Rachel Taylor came to play.
Silver: Tala Ashe as Zari Tomaz, Legends of Tomorrow
Playing a character whose classic hero name they can’t really use anymore, Tala Ashe’s dry wit was a welcome addition to Legends last season, and it remained so this year. But we also got to watch Zari’s tough shell begin to crack, as her survival instincts from the ARGUS police state future she came from began to relax. Her gradual, mutually awkward flirtation with fellow Legend Nate Heywood (spurred by something simple: pretending to be a couple for a heist and then thinking “Huh, we’re both hot, we could just do this”) was consistently adorable, and led to both one of the year’s best musical numbers (see last entry) and an emotional finale where she has to risk having her entire history rewritten to save Nate.
Plus she cut loose on some witch hunters (emotional), impersonated a 70s DJ (funny), and got turned into both a cat and a puppet (legendary). And if all of that weren’t enough, she opened the season with a powerful monologue on how fear took over her society, ending with one small but killer line. Lots of shows tackled fear and hate this season, but few managed as simple and powerful a moment as Zari watching her hijab-wearing mother smiling and laughing with young Zari in a playground, and asking “How could anyone be afraid of her?”
This season may have had slightly too little time for all of its character arcs, but Zari always shines.
Gold: Katie McGrath as Lena Luthor, Supergirl
There is a marvellous subtlety to Katie McGrath’s performance as Lena Luthor. She went through a lot of unpleasantness this season, loss and heartbreak and betrayal and more betrayal and a global hunt for her brother, and Katie McGrath managed to convey all the pain and sorrow Lena went through without dropping the cold, hard exterior she’s had to develop as both a successful businesswoman and a Luthor. Not the most open and loving family. Katie handled Lena’s bleak year with incredible nuance.
Katie is masterful at this role. Lena’s heading to a dark place, but I’m hoping she doesn’t go full-villain, because I don’t think I can bring myself to root against her.
Best Male Supporting Character!
Honourable mention: Jay Ali’s take as the tortured Agent Nadeem on Daredevil; most if not all of the male cast of The Umbrella Academy. Unless you consider all the Hargreeves kids to be leads, in which case just Hazel and Hargreeves Sr, I guess.
Bronze: Jesse Rath as Brainiac-5, Supergirl
Last season, Jesse Rath swiftly won me and others over as Querl Dox, aka Brainiac-5, the Legion of Superheroes’ resident super genius. In season four, he takes the departed Winn Schott’s place at the DEO, working as both a DEO agent and secret superhero ally to Supergirl and her band of alien do-gooders when relations between the two groups deteriorate.
Rath’s always done a good and amusing job at portraying Brainy’s alien, calculating nature, existing somewhere between and to the left of Data and Spock, but as he began an awkward flirtation with Nia Nal, who he swiftly recognized as an ancestor of his old teammate Dream Girl, Brainy found new levels of cute.
But what really gets him on the podium came late in the season, as the alien-hating Children of Liberty accidentally unleashed Brainy’s dark side. As anyone familiar with Superman’s rogues gallery knows, the Brainiac line is not filled with pleasant people, and under torture, Brainy lost control of his ancestral memories. After an emotional moment, a darker, crueler Brainiac was unleashed, and Brainy went from cute to chilling.
I miss Winn sometimes, but damn Brainy’s fun to have around.
Silver: Robin Lord Taylor & Corey Michael Smith as Penguin & Riddler, Gotham
There were definitely a few things Gotham did well, in the sea of things they did poorly. The art design, cinematography, at least half of their villain creations. But if I were to point to one thing that kept me going through all 100 episodes, one facet of the show that made coming back worthwhile through all the Mad Hatters and Jeromes and Jim Gordon never bringing backup, it was Robin Lord Taylor’s performance as Oswald Cobblepot. There is a time and place for restraint in acting, and Taylor understood that Gotham is not it, throwing every inch of himself into every scene he had. But he worked best when part of an unexpectedly great double-act.
Because when Penguin’s plots linked up with Ed Nygma’s? Magic. As begrudging allies, best of friends, or sworn enemies, their scenes together routinely popped. As we bid farewell to Gotham, it seemed fitting to give a final tip of the hat to their two best and most consistently entertaining villains.
Gold: Pip Torrens & Joseph Gilgun as Herr Starr & Cassidy, Preacher
Last year I talked about how perfectly Pip Torrens captures the cold, vicious, and utterly captivating Herr Starr, chief enforcer for the Grail, Earth’s secret rulers. Well, I’m not going to do that this year.
Because if anything he is surpassing his comics counterpart.
The chilling calmness with which Starr goes through his bloody business is always riveting to watch, and often hilarious. It’s at the point where I’ll be sad to see his joust with Jesse come to an end. And not just because I wasn’t ready for the show to be over after next season.
Meanwhile, Cassidy had some big moments this year, from fighting his best pal Jesse (a few times) over Tulip, even taping himself back together to go an extra round; to a quiet, sad, moment of choice where he realizes there are lines he can’t cross to keep Tulip; to his discovery of Les Enfants du Sang, a group of vampire wannabes led by the first fellow vampire Cassidy’s met in decades. Gilgun found new depths to Cassidy this season, and nailed them all. And he keeps the humour of the character, if his debate with the Enfants over how to kill a Grail infiltrator proves anything.
It’s that time again! Time to look through a season’s worth of comic book TV shows, look at who did what best, and deliver a conclusive ranking, based on my highly scientific standard of “Which ones I liked more, and also you didn’t watch them all so you don’t know I’m wrong.”
So, here are this years’ competitors, with links to blog posts if posts there do be:
(Why are the two seasons of Cloak and Dagger ranked separately but not Sabrina? Because Netflix ordered twenty episodes of Sabrina then released them in two chunks and a Christmas special, while Cloak and Dagger did ten episodes then had to get renewed before they made ten more.)
TV shows are constantly being released. Krypton and Legion started up new seasons in the past couple of weeks, and The Boys is coming up fast. So I have to draw the line somewhere. As such, I’m only including shows that ended their season between July 1st 2018 and June 30th 2019. This means some personal favourites are off the list this year because their finales are still a few weeks or months out, and Game of Thrones reminds us not to build monuments to the living, for they can still disgrace the stone. Or in other words, any show can trip over its own feet at the finish line.
So this year doesn’t include the latest seasons of Agents of SHIELD or Krypton, the final seasons of iZombie and Legion, or what is apparently the only season of Swamp Thing.
Or Walking Dead because I don’t care and you can’t make me care.
Or anything I hadn’t heard of until it was already cancelled, like whatever Deadly Class was.
Things are bad out there, you guys. Really bad. The world is dangerously close to climate-based mass extinction, and instead of banding together to stop it, more and more of the world is getting sucked into alt-right, arch-conservative, anti-science, bigoted, “us first” nationalism. The American south is attempting to treat women and reproductive rights with all the care and respect that the Confederacy treated people of colour, and Canadian conservatives are watching it happen and thinking “Say, that gives me an idea.” Nobody’s willing to call a mulligan on that whole Brexit debacle. Disney owns 40% of the concept of entertainment, and the layoffs have begun.
It’s dark out there. But I don’t have a lot of answers for that, outside of STOP. VOTING. FOR. CONSERVATIVES,so today I’d just like to talk about something related to the apparent collapse of human society.
How do superheroes respond to today’s world?
The CW superhero shows, still known as the Arrowverse and not the DCW-verse because we are incapable of coming up with good names*, devoted themselves this question this season, potentially their final season as The Best Superhero Franchise on TV. (The CW shows are of higher average quality than Marvel Netflix was, fight me, but the DC Universe streaming service came to play, peeps. Titans was better than it deserved to be and Doom Patrol is so good you guys.) Each of the four Arrowverse shows (Black Lightning remains separate for at least another half-season) spent their season addressing the state of the world in some way or another, some more nakedly than others.
So instead of a typical review of the Arrowverse shows, I want to look at how each one tackled the state of the world and their home country.
*The Canadian two-dollar coin is called the “toonie,” as the dollar coin was called the loonie, but “dubloonie” was on the table. I will never forgive my country for making the wrong choice.
Five years ago, Fox greenlit a series about Gotham City in the years before Batman. Why? Out of faith in one of comicdom’s better supporting casts of flawed do-gooders and colourful villains? Maybe, but as I’ve explained in the past, there were better ways to do that. Maybe it was because Smallville lasted ten years and– ten years. Son of a bitch. I watched that show for a decade. That is not a trivial percentage of my life. I was young and married and full of hope when that started, thinking George W. Bush was as bad a president as we’d ever see… all of that sure changed…
Anyway, five years and 100 episodes later, Young Jim Gordon’s quest to redeem Gotham City but not to a point where it wouldn’t eventually need a bat-themed superhero saviour has come to an end.
Earlier this season, I did defend portions of Gotham, if only to underline all the problems I had with Cloak and Dagger’s first season, but in the end… and we have hit the end… it was unique. Not in its subject matter… “DC Prequel Show Named After a Place” is basically a genre at this point… but in its devil-may-care bonkers approach to the subject matter. Gotham’s willingness to try any idea, no matter how insane or ill-conceived, led to some truly operatic battles between order and chaos, many of them really stupid, some of them bizarrely compelling.
As we say farewell to Gotham and brace for the showrunner’s new prequeller prequel Pennyworth…
I thought it worth a look back, through the veil of this 12-episode final season.
If anything else… they made 100 episodes of a show about the origins of Batman and a large amount of his rogue’s gallery that never said “Batman,” “Joker,” or “Catwoman” out loud, and that’s… kind of an achievement?
This season, because I love nerd stuff more than I apparently like myself, I decided to binge my way through two shows that I had very little reason to suspect I’d enjoy. Very little. But so determined am I to keep up on any and all comic book TV series… based on comics I’ve heard of… that don’t rhyme with “Smocking Smed…” that I dove in anyway.
On the one hand, we have the Runaways.
Their second season hit back in December. Their first season was… okay… (ranked 15th of 22 last year) but sluggishly paced, and didn’t really get anywhere. I described it as a ten-hour pilot, because I can’t really remember any storylines that weren’t just gradually getting pieces in place for the origins of the runaways or storylines from season two. Sure Preacher’s first season (5th of 13, 2017) did kind of the same thing, ending the season at the end-point of the first story arc, but it felt like Preacher had a lot more going on than Runaways did (hint: Preacher almost always has more going on, it’s great). Runaways isn’t the first show I’d name when describing how a slow burn can go wrong, but it’s on the list.
Titans, the first entry from the DC Universe streaming service (available here through Netflix), didn’t have a predecessor to compare to, favourably or otherwise, but it did have a super dark and very baffling trailer that made it look like an impending train wreck.
So we have two shows, based around younger heroes, that I had every expectation of not being good… and both surprised me. Runaways seemed to take my criticisms to heart… which, yes, heavily implies that I wasn’t the only one making them… and Titans managed to be the season’s biggest surprise so far. I came in expecting to make another “Let’s laugh at how bad Iron Fist was” post, and instead it’s… legitimately interesting?
That’s nearly all they have in common. One’s a YA series with occasional mild profanity that’s as grounded as a show with aliens and magic and a dinosaur can rationally be; the other is a hard-R, curse-filled, graphically violent tale of four damaged youths trying to learn to be a team. So I guess they both have “found family is sometimes better than blood family” going on as well, and that’s all I need to justify the joint post. And along the way, I bet we find more. Rock it.
With the last cancelations now announced, Marvel/Netflix’s Defenders franchise is winding down and will end with season three of Jessica Jones.
So it kind of makes sense, at this point, to begin looking back at this sometimes great, sometimes terrible collection of shows… and it makes extra sense, because within Punisher season two, we can see nearly every way they went wrong.
Now, I’m not saying Punisher will show us why Netflix started canceling the whole lineup. We already know why that’s happening. Disney, Marvel’s parent company, is starting their own streaming service, and that soured their relationship with Netflix, which like a white man in Hollywood is probably really annoyed that they’re no longer the only game in town.
No, I’m saying that if we examine all the ways Punisher season two didn’t work, we find nearly all of the routine failings of the five series (and one mini-series) that made up the Defenders-verse.
Including the fact that it’s not connected to the films and it never was. If Kevin Feige reboots Daredevil in three years with new actors, will you all believe it then? Or will you just blame it on the Thanos snap somehow? Probably the latter.
As I go… I’ll slip in the things they did well. Unless I run out.
Okay, so, we should all know the drill by now, yeah? The Oscars are about to happen, and even though they’re a deeply flawed ceremony that tends to play to the sensibilities of an out-of-touch voting block rather than award films that will truly stand the test of time (see The King’s Speech, which is aging into a hard Jeopardy question and an obscure Office reference), and hand out acting trophies to people seen as “due” rather than deserving (Al Pacino losing for The Godfather Part 2 to Art Carney for a film nobody remembers, so Pacino had to win for Scent of a Woman over Denzel Washington in Malcolm X, and so on and so forth), they remain my little film-based obsession.
So here are the nominees for Best Picture of 2018, in the order I prefer them, this time with Hot Takes and, borrowing a page from this Twitter genius, out of context John Mulaney quotes, why not!
8. Bohemian Rhapsody
Premise: The rise to fame of Freddy Mercury, and to a lesser extent the other members of Queen.
Hot take: So we’re still doing these, huh?
The camera zooms in on Mike Myers while he makes a Wayne’s World reference. That’s not a joke. That is a thing that happens in this Golden Globe-winning movie that somehow isn’t a parody. The future is not what any of us hoped it would be.
Rami Malek does give a great performance as Freddie Mercury, he really does, but then that’s what Bohemian Rhapsody is. It’s a biopic about someone generally loved designed to say “Look at how great he was” and win someone a Best Actor Oscar. I can’t say I learned anything about Freddie the person, I just watched Freddie the persona walk through all of the key moments* from him joining the band that would become Queen, to the moment of inspiration for some of their better known songs, to their entire Live Aid set.
Much like The Darkest Hour had nothing to say about Winston Churchill’s more controversial post-war political career, there’s also nothing about Live Aid’s famine relief money being spent on guns from the Soviets, because we’re just here to watch Freddie Mercury be great, not, like, interrogate the man and his life and his choices or anything.
Maybe if we start doing that, these endless biopics might serve a purpose, but for now… well, at least it was more fun than The Imitation Game. I almost said The Theory of Everything but actually that one was also okay.
*Save for signing on to write the soundtrack to Highlander. Who Wants To Live Forever is snuck into the soundtrack but that whole album is skipped over.
7. Green Book
Premise: Named after a guide book to help black people travel through segregation-states without Incident. Based on a true story which has been angrily refuted by family members of one of the characters, a famous jazz musician hires an Italian-American bouncer to be his driver and assistant on a tour of the segregation-era South, showing us how institutional racism affected this black musician…’s white driver.
Hot take: Two movies with black protagonists, the word “black” right in the title, and the frontrunner is a movie about a white man learning to be less racist because he has a black friend? Oh, Oscars, why you gotta be so white about everything…
So the main strength of this one has to be in the performance of the two leads: a wonderfully stoic take from Mahershala Ali as jazz musician Dr. Don Shirley, attempting to tour Segregation South while both black and gay, playing for people that will act like he’s a star but refuse to let him use the same washroom as them; and a nigh-unrecognizable Viggo Mortensen as the gluttonous, unpolished Tony Lip. Segregation South is played as cartoonishly evil, but is there really another way to portray it? Aside from that… we watch a man who tried to throw out two drinking glasses because black people drank from them witness how aggressively evil that sort of racism actually is, and become basically better, while Dr. Shirley learns that maybe he should lean into the stereotype and try fried chicken? Is that his character arc? I don’t know why I’m asking you, I’m the one who watched it…
Anyway, it’s… fine. It’s okay. I remember laughing a few times, if not at what, specifically. I was disappointed that Tony Lip didn’t go upside the heads of more racists, but I get it. You watch it, you enjoy it more than you’re bored by it, and then it’s over and you basically move on, largely unaffected, because either you know racism is bad, or you probably didn’t watch this one. I just remember a time when “It’s okay” wasn’t enough for an Oscar nomin– no, wait, turns out I don’t remember that time, I just wish it would hurry up and get here.
6. A Star is Born
Premise: Jack, a fading country singer, meets Ally, a songwriter who doesn’t think she has a chance. Their relationship launches Ally’s career, and delays Jack’s descent into self-destruction from alcoholism and pill addiction by, oh, several months, at least.
Hot Take: Any conversation about Hollywood being out of new ideas surely needs to include this one, right? This is our fourth time on the Star is Born roller coaster.
So once again our main strength here is in performances. Lady Gaga gives a stellar performance, especially in the key scene where Jack lures her on stage at one of his concerts to sing a song she wrote. The emotions that play over her face as she makes the choice to join him onstage, through to the elation at singing her song in front of a crowd of thousands. That scene is killer. From there, it’s just waiting for Ally’s push into actual music instead of country and Jack’s substance abuse issues to drive them apart, and wondering how bad it will be when everything hits a breaking point. Not… not the happiest ending, no it is not.
So… can’t say that the second half lives up to the first. Also the first half was a little troubling, because Jack’s pursuit of Ally was the sort of thing Me Too stories are made of, but I guess we were supposed to find it charming? I was busy trying to figure out if Ally was actually attracted to Jack or if she was too scared to walk away from a really uncomfortable flirtation.
It wasn’t as unhealthy as, say, that freak relationship from The Phantom Thread last year, or even Rocky Balboa’s first date with Adrian, but… Bradley Cooper’s my third or at least fourth favourite Alias veteran*, so I’d really like him to not be a creep, but he wrote that creepy-ass first date, and now I’m worried.
*He’s competitive with Kevin Weisman, but nobody can outrank Jennifer Garner and Victor Garber. Also it warmed by geek heart that he slipped two other Alias castmates into small but key roles.
Premise: An indigenous maid in early 70s Mexico works for a richer, whiter family. The family is falling apart, and her dirtbag boyfriend gets her pregnant and then vanishes faster than that Live Aid money disappeared into some Russian arms dealer’s bank account (callback joke! I am nailing this!), and then she gets to deal with all of that.
Hot take: I know Hollywood was just arguing that cinematography is a more essential part of film making than screenplay, but I don’t know, maybe tell a story?
That’s a harsh hot take, to be sure, but that is what hot takes are for, if I understand the term correctly.
This is certainly the most artistic of the nominees, so if it were to win, I could live with that. More than I could if it went to Green Book, I tell you what. The film, if I understand the discourse I’ve read since properly, is meant to be like memories. Most shots are from a single perspective: fixed but rotating cameras, inserting the viewer into the moment more fully than a lot of cuts and coverage would. And this is a very interesting shooting technique, more so, possibly, than Birdman’s faux-single take approach. So it’s well-shot, well-acted… it just feels a little narratively thin to me, and I am nothing if not a slut for narrative.
Probably worth watching, but if you watch it, don’t be on your phone. The visuals are as important as anything, even the dude doing martial arts with his dick flapping around.
I’m not kidding, that’s a thing that happens.
4. Black Panther
Premise: In the wake of his father’s death in Captain America: Civil War, Prince T’Challa returns to the secretly super-advanced kingdom of Wakanda to replace his recently departed father as king, only to face an unexpected challenge for both the throne and the role of Wakandan champion the Black Panther from the American cousin he didn’t know he had.
Hot take: Let’s not pretend that Disney didn’t throw their immense money and influence into finally breaking the “Super hero movies don’t get Oscar nominations” stigma.
Look. I’m not here to dis Black Panther, or complain how CG the third act is, or claim that it’s nomination is entirely based on Disney money, or any of the things that, I have to assume, primarily white comic nerds are doing in the wake of Marvel’s first black hero also being the first to land a Best Picture nomination. And it was never going to be Infinity War, because Infinity War broke a very simple rule… never show a man half a job. For all of its strengths, Infinity War is half a story.
Black Panther, however, is a complete tale, with an exploration of what a great nation’s responsibilities to the world might be, with a top-tier villain turn from Michael B. Jordan. If I were to name one Marvel Studios picture that deserved to make the Best Picture shortlist, yeah, I’d pick this one. In terms of superhero movies as a whole I would have backed Wonder Woman last year but that third act had some flaws, and not just in terms of CG. Logan certainly deserved more love than it got, but we’re here now.
Just remember, Marvel Zombies (a preferred term for hardcore Marvel fans)… this wouldn’t have happened if the Oscars hadn’t expanded the Best Picture category to “Up to ten” in the wake of the massive public uproar over The Dark Knight getting snubbed for that waste of time movie The Reader. So a Marvel movie was first to the podium, but DC changed the system.
3. The Favourite
Premise: Queen Anne (a delightfully batty Olivia Colman) rules England, but the worst kept secret in the palace is that her best friend Lady Sarah (Rachel Weisz) is essentially running the country, and pushing it towards an expensive war with France. All of this is threatened when Sarah’s cousin, Abigail (Emma Stone), arrives at the palace seeking employment, her family having been ruined by her father’s gambling. Abigail’s attempts to secure a place back in high society and Sarah’s ambitions for the country find themselves at loggerheads, as they compete to be, well, the Favourite. Right there in the name.
Hot take: Flip some genders and glamorize the rulers a bit more, and this would run for six seasons on Starz.
Well this one was a lot of fun. Abigail’s attempts to climb the ladder without getting whipped too much, Lady Sarah’s push for war, Nicholas Hoult as Harley, the Leader of the Opposition, trying to foil Lady Sarah, and an oddly engaging refusal to make any of these people 100% worth rooting for. Sure Lady Sarah’s harshness and Abigail’s sympathetic circumstances push you in a direction at first, but things don’t stay that simple for long. And yes, Harley wants peace and lower taxes and those are pretty good, but man can he be a dick about it.
And at the center of it all, a wonderfully deranged take on the Queen from the splendid Olivia Colman. Even if the other women weren’t on her level, she’d be worth it. Thankfully, they are, and while the movie loses a bit of steam in the last half hour, the whole trio make for an impressive battle of passive-aggression.
Premise: From the director of The Big Short, another fourth-wall-breaking comedy/drama attempting to help you understand a way in which American society broke recently: this time, the rise to power and the attempt to seize absolute power by Dick Cheney.
Hot take: The current president is a wannabe dictator with no leadership abilities and his vice-president wants to take money out of AIDS research and use it to torture gay teens, but sure, let’s hop in the old Wayback Machine…
The makeup effects to turn Christian Bale into old, crotchety Dick Cheney were certainly impressive, and Bale had Cheney’s character down pat, but young Cheney was less impressive. Bale never looked younger than 42.
My favourite moment in this movie comes as a young(?) Cheney asked his new mentor, Donald Rumsfeld (Steve Carell), “What do we believe?” and Rumsfeld just laughs, and laughs, and laughs. This, to me, was the most important message of the movie, even more so than Cheney’s attempts to seize as much unchecked power as he could. It’s why I don’t trust conservative political parties. The modern Republican party, and more and more right-wing parties like them, have no values. No beliefs. They just want power, as much of it as they can grab, and to use that power to make themselves and their rich friends even richer.
Sure there’s entertainment in how they depict Cheney’s rise through the ranks, and they have a few fun Big Short-style “To explain subprime mortgages, here’s Margot Robbie in a bubble bath” moments. Also the narration works, provided by Jesse Plemons as a character with an unexpected connection to Cheney.
I also liked the mid-credit scene where they poke fun at how Republican voters are probably just going to dismiss the whole film as liberal bias and the country will remain divided. But if we’re talking biopics about the deep flaws in America that are more of a problem than ever…
Premise: Ron Stallworth (John David Washington, son of Denzel), first black police detective in Colorado Springs, decides to launch an investigation into the Ku Klux Klan, posing as a white man over the phone, and enlisting Jewish detective Flip Zimmerman (Adam Driver) to take over the role for in-person meetings.
Hot take: And the only acting trophy goes to the white sidekick? Why you gotta be so white all the time, Oscars?
Hoo doggy. If we thought Green Book was unflinching in portraying racists as terrible people, check out what Spike Lee does. But while the dangers of the Klan are never understated, he also does enjoy making them look the fools. Something aided by a cameo from Alec Baldwin as… you’d just have to see it… Topher Grace as a seemingly-genial, easily-duped David Duke, and the inclusion of I, Tonya’s Paul Walter Hauser, who has a gift for playing bad guys who are no less dangerous for being comically stupid.
Sure, Stallworth’s investigation didn’t exactly bring down the Klan, as the montage at the end of the movie of news footage from that long-ago year of 2017 reminds us that they remain a resurgent problem, but it is a tense and satisfying story just the same.
Anyway that’s all of them. There have been worse years, there have been better years… and yeah, there’s something uninspiring about being this middle-of-the-road, but I’ll be watching the show just the same.
It’s getting close to my annual post ranking the best picture nominees at the Oscars. I just need the Academy to decide what the best picture nominees actually are so I know which ones I haven’t seen yet. Other than A Star is Born, probably.
So while we’re waiting on that… and my Arrowverse Year Three rewatch is ongoing… let’s talk about the year’s superhero movies.
But not a rank ordering. I don’t see the point. There are interesting trends and symmetries this year, but the worst superhero movie I saw was fun, just a little disposable.
(I refer to Ant-Man And The Wasp, but if you thought I meant Aquaman... well, we disagree a little but that’s fine.)
I loves me some superhero shows, I loves me some DC heroes, and the CW delivers me both of those things through a series of shows that, while flawed, I find overall much more entertaining than annoying.
So I wanna talk about ’em. And I have a blog, so I’m gonna, in a series chronicling the highs and lows, successes and failures, twists, turns, and tragedies of what shouldbe called the DCW-verse, or if you prefer whimsy, the Greg Berlanti Mask-Based Action Fun Factory, but remains called the Arrowverse because the internet makes bad choices.
So let’s dig into it.
Year two remains a simple one… just one show, Arrow season two. But it began to set the stage for something bigger, grander, and glorious.
The journey from Arrowverse to Beebo-Verse begins in year two.
Arrow: Season Two
Season two is thought of as one of, if not the very best season of Arrow. It’s based on the five-year-old rivalry of friends-turned-nemeses Oliver Queen and Slade Wilson, although they spend the first nine episodes on Oliver vs Brother Blood so we won’t know what’s coming. It’s an operatic battle of revenge that forms Oliver’s first real crucible as a hero, and there’s only one season of Arrow that can compete with it.
Season seven is… ongoing at time of writing.
In the flashbacks, Oliver, Shado, and Slade are living on Lian Yu, but find themselves being targeted by a group of mercenaries working for a mad scientist named Anthony Ivo who have arrived via a freighter called the Amazo. Ivo’s seeking a Japanese super soldier serum called mirakuru, which I thought was going to be a reference to Miraclo, the drug that gave golden age hero Hourman his powers, but ultimately wasn’t. Just a similar bastardization of the word “miracle.” Mirakuru gives a person enhanced strength, speed, and resiliency, but also drives them a little crazy, and when they inject Slade with it to save his life, he soon turns on Oliver. Thanks mostly to the death of Shado, which Oliver indirectly causes by choosing to protect Sara Lance.
Oh, yeah, hey, Sara Lance isn’t dead. Not in the flashbacks and not in the modern day. They hide this from us for a couple of episodes by recasting her with Caity Lotz, who later takes the character to heights they didn’t even think possible back in year two. We’ll cover that below.
In the present, Oliver graduates from being the Hood to the Arrow, and in Tommy Merlyn’s memory, attempts to give up killing. It’s… a rocky road, as he does arrow-murder the heck out of the Count a few episodes in, but he’s mostly determined to stick to it.
Diggle begins to reunite with his ex-wife. Felicity becomes a full member of the cast, with a clear crush on Oliver that he’s trying to duck around. (They play it fairly subtly at this stage… when Oliver has a questionable hook-up, she asks “Why her?” and only subtext in her delivery makes it clear that there’s a second part to her question of “And not me?”) Comics-Roy Harper classically had issues with heroin, and as a possible reference to that, TV-Roy Harper gets injected with mirakuru, which makes him predictably unbalanced. There is no similar comics equivalent for Laurel, who becomes an Assistant District Attorney but loses the job when she gets hooked on pills. Thea has taken over Oliver’s nightclub, despite not being old enough to drink there, but when she finds out her biological father was actually Malcolm Merlyn (who, surprise, isn’t dead), begins to unravel back into whiny season one Thea. And Detective Lance, a rock we didn’t fully appreciate in season one, has faced a career setback for working with the vigilante, and is now Officer Detective Quentin Lance.
The Rough Spots
I call it “Felicity interruptus.” Every time, every single time that Oliver needs to attend a meeting to protect his company or have a quick conversation to save his personal life, Felicity or sometimes Digg will call/show up with news about whoever needs Arrow-justice that week, and he’ll have to run off. Without fail. Every time. I gave Spider-Man: Homecoming crap for the same thing… if he chooses hero stuff over personal stuff every single time an important personal matter turns up, it gets old and loses impact.
In one case Felicity actively asks him not to go, and to instead sort out his family business so that he, his mother, and his sister wouldn’t lose their home, their nightclub, and their trust funds (who gave the board of Queen Consolidated control of Oliver and Thea’s trust funds? That is eight brands of dumb). Something that could have been accomplished by saying “Call me back when you have a minute” when Oliver said “I can’t talk right now.”
That’s the one that broke me. That’s the worst one they ever did. It might also be the last one they ever did. In season three I believe he runs out of friends and loved ones who don’t know his identity. But it was still a bad, bad trope.
Also, when Thea’s being written better, Laurel develops a pill addiction that is not a flattering colour on her. As soon as Laurel gets clean, Thea starts endlessly whining about being lied to all the time. Which… she isn’t wrong, but there’s being right and there’s being… not insufferable.
Why is the worst written character always a woman? Well… except on Supergirl, but we’re still two years out from that.
The soap opera romance is better this year, though… the only major occurence being some awkwardness between Oliver and Laurel when Laurel’s sister Sara Lance turns out not to be dead and she and Oliver start banging again.
Let’s see… Felicity interruptus, Laurel’s on pills, Thea bitching about being lied to… I think that’s it.
Oliver’s quest towards being a hero begins with his attempt to stop killing people, which, yes, kind of an important step, especially when you consider how many of his season one victims were just hired security as opposed to actual villainous millionaires. So the transition to hero continues, expressed by changing his vigilante name from “the Hood” to “the Arrow,” but I really want to talk about one of the most important Arrowverse leads, who makes their first appearance this year.
Aside from Barry Allen, I mean.
So. Sara Lance. In the flashbacks, Sara’s on the Amazo working for Ivo… in the present day, she’s the Canary, who spent five years with the League of Assassins before returning to Starling City to prey on men who get violent with women. Soon she and the Arrow are crossing paths, and she joins Team Arrow.
Sara continues the trend of “the costume predates the character,” as she is called “the Canary,” but isn’t A-list comics hero Black Canary. That’s still to come. Still, Sara was such a compelling addition to the show that fans couldn’t help but fall for her. Like Oliver, she’s doing her best to put killing behind her. Like Oliver, her past isn’t exactly willing to let her go that easily. Like Oliver, she’s an impressive badass. Unlike Oliver, she manages not to get lost in brooding and self-pity all the goddamn time.
There’s nothing about Sara Lance, proto-Canary, that screams “make her the captain of a time-travelling spaceship,” not yet anyway, but she was a breath of fresh air and the franchise was and is lucky to have her.
This is the first example of an Arrowverse trend… a warm-up villain who sets the stage for the Big Bad to come. It’s also one of the few times that said warm-up villain sticks around for the whole season. It’s Sebastian Blood, played by Kevin Alejandro, formerly of the James Woods legal drama Shark (not the only Shark veteran to sign on this season), and soon to be of my beloved celestial drama/crime procedural Lucifer. Despite the fact that he’s named “Sebastian Blood,” I somehow didn’t figure out that he’d be the Arrowverse twist on Teen Titans nemesis Brother Blood until someone called him that, probably because Brother Blood has never been a Green Arrow villain per se, but there really aren’t so many iconic Green Arrow villains that they can limit themselves to that. He basically works. Kevin Alejandro is a solid performer, and the growing mystery behind Sebastian Blood is well-played.
But the primary villain of Arrow season two is, perhaps, the very best villain the Arrowverse has ever, ever done… Deathstroke.
The season two flashbacks show how Oliver and Slade Wilson (Manu Bennett) began to turn from friends to enemies. At the end of the fall finale, it’s revealed that he’s alive, well, and has been in Starling City for some time, plotting some truly operatic revenge against Oliver. Called “Deathstroke” by ARGUS, the Arrowverse’s clandestine government agency of choice, Slade is a physical menace that Team Arrow combined can barely hold up against, and a tactical threat Oliver can hardly keep up with. And it’s all rooted in a compelling performance by Manu Bennett. The complex relationship between Oliver and Slade, past and present, gives the season bite and depth. Plus, flank him with Brother Blood and an ice-cold Summer Glau as Isobel Rochev, and we’ve got a highly effective cabal of villains. I like a good cabal.
Fan service in the Arrowverse comes in three varieties: the good (characters from the comics and geek-friendly guest stars), the bad (characters grossly misinterpreted), and the weird (characters named after comics characters but not even vaguely similar to them).
Two, count ’em, two Firefly vets this season. Sean Maher makes a couple of appearances as the Arrowverse version of Shrapnel (minus the meta powers and exploding body), but far more significant is Summer Glau’s season-long turn as Isobel Rochev, who on the show and in the comics makes a play to steal Oliver’s company.
Bronze Tiger isn’t traditionally a villain. Yes, I certainly know him best as a member of the Suicide Squad, but one of the “good characters who guides the squad” rather than one of the villains pressed into service. And while the episode Suicide Squad gives him a moment of redemption, it will take five years for Tiger, as the show calls him, to begin to move from villain to complicated potential hero. But he’s played by Black Dynamite himself, Michael Jai White, and that’s great.
Early in season two, Oliver and the Canary take on a serial killer named the Dollmaker. This might be the one time Arrow and Gotham both use a villain and Arrow does it better.
Robert Knepper, formerly of Prison Break and Carnivale, soon to be of iZombie, menaces Oliver as the precision-timed villain Clock King.
Can’t ask for a bigger fan service episode than the assembly of the Suicide Squad, on a mission to DC Comics’ fictional European nation of Markovia.
Nicholas Lea of The X-Files helps Moira Queen run for mayor.
The Huntress is back, and still evil. They call her episode “Birds of Prey,” because it involves the Huntress meeting the Canary, but they do not bond or become friends. Failed WB series Birds of Prey did this pairing better, and that’s nothing to be proud of.
Amanda Waller comes to the Arrowverse, with the Suicide Squad in tow… but maybe because this is the CW, they went with a young, skinny Amanda Waller. The New 52 reboot of DC tried the same thing, and it just doesn’t suit the character. Cynthia Addai-Robinson does well enough with the role, but it’s just not… well, she’s no Viola Davis.
The flashbacks… and one present-day episode set in Russia… introduce Anatoly Knyazev, known to Batman readers as the KGBeast. He isn’t called KGBeast for another five years, and he bears little resemblance to his comics counterpart (being more of a tactician than a physical menace), but I do love him.
Speaking of season two fan service that would be corrected five years later… Professor Ivo’s boat is named in honour of comics-Ivo’s most notable creation, the android Amazo, who can copy the powers of the entire Justice League and is not, canonically, a boat. In year two, it’s an Easter egg for comics fans. In year seven, they introduce Ivo Labs, and a proper Amazo android, who in deference to season two is infused with mirakuru. It was a bit of a wait, but worth it.
Slade’s first mirakuru-enhanced minion is named Cyrus Gold, a clear reference to classic comic villain Solomon Grundy, something backed up by Gold’s fascination with the Solomon Grundy poem. Once again… Gotham did this one better. I hate saying that. They keep making me say that.
Diggle’s ex-and-future-wife, Lyla Morgan, has the codename “Harbinger” in the episode “Suicide Squad.” Making her a reference to the comics character Harbinger (real name Lyla), a key player in the mack-daddy of all comics crossovers, Crisis on Infinite Earths. At the time, we had no reason to believe that they might be working towards a TV version of Crisis. Things… things have changed.
Jean Loring, the Queen family defence attorney, and Starling City DA Kate Spencer both have one thing in common with their comics counterparts, in that they have similar professions. But Kate never fights crime as the Manhunter, and Jean seems unlikely to marry Ray Palmer or… do any of the dark-ass things Jean got up to starting with Identity Crisis. A story DC is probably trying to queitly walk back.
There still isn’t a real crossover in season two, because there’s still only one show… but we have a crossover of sorts in “The Scientist” and “Three Ghosts.” After filling the first third of the season with TV reports on the impending and controversial opening of a particle accelerator at Central City’s STAR Labs, future Flash Barry Allen makes his way to Starling City in the eighth episode… which for the next few years is exactly when the crossovers happen. Barry assists Team Arrow in stopping Brother Blood’s first successful mirakuru minion, gets closer to Felicity than Oliver liked, and returns home to Central City just in time to get struck by lightning after the STAR Labs particle accelerator goes kablooey.
This is more of a proto-crossover than last year’s introduction of the Huntress, because they very much intended for Barry to spun off into his own series. He was supposed to come back for episode 19 as a backdoor pilot for a Flash series, but reaction to his first appearances was positive enough that they decided to make a proper pilot instead. Episode 19 does, however, introduce two of Barry’s future best friends: Cisco Ramon and Caitlin Snow. And name drops Harrison Wells and Iris West.
There’s always deaths in the Arrowverse, and it’s usually someone you didn’t want to go.
Needless to say, here there be spoilers.
Farewell to Oliver’s mother, Moira Queen. She was complex, rarely entirely trustworthy, but as soon as they revealed that she knew Oliver was the Arrow we had to know her time was limited. Moira Queen is a casualty in Slade’s war against Oliver.
Moira’s final episode also involves flashbacks to a fling of Oliver’s who ended up pregnant. This… this is going to be important down the line.
Isobel Rochev was on Robert Queen’s list.
Arrow season two introduces us to Nyssa Al Ghul, the lesser known daughter of Batman villain Ra’s Al Ghul. Lesser known to the point where even I’d never heard of her. Later Nyssa would be given her own DLC in the Batman: Arkham Knight game, which I have to believe Arrow is responsible for. Nyssa is a very popular character with Arrowverse fans, but sadly actress Katrina Law got busy, so we don’t see much of her lately.
Nyssa’s debut is also the first occurrence of something the Arrowverse is really good at. The Arrowverse has a strong track record with LGBT characters, and they’re great at one specific thing… normalization. People don’t strongly react to a character being gay on an Arroverse show, even one who’s just come out. Being gay or bi isn’t a scandal or a shock or a Condition, references to same-sex relationships aren’t treated differently. Which is how it should be. In “Heir to the Demon,” Nyssa’s first appearance, the entire gang learns that Sara and Nyssa were romantically involved during Sara’s five years with the League of Assassins. Everyone, from her sister to her parents to her past and future lover Oliver, responds with at most a simple “….Oh.” And then they’re fine. Hell, Quentin’s just happy that Sara had someone special for the last five years, he could not care less what gender they were.
I talked to Manu Bennett shortly after Moira’s death aired. I told him that in the moment, I almost felt bad for Slade, because it seemed like he wished he didn’t have to do this. His head popped up, a smile on his face, because this was exactly what he was going for, and he was glad to know it landed. Cool guy, Manu Bennett. Shook my hand twice.
Next time in this series, The Flash becomes the makeshift Superman to Arrow’s pseudo-Batman… something they dig even further into… and a certain British con-artist magician garners attention.
Next time on the blog in general… who knows. I have other projects demanding my time. We’ll see.