Tag Archives: Comic TV

Comic TV With Dan: Runaways

Comic book TV is everywhere these days, and it’s happening all year. So I’ll hand out awards and rankings in June, but in the meantime, we’ll be reviewing shows one by one as they wrap up.

This installment: you know how teens begin to suspect their parents aren’t all that great after all? Well, what if your teen suspicions that your parents are jerks were way, way more correct than you ever thought? Based on the first Marvel comic to be written in the same seasonal model as TV shows, surely Runaways should be an easy fit for TV, right?


Short version: If you think the CW superhero shows don’t have enough teenage melodrama, does Hulu ever have a show for you. Well… half a show.


Alex Wilder, Gertrude York, Nico Minoru, Karolina Dean, Chase Stein, and Molly Hernadez used to be the best of friends, hanging out during meetings of their parents, a group of wealthy philanthropists called the Pride: tech dynamos, scientists, construction moguls, and the leader of the Scientology-esque religion Gibborim. High school and the apparent suicide of Nico’s older sister divided the gang, but Alex attempts to get everyone back together during the latest Pride meeting… only for everyone to witness their parents ritually sacrificing a teenage runaway Gibborim had plucked from the streets for “help.”

Turns out Pride is up to something far more sinister than building a new school, and are working at the behest of a mysterious and extremely jerky man named Jonah, with an unknown past that– he’s an alien. Total alien. If they don’t want to spell that out for you in ten episodes, I’ll just go ahead and rip the band-aid off myself. Now the teens are the only ones who can uncover Pride’s real goals and try to stop them… if they can put their personal issues aside long enough to make it happen.

Along the way, they pick up gifts to help with the fight. Nico’s mother has a magic staff called the Staff of One. Chase, with help from his inventor father, builds a set of powered gauntlets. Gertrude learns that her parents have a dinosaur that responds to her thoughts, no you read that right. Molly has super-strength, though using it tires her out. Karolina can glow, fly, and fire energy blasts when she takes off the bracelet her parents have made her wear her whole life. And Alex… well, Alex has to rely on his wits. There’s always one who just has to make a superpower out of being clever.

And eventually, they may have to run away. As the title suggests.

If anyone still cares somehow, no, there are no references to the larger Marvel universe. None. Not even the half-assed references you get from the Defenders shows. Runaways flies under the Marvel banner, because they’re not stupid, but narratively they stand alone. And good for ’em, says I.


There were a lot of complaints about the story in early episodes, specifically the fact that the titular Runaways had yet to run away at all. Sure, in the comics, that happened immediately. In the first issue, they were learning about their parents’ villainy, and by issue two they were on the run. On TV, they take a bit longer to get there. Essentially, they’re doing the same thing as Preacher: they’re taking the first story arc and making a season out of it. They’re taking their time to explore where the story begins instead of rushing past it.

There are good and bad points to this approach, but the header suggests which one we’re going to talk about first.

Not jumping to the running away part of Runaways allows a much more complicated dynamic between the teens and their various parents, and in the Pride itself. It’s been many years since I read the first volume of Runaways, but I don’t recall there being much definition to the Pride beyond what exact brand of supervillain they were: gangster, magician, alien, mad scientist, etc. Here, there are far more levels. There are shades of grey: some of the Pride are more evil than others. Some take to the human sacrifice thing pretty easily. Some are mostly good people stuck in a bad situation. And also having their benefactor around in person changes things up as well. In the comics, the Gibborim were a race of goat-like aliens that had bestowed gifts on the Pride, which we didn’t even meet until the end of the first volume. Here, it’s Jonah. Instead of mysterious goat-beasts, it’s Nip/Tuck’s Julian McMahon, which allows for more complicated relationships between the various Pride members and their extremely dickish benefactor. Not everyone is a true believer, and that is definitely something new.

Also, we dig more into the parent-child relationships, as each child is forced to see their parents in a new light. Instead of instantly becoming mortal adversaries (save for one Runaway who was secretly on the Pride’s side, a storyline the show might or might not pursue), they try to hide their new knowledge and grapple with what it means. Some kids start feuding with their parents. Some actually get closer to theirs. It’s a complex tapestry and a more realistic approach than “Cheese it! We live on the run now!” being their opening gambit. Not to mention it lets more and darker secrets slip out as the season continues.

Other strengths. The bulk of the parents are well cast, including Buffy the Vampire Slayer’s James Marsters as the brilliant but abusive Victor Stein; Ever Carradine as his long-suffering wife; 24‘s Annie Wersching as Karolina’s cult-leader mother; Alias’ Kevin Weisman (love that dude, he’s great, his character on Alias was the best… well, the best non-Bristow) and Brigid Brannagh as Gertrude’s dorky, cheese-loving parents (and foster parents to Molly); and Angel Parker and Ryan Sands as the cold, unflinching Wilder parents, a gangster and a lawyer who got their piece of the pie through the Pride and will yield it to no one, possibly even Jonah.

The teen cast, though not always on the adults’ level, are spot-on for each of their roles. Well, except maybe Molly, who is written as several years younger, but doesn’t really look it. (Making her latina works well, and reduces the whiteness of the group from two-thirds to only half–still really white, sure, but progress?)

Combining the Gibborim and whatever species comics-Karolina was into one singular alien, Jonah, was probably a good idea. Really, how many types of aliens does this story need?

That’s a pretty great dinosaur Gertrude has.

And props for breaking from the canon, comic-book relationships and saying “You know what, the gay girl gets a win, too.”


Multiple times in this first season, Jonah or a Pride member would get caught doing something Hell of shady, and they would stare down the person who caught them, saying (often with murder in their eyes) “You have to trust me,” while providing no real reason why that should happen. That is the show speaking to us, the audience. To explain, let’s look at the flip side of their use of the Preacher model.

Stretching the first Preacher story from four issues to ten episodes worked, mostly because of everything they layered into it, which made the first season feel like more of a complete story. Jesse had an arc whose natural end was leaving Annville in search of God. Not so much with Runaways. In a way, this plays out like the average season of Game of Thrones. The various plot points build to a big event in episode nine, then the season finale is all about dealing with the fallout while setting the stage for the next season.

The problem here, though, is that the first story arc of Runaways doesn’t translate as well to a full season. The first volume of Runaways was meant to read as the first season, not the first arc. As a result, what we have here is a first season that offers zero closure on almost any storyline. We don’t know what Jonah’s really after, or what he even is, Geoffrey Wilder’s frenemy rival is still an ongoing thing, I think they only barely dealt with “Who secretly killed who.” And that’s not even covering the fact that when the season wraps up, the main plot has only just made it out of first gear. The gradual pace of the first episodes was forgivable when I thought they were building to a satisfying climax, but then the finale rolled around and it turned out we’d spent ten episodes only introducing the premise.

And if you’re going to go the Game of Thrones route, with each season only being one part of a bigger, more complicated story, man, you gotta be Games of Thrones level good. Because when everyone else is doing season arcs with beginnings, middles, and ends and you’re opening with one chapter of a multi-year arc? That is a risky move, and in this case, it felt like Runaways was writing a cheque we don’t know that they can cash. They’re Jonah, staring us down and saying “You need to trust me,” when the last two episodes did not make it clear whether I can.

So the ending had some flaws. What else?

The dialogue is often not naturalistic, and instead really awkward. There might be a way to make “The circumstances of my sister’s suicide are not something you can keep secret from me” sound natural but goddamn they did not find it. Someone at the first table read needed to be flagging awkward dialogue, and it just wasn’t happening.

The younger actors are not always on the level of their adult counterparts. Well, mostly Molly. Molly struggles the most. Nico and Alex… they just can’t always deliver the really weirdly awkward lines convincingly. And that’s understandable, it is, but… Veronica on Riverdale doesn’t always have dialogue you believe a human teenager would say, but damn it Camilla Mendes still sells it.

They must have blown their effects budget on the dinosaur, ’cause those are some 80s-direct-to-video effects they’re using when Karolina lights up.

High Point

Either “Kingdom,” when the kids suit up for the first time, trying out their new toys (minus the dinosaur) to protect Alex and discover what they can all do, or “Doomsday,” in which the kids suit up to try and stop the Pride’s big plan, and confront their parents for the first… time… actually that confrontation ultimately fell pretty flat. Yup, it’s “Kingdom.”

Low Point

“Hostile.” For whatever strengths the season finale had, I came into it thinking “So how to you top ‘Doomsday,'” and the answer turned out to be “Well we don’t.” “Hostile” is an episode you break for Christmas with, not for the season.


James Marsters gives Victor Stein the most dynamic character arc of any Pride parent, and I’m most afraid for the safety of the Yorkes, so that’s bonus points to Kevin Weisman and Brigid Brannagh.

Ideally, the MVP would have been Alex, the unnamed leader of the team, but that just didn’t happen. Love his hair, though.

Tips For Next Season

We’ve had ten episodes of setting the stage. Now tell a story. (Also, don’t even think about writing out that dinosaur.)

Overall Grade: B-

Was almost a B+ but then they forgot to write an ending and here we are. Still too much potential in the show to slip into C territory, though.

Next time… ugh. Fine. Time to finish The Gifted. Also some non-TV blogs to even things out?

Photo: Hulu

Comic TV With Dan: The Tick

Comic book TV is everywhere these days, and it’s happening all year. So I’ll hand out awards and rankings in June, but in the meantime, we’ll be reviewing shows one by one as they wrap up.

This installment: The Wild Blue Yonder is back on TV!

The Tick began as an independent comic from writer Ben Edlund, a loving satire of comic book superheroes in which a mental patient in a blue… outfit? With antennae? Or maybe it’s his skin?… anyway, he escapes, then starts fighting evil with the help of an ex-accountant named Arthur sporting a moth suit of unclear origin. It then developed into its most popular iteration, a 90s Saturday morning cartoon show featuring a softer satire of superheroes, dropping the mental patient angle and the notion that most sidekicks are required to have full, pouting lips for reasons they’re not sure about. The Tick and Arthur, would-be champions, guarded The City with the help of a cadre of fellow misfit superheroes, taking on bizarre and wacky villains ranging from Chairface Chippendale (his head was a chair) to Eastern Block Robotic Cowboy (a vending machine with robot arms, a stetson, and a Russian accent) to everyone’s favourite, The Evil Midnight Bomber What Bombs at Midnight. And one of the only villains to be imported from the comics, the 100+ year-old legacy villain the Terror (described by Tick as “One of the greatest villains of the 20th century! And parts of the 19th, I think.”)

Four years after the beloved cartoon ended, The Tick was adapted into a live-action comedy starring Patrick Warburton as the oversized would-be hero. The live-action version tried to bring back some of the edge of the comic version, while still being wacky superhero fun. Sadly it was short-lived, being sent to die as part of Fox’s futile attempt to bring down… what was it… whatever network shows were dominating Thursday nights in– 2001? Son of a bitch, time is a motherfu–

Anyway, now The Tick is back on television with a whole new take, thanks to Amazon Prime, with a 12-episode season that they dropped in two chunks, all of which is now available. And now we’re going to talk about it.

Short version: if you’re looking for the cartoon series brought to life, this is the wrong place. But The Tick show they’ve made worked out really damn well.


As a child, Arthur Everest saw his father die right in front of him… because when hyper-elderly supervillain the Terror (him again, this time played by the always impressive Jackie Earle Haley) nearly wiped out patriotic super-team the Flag Five, they crashed their ship onto Arthur’s dad. So young Arthur watched the Terror kill both his father and their city’s greatest heroes, after which the Terror strode up to him, gloated, and stole his ice cream. It’s a famous moment. Ended up on the cover of magazines.

Flash to the present, and Arthur is convinced that despite the world’s belief that the Terror was killed by the world’s first and greatest superhero, Superian, he’s still out there, still plotting. Arthur’s family, mostly his overprotective sister Dot (like Tick, Arthur, and the Terror, one of the four characters to appear in all four iterations of The Tick), thinks he’s dealing with mental illness in the wake of his childhood trauma. But Arthur gets unexpected support when the Tick, an immense blue superhero (now played by delightful British actor/Darth Maul voice Peter Serafinowicz) drops into his life. Superstrong and mostly invulnerable, the Tick claims to be taking his cues from destiny herself, and that part of destiny’s plan is that Arthur start wearing this experimental moth suit of unclear origin Tick just found while busting up an arms shipment Arthur was observing.

Arthur continues to search for the Terror while avoiding attacks from the Terror’s electric former henchwoman Miss Lint, dodging concern from Dot, dealing with his friendly but meandering stepdad, and managing a lumbering, somewhat clueless blue tank of a superhero. The Tick tries to guide Arthur to a heroic destiny, while also figuring who he himself is, what he is, where he came from, and why he gets a little fuzzy about his purpose when Arthur isn’t around.

Also Superian is dealing with a giant naked man known as the VLM (Very Large Man). That might be significant.

Fans of the cartoon should know… don’t expect to see any characters you know save for Tick, Arthur, the Terror, and Dot. Ben Edlund doesn’t own the rights to any characters created for the animated series, so no Die Fledermaus, Sewer Urchin, or American Maid. Nor their live-action counterparts from the Warburton series, Bat-Manuel and Captain Liberty (there is no way to make a version of Sewer Urchin that isn’t legally actionable). But the new supporting cast is pretty solid too.

In addition to Miss Lint and Superian, there’s Overkill, a rogue government agent turned murderous vigilante also hunting the Terror (Arthur’s description of their first meeting is priceless); Danger Boat, Overkill’s sentient aquatic headquarters, voiced by Alan Tudyk; Tinfoil Kevin, a surprisingly resourceful local homeless man; and Midnight, a talking dog that’s one of the only survivors of the Flag Five, voiced by Townsend Coleman, who provided the Tick himself his iconic voice in the animated series.

Those are players, how was the game?


One of the main writer/producers is the Tick creator himself, Ben Edlund, who’s been busy in the years since the last two Tick series writing fan-favourite episodes of shows like Supernatural (basically any meta-episode) and Angel (he wrote the classic puppet episode “Smile Time,” and here reuses the phrase “Wee Little Puppet Man”). Which is to say, under his supervision, the show has tons of wit and a lot of heart. Despite some dark themes in the first act (we’ll get to that), there’s consistent humour, and it’s never a drag to watch. And the back half just soars. There are amazing lines in nearly every episode, and nobody knows better than Edlund how to write a great Tick narration monolgue.

Serafinowicz and Griffin Newman, who plays Arthur, make a great duo. Arthur’s panic, anxiety, and confusion over what to do next bounce well off of Tick’s clueless confidence, which is punctuated only by the occasional burst of existential uncertaintly. Arthur’s lovable, and the Tick is hilarious, and you can’t help but root for them to work things out and triumph over evil.

The rest of the cast is great, too. That Jackie Earle Haley is amazing as the Terror should go without saying, but he brings a wonderful joviality to Terror’s schemes. Yara Martinez is terrific as Miss Lint, beginning to question if she’s hitched herself to the right evil wagon. Valorie Curry presents what I suspect to be the best version of Dot thus far, a derby girl/med student/black market paramedic that is able to pick up details as to what the Pyramid gang are up to by healing their various crime-wounds. Brendan Hines brings just the right level of smug celebrity to Superian (whose name I like as a nonsense hybrid of various Superman clone names) without falling too far into douche territory. Alan Tudyk is predictably entertaining as the voice of Danger Boat.

Overkill is an interesting addition, with his dark, gritty, surprisingly graphic, stab-happy style of justice colliding with Tick’s Adam West-ian crusade for Sweet Lady Justice (Tick feels Overkill may need “The Talk”). It’s a great juxtaposition that ends up being a better Punisher/Daredevil team-up than Netflix is ever going to deliver. Also Overkill has a fun chemistry with both Miss Lint and Dot, when despite Arthur’s protests she inevitably becomes more heavily involved in the hunt for the Terror.

It’s not a huge thing but I love how Arthur figured out that only he could see or hear the Tick right in time for Dot to point out that no, in fact, she can see him just fine, he definitely exists. They set up the “Tick is imaginary” reveal well, then swerved away charmingly.

The lampshade hang over Arthur noticing that Tick’s costume received an upgrade after the pilot was shot and their full-season budget rolled in was cute.

Plus they fit in two Easter-egg references to the battle cries Tick and Arthur developed in the classic animated episode (which introduced the Terror), “The Tick Vs. Arthur’s Bank Account.” For the Tick, the classically nonsensical “SPOON!” For Arthur, the less iconic (and shorter-lived) “Not in the face! Not in the face!” That delighted me, especially the less-expected second one.


You know it’s a little weird that so much of the first six episodes is devoted to exploring the very real mental issues brought on by Arthur’s horrific childhood trauma. It’s odd. It’s a darker take on Arthur’s origin than we’ve ever seen before, which was a key part in the tone being so drastically different from the two previous Tick series that it had me wondering who this radical departure from previous iterations was even for. People hoping for the exact sort of silly fun of the animated series, still the most popular version as far as I can tell, are in for a hell of a surprise.

Also, there’s way more swearing than I expected (limited mostly, if not entirely, to Overkill, which actually helps build the dichotomy of Overkill’s Punisher-style vigilantism vs Tick’s innocent, four-colour heroics). And you’ll catch some glimpses of VLM’s VL butt. And fair warning, VLM is not in shape.

But then you could also twist that into a strength, couldn’t you? This version of The Tick wastes no time trying to live or die on nostalgia. It doesn’t ask you to let it skate by on references to classic episodes (save for the odd Easter egg, like those battle cries I mentioned), and is aware that everyone who watched the cartoon as a kid either grew up or is being shown the DVDs by fans who grew up. So they’re doing their own, more grown-up thing. And if anyone’s going to reinvent the Tick for the current state of the superhero genre, nobody’s gonna be better at it than Ben Edlund.

Hmm. I’m kind of spinning the weakness into strengths, aren’t I. Let’s see…

Well, Arthur’s attempts to flee from Destiny and not wear his iconic moth suit surely did stretch on an episode or two longer than I would have liked. It basically took the entire first half for Arthur to accept heroism, which was a really great moment, but it wasn’t until right before the mid-season break, aw damn it that made it a perfect end-point before hiatus, I can’t even criticize this show…

That whole thing about Miss Lint being forced to share a condo with her ex got dropped pretty hard in the second half. I’d have to rewatch the series as a whole but it’s possible I could have used a little more of that? Also the Terror having an Alexa was kind of blatant as product placement goes.

And they came so close to including Eastern Block Robotic Cowboy. One cowboy hat. All it would have taken.

High Point

Can I just say “Episodes seven through twelve?” Or to put it another way, who among you thinks you can stop me from saying “Episodes seven through twelve?” Because I’m not sure I can whittle it down further.

Low Point

Ummm… hmm… well… maybe… “Secret Identity?” Arthur loses the suit, that was more of a setback than I wanted three episodes in.


There are a lot of talented people doing a lot of good work here, but it has to be Peter Serafinowicz. Townsend Coleman and Patrick Warburton were tough acts to follow in this role, but he’s nailing it with every single line. He’s called this “the best job [he’s] ever had,” and he’s making the most of it.

Tips For Next Season

This is gonna be tricky. But let’s see…

Really now… exactly how jealously is Fox guarding the rights to Chairface Chippendale? Could we at least have the scene from the comics where Tick tries to throw a sinister monolith into space? That’s a classic.

Honestly, though, just do this again and we’re probably fine.

Overall Grade: A

I finished it yesterday and I’m just about ready to rewatch the whole thing.

Until next time, remember… never let your sister talk you into the “normal” thing.

Picture: Amazon

Comic TV With Dan: Welcome Back, Jessica

Comic book TV is everywhere these days, and it’s happening all year. So I’ll hand out awards and rankings in June, but in the meantime, we’ll be reviewing shows one by one as they wrap up.

This instalment: Jessica’s back! Two and a half years after Jessica Jones’ first season arguably set the high bar for the Marvel Netflix franchise (only Daredevil’s first season can compete), was the best comic book show of the season according to highly credible sources, and after being one of the highlights of last year’s slightly disappointing team-up, Jessica Jones finally gets her follow-up season.

Man. It’s good that Netflix has started cranking these things out faster, because that was too long a wait.

So how’d it turn out? Marvel Netflix hasn’t been doing that well since. Is Jessica Jones season two a return to form, or another Iron Fist?

Short version: It’s okay. Not as good as it was, not as bad as it could have been.


We rejoin Jessica and pals… ex-child star-turned-radio-host Trish Walker; Jessica’s assistant, ex-junkie Malcolm; and high-powered attorney Jeri Hogarth… a year after season one, and some unspecified and unknowable amount of time since The Defenders. This is the first show starring a Defenders lead to drop post-crossover, but if you’re hoping to see how the big team-up has changed life at Alias Investigations, you’re gonna be disappointed. The events of The Defenders and her temporary super-powered cohorts are never mentioned, even in passing. Other than cameo appearances by Foggy Nelson (mostly to acknowledge that he still works with Hogarth and would care about her plotline) and Manhattan’s most persistent black market gun salesman Turk Barrett, the other Defenders shows are utterly ignored. There’s not even a visit from Marvel Netflix’s number one utility player, Claire Temple.

And you know what, that’s basically okay. First off, Jessica was so annoyed to be involved in Hand-based shenanigans that I utterly believe her not even wanting to mention them now. I can picture a few annoyed “I don’t even want to talk about its” getting thrown at Malcolm and Trish the week after it all happened, and then everyone moving on. Second, there’s not much call for guest appearances. Daredevil’s still off the board until his third season (maybe later this year?); this show has enough hand-wringing over the ethics of killing as is that an appearance by Claire would have just been redundant; and no circumstance exists where Jessica would even consider calling Danny Rand for help. Or conversation. So really, it’s just Luke Cage that’s conspicuous in his absence, given what a key part of season one he was, but it’s still fine. There was only one point, in episode 12, when I thought “You know what Jess, maybe this is the moment you call your super-strong, bulletproof pal in Harlem,” but given everything that had just happened in episode 11, Jessica was in no headspace to trust other people or ask for help. So I’ll allow it.

Weirdly this is the most that any Marvel Netflix show to date has referenced the Marvel movies. Captain America gets referred to by name, not simply as “the flag-waver,” and a threat hanging over the season is the Raft, the superhuman prison introduced in Captain America: Civil War. This isn’t enough to get me to rethink my position on whether the films and TV shows actually co-exist. There are still far too many ways they don’t, and accepting that they’re separate just makes things easier. But hey, kudos for the effort.

That was a bigger diversion than I expected. Where was I. Right.

Premise (For Reals)

One year after season one (two and half years ago for us, Marvel timelines are messy), Jessica is still haunted by having killed Kilgrave with her bare hands–hand. That people consider her a “vigilante superhero” potentially willing to kill people for money isn’t helping. She’s as lost in booze and anger as ever, causing a rival to exclaim “Super? You’re the weakest person I’ve ever seen.” Malcolm, her ex-junkie neighbour, is now working as her assistant/apprentice. Jeri Hogarth comes back into Jessica’s orbit when some bad health news requires some drastic actions. And most notably, Trish, Jessica’s adoptive sister/best friend, feels that the solution to Jessica’s rage issues is to look into how she got her powers in the first place.

It turns out some people don’t like Trish asking questions about the company behind Jess’ powers. When bodies begin piling up, Jessica starts chasing her own past, confronting the death of her family… and digs up some things she hadn’t expected.

I could criticize this season for ensuring that their sophomore outing has all of the tired tropes of a first season, those being origin stories and reluctant heroes, but… the fact is, Jessica’s origin hasn’t fully happened yet. It might never fully happen. She’s a reluctant hero because she hasn’t decided to be one yet. Maybe she never will. That’s Jessica, folks. Love her or watch Legends of Tomorrow. Or both. Yes, both. That one.

The Killer, as they’re referred to… damn. “The Killer.” That is seriously the only codename they think up. Marvel Television needs a Cisco Ramon to think up better villain names in just the worst way. The Killer becomes Jessica’s dark reflection: not only created by the same company, The Killer is also possessed of incredible strength, also isolated from society, and also driven by rage they can’t always control, only more so in all cases. The Killer is what Jessica is afraid she herself might become, especially with Kilgrave’s death on her hands.

How does it work? Well… there are good points and bad points.


Ripping off the bandaid, “They’ve finally fixed their habitual pacing problems” is not on the list of strengths. It took the film branch nearly a decade to finally start writing decent villains, who knows how long it will take the Netflix branch to learn about pacing or episodic television?

That said, there is one improvement. In the back half, where Daredevil‘s second season and Luke Cage fell apart, Jessica Jones season two actually picks up speed. Instead of collapsing into Hand or Diamondback related nonsense in episode nine, they actually find their footing in episode seven. Sure it’s not all smooth sailing from there, but we’ll cover that below. This right here is the good stuff. And the first and most obvious strength of the show should go without saying, but here it is anyway…

Krysten Ritter is goddamn phenomenal. 

She was always good with the anger and the one-liners, but she gets some heart-wrenching material this season and she absolutely crushes it. Even when her material was weak or inconsistent, her performance never was. Someone give her an Oscar movie while we’re waiting for season three, because she is an incredible talent.

Also on that level this year? Carrie-Anne Moss as Jeri Hogarth. The early episodes drop some heavy stuff on her, and damned if she doesn’t rise to the occasion. And a good thing, too, because if not, her entire story would be under “weaknesses,” on account of it being only slightly connected to anything else that happens. Jessica is off dealing with mad science and the monsters it creates (and whether she might be one of said monsters), Jeri is confronting mortality and deciding who, exactly, gets to take anything else away from her (spoiler: it ain’t a long list), and sure the two stories share some common characters but they’re basically in their own worlds. Fortunately, thanks to Moss, Hogarth’s story is consistently one of the best parts of the show, connected to the main story or not.

Other strengths… Trish Walker isn’t her best self this season, but Rachael Taylor is still nailing it playing her. Jessica’s new love interest ultimately works as an arc, even if it starts with that old chestnut of “They dislike each other immediately, and we all know where that goes in the long run.” (Paraphrased quote courtesy of the late, legendary Terry Pratchett)

Good news: This is the first Marvel Netflix show to have Asian characters who aren’t part of or connected to a ninja death cult! Bad news: they are both still assholes. So… not a huge win for Asian representation.

I won’t tell you much about The Killer here, ’cause you should let the show tell you if that’s something you care about, but… they made some really interesting choices, and they pay off in Jessica’s arc. Also the “mad scientist” is an interesting ethical grey area. He’s not exactly doing ethical science, but he’s not a bad person. He’s authentically trying to do good, there are just a few shortcuts he really shouldn’t be taking but is anyway.

And seriously, I can’t remember the last time I ended episode nine of a Marvel Netflix show and didn’t think “Jesus, four more hours?” So good job putting all the bad pacing up front.

On that note.


There is so much goddamn padding on this show. I want to say “If you can’t fill 13 episodes, don’t write 13 episodes,” but Defenders was only eight episodes and it was still badly paced, so honestly I don’t know what it would take at this point. Let’s take a quick tour of pointless subplots they stuffed this season full of in order to fill 13 hour-long episodes.

  • Trish’s storyline is about a recovering addict’s desperate need to feel as powerful as her adopted sister, and how it drove a relapse into addiction. So why did we spend so much of the first five episodes with her boyfriend, the impossibly noble journalist Griffin, only for him to be wished away to the fucking cornfield just as her story is hitting its stride? Did they think we needed to see her lose a boyfriend to understand her life was spiralling out of control due to addiction? Because we didn’t. Trish’s life had plenty going on to lose to addiction without creating and almost immediately tossing out a love interest. He was such a big deal and then he was just gone in an instant with no payoff whatsoever. Waste of time.
  • Also introduced this year is Pryce Cheng, a rival PI trying to push Jessica out of business. He eventually creates two inconveniences, one of which convinces Jessica she should work with the police, and the other of which is the third of at least four times that Jessica thinks “You know what, I take it back, The Killer does belong in jail,” and that is it. That’s not enough plot to require four episodes of building up a character and his go-nowhere conflict. He’s a main-credits regular, by the way, while the scientist who gave Jessica her powers is a “Special Guest Star,” despite being in exactly as many episodes and being far more important to the story. Which might be mostly about Callum Keith Rennie’s agent figuring “Special Guest Star” gives more status than being, at best, fourth-billed as a regular, but it suggests they plan to bring Pryce back next season, which… BOO. Pryce Cheng would lift right out of this season and nobody would miss him. He is dead air. Only worse.
  • There is a major reveal just before the halfway point but in order to ensure that it was at the halfway point… of a 13 episode season… they make getting there so convoluted. They reveal that Trish was sexually abused by a director so that they could threaten him into pressuring a hospital he donates to into giving them some information (what?) that points them towards a homeless ex-nurse that directs them to a mentally handicapped convict who gives them a name that leads to an encounter which points them to a university which sends them to a lawyer that can be pressured into sending Jessica to a house that finally leads to the reveal… what the hell. That journey takes six episodes. That is the very definition of padding. And every single thing that happens along the way (save for the homeless ex-nurse being tossed into Jeri’s arc) is basically meaningless to the back half of the show. I’m not saying that giving Trish a “Me too” story about an abusive director from her child star days was a bad idea, if they’d stuck with it then maybe it could have informed her need to feel powerful, but only including him to be one rung in a convoluted ladder then dropping it immediately is a weird choice.
  • A flashback episode at the midway point introduces an old boyfriend of Jessica’s who was apparently a pivotal figure in her early 20s, yet was never mentioned before that episode. And only once since. Kind of tacked on, there. (I will give the flashback episode this… for a spot-on satire of empty, insipid, top 40 pop music, Trish’s big hit “I Want Your Cray-Cray” is kind of a jam.)

Now, besides all of that, there are a few things beyond the padding that just don’t really work. To wit:

  • There’s a whole thing about prejudice against powered people. It doesn’t really work. Do you know why it doesn’t work, Marvel Television? Because you’re not the X-Men. Do not try to be the X-Men. The Gifted is kind of cornering the market on being hated and feared by the common people, don’t try to steal their bit. The Inhumans aren’t replacement X-Men and neither is Jessica.
  • Also, every person who’s prejudiced against the powered is a POC. Every single one of them. I don’t love that. There aren’t a ton of major POC characters on this show as it is, do they need to be the only bigots? Does the only black woman on the show for more than one scene need to use the phrase “you people?”
  • Jessica flip-flops back and forth over what’s to be done with The Killer (what I would not give for a better codename) constantly. Which wouldn’t be a bad thing if they’d handled it well, because she should be conflicted over this person, she should be torn as to what they deserve, but it doesn’t play out as being conflicted. It plays out as swapping back and forth as to which side she over-commits to. I should turn you in, I should help you escape, you need prison, you need help, you’re going to the Raft and that’s good, you’re going to the Raft and I’ll help you escape, nothing can redeem you, only I can redeem you… never grey area. Either she’s willing to do whatever it takes to bring The Killer to justice or she’s willing to do whatever it takes to protect The Killer from the police, and the change happens on a dime. One noble act changes Jessica’s mind instantly and utterly, even though last season Kilgrave proved that one noble act doesn’t change who a person is. It doesn’t play as Jessica being conflicted, it plays as Jessica being inconsistently written.
  • How is it that addiction and substance abuse are such a key element for two characters on this show, yet Jessica’s obvious alcoholism never comes up. Save for one moment where she admits she’s not the best person to be around when you’re an addict who’s fallen off the wagon.

So in short (too late, I know…), while there is a lot of good stuff in there, the first half is mostly filler and the second half forces Jessica’s arc to go in circles in order to fill enough time.

Stop doing 13 episode seasons. You don’t know how to fill 13 episodes.

High Point

AKA Three Lives and Counting. Jessica begins to unravel as her friends screw up, the line between her and The Killer begins to dissolve, and a familiar face is all too willing to push her over the edge. Absolutely their best hour.

Low Point

AKA Pork Chop. “So we need Jessica to cross a line on behalf of The Killer. Let’s introduce someone unambiguously evil so that her crossing the line isn’t so bad.”

“But we’re playing it as being super bad–”

“Yeah, sure, fine, but the audience should think he had it coming. We have all this cake, we just need to eat it, too.”


Krysten Ritter. She even makes Jessica’s third trip through the “You’re irredeemable, no wait maybe not” loop-de-loop mostly work.

Though props to Carrie-Anne Moss for selling Jeri’s arc so hard that it didn’t end up on the list of filler arcs that served nothing. That it was the most consistent and well-written arc of the season helped, but a lot of it was her.

Tips For Next Season

Look… are you married to this whole skeevy, power-hating-rival Pryce Cheng thing? ‘Cause I’m not loving it. Could he just shuffle off to whatever island for discarded supporting characters you sent Trish’s boyfriend to? Please? And maybe, in general, avoid having characters and plotlines with no payoffs. Write as many episodes as you need, but use them wisely.

Aside from that… I think Jessica hit rock bottom where “pushing away the people in her life” is concerned, only to end the season by reaching out and trying not to be isolated anymore. You need to build on that next season, not just regress. I wouldn’t normally think that was an issue, but you just did a second origin story for Punisher, so who knows.

And maybe in addition to repairing her relationships with her core cast, she could also try being willing to consult with Luke Cage or Matt Murdock or… nope, can’t think of a third person for that list.

Overall Grade: B

I thought it would be higher, but the season just takes so long to get out of first gear, and Jessica’s flip-flopping bugs me enough that it kind of blew the ending.

Next time: I’m probably finishing at least one of The Gifted, The Tick, and Runaways this week.

Photo: Netflix

Comic TV With Dan: We Gots us a CRISIS!

Okay, nerds, nerdesses, and innocent bystanders just stopping by, it’s time for the big game. The epic battle between good and evil, the superhero team-up I’ve been waiting months to see play out in all of its four-colour glory.

These guys?

No. I said “superhero,” “colour,” and “glory.” Not four people trying their very hardest not to be superheroes in a show about a ninja cult harvesting dragon marrow that somehow still manages to drain both of those concepts of fun or interest. No. Think brighter. Think DC.

THESE guys?

What? No. No no no. Not that one. This one. The good one.

The only Justice League we need.

Crisis on Earth-X, the biggest, most ambitious, and best of the annual Arrowverse (sadly I am still not influential enough to make “DCW-verse” catch on) crossovers has arrived, and did it ever–

Look, what do you want me to say about Justice League, exactly? We all must know the general consensus by now. It’s… fine. Fun but shallow. Enjoyable but occasionally forgettable. Forty minutes’ worth of footage was cut and it kind of shows, and not entirely from the fact that every trailer has a moment that got cut from the movie. The action scenes are often gorgeously shot, including an acrobatic duel between Batman and a burglar that might be one of the best-shot Batman action scenes ever… fine, not counting anything Lego-related… and it certainly tries to be more fun, but while many of the jokes land, sometimes it’s trying too hard to be “quippy.”

I wanted it to be Wonder Woman good, and instead it’s somewhere between Ant-Man and Age of Ultron. It’s a B- superhero movie that had the misfortune of coming out in a year when the genre was averaging A-. Logan, Wonder Woman, even Thor Ragnarok of all goddamn things, these were all home runs, improbable ones given the lower success rate of X-Men movies, the DCEU, and movies about Thor. And Guardians of the Galaxy Vol. 2 and Spider-Man: Homecoming weren’t entirely knockouts but had more than enough charm to smooth out their flaws. 

But enough about that. Not here to talk Justice League. Just Crisis on Earth-X. Just that. Probably just that. Almost definitely maybe probably just Crisis.

Evolution of an Event

The annual CW crossovers have been a tradition as long as there have been multiple DC shows on the network. Longer, really, since Barry Allen made his debut on Arrow the season before The Flash debuted, around the same time of year the crossovers normally happen.

First they were simple. A handful of Arrow characters went to Central City for Flash Vs. Arrow, so that the two CW leads could go two rounds against each other before bringing down meta-human bank robber Roy G. Bivolo, known to comics fans as either “Prism,” “Rainbow Raider,” or “the guy once deemed too lame for a crossover that introduced amped-up versions of Major Disaster and Killer goddamn Moth.” A day or two later (real time), a handful of Flash characters headed to Starling City so that Flash and the Arrow could team up against Rogues’ Gallery Also-ran Captain Boomerang. Simple, self-contained, fits easily into a marathon binge of either show, but had the fun of seeing the different casts and show styles bounce off each other.

That was the fun of Avengers, wasn’t it? Seeing Iron Man, Thor, Captain America and whatnot all flow into one team. Which is what Justice League could have been, except they’ve been trying to reinvent their tone so much that it’s hard to actually see it as a continuation of the previous four movies. Sure, it has references to Wonder Woman and continues stories from Man of Steel and Batman V Superman but it doesn’t have that Avengers-style-the-franchise-comes-together special feel, you know? Not like Crisis on Earth-X. Which is what this blog is about. Crisis on Earth-X. Not Justice League.


They amplified the crossover the following year, with Legends of Yesterday and Legends of Today, which set up the centuries-long Hawks Vs. Vandal Savage relationship that was central to the coming third DCW show, Legends of Tomorrow. Sure that one was held back by the same problems that plagued all the CW shows that season: too much narrative capital devoted to setting up the new spin-off, and an unsatisfying take on Vandal Savage, but it was still a fun two-parter. And the year after that, things got epic, as Flash, Arrow, and Legends came together (with special guest star Supergirl, whose own show wasn’t really involved) for the three-night, super fun, heroes vs. aliens extravaganza of Invasion! Watching Kara get to know Oliver Queen and the Waverider crew, and seeing everyone have a big post-victory party was just as much fun as seeing the combined heroes take down the Dominators. Plus each chapter still felt like an episode of that particular show. Flash addressed Barry’s Flashpoint screw-up, Arrow served as a perfect 100th episode celebration of the show’s past, and Legends brought time travel into the mix.

So the question seemed clear… how the Hell would they top that? Well, they found a way, readers, they found a way.

Barry and Iris’ wedding brings characters from all four shows to Central City, and it looks to be a happy day for all, but when the wedding is crashed by Nazi soldiers led by evil versions of Green Arrow and Supergirl, Team Arrow, Team Flash, the Legends, and the Danvers sisters have to square off with strange visitors from an evil planet.

The Faces of Evil

If one were to claim that the CW crossovers have flaws, one could argue that they have, in the past, let us down villain-wise. Vandal Savage, as discussed, was underwhelming, and a cameo by Neal McDonough’s Damien Darhk really drove that home. Prism was… well, Prism was a half-assed take on Rainbow Raider who existed to give Flash and Arrow an excuse to fight. And the Dominators provided some effective global menace, but they were a horde of CG aliens.

Fortunately their machinations meant that the plot never hinged on largely interchangeable CG aliens, and they had some concrete motives. Like in the event book that inspired it, they felt Earth’s high rate of meta-human development was problematic. Could be worse. They could have been an entirely CG villain with a horde of faceless minions, a magic space rock, and a vague-at-best motivation to take over/destroy the world.

Which is the shade I used to throw at the weaker Marvel villains, at least the ones not out to kill Tony Stark and sell weapons. But man alive no one lived up to that terrible archetype like Steppenwolf. Making him all CG was awkward any time they showed his face, and if you haven’t grown up on DC comics like me, who exactly this mook is and why he’s doing anything he’s doing might feel obscure at best.

Right, yes, Crisis on Earth-X. Earth-X, as any longtime DC fans knows, is the Earth where the Nazis won World War II, and are opposed by a small band of heroes known as Uncle Sam and the Freedom Fighters. Which essentially makes this a crossover between five shows, as Earth-X, the Freedom Fighters (possibly minus Uncle Sam), and the Reich’s top warriors were introduced in the CW Seed show Freedom Fighters: The Ray.

Having Nazis as your villains, and depicting them as absolutely, irredeemably evil shouldn’t be a big political statement, but it’s 2017, the New York Times is running sympathetic stories on actual Nazis, and here we fucking are. So watching the heroes of four shows and an online animated series tear into some Nazi stormtroopers is incredibly satisfying.

But what’s impressive is that they set out to create fully developed characters out of their main villains, making the Nazi Oliver Queen/Dark Arrow and his general Overgirl flesh-and-blood people without justifying their abhorrent beliefs. They’re monsters, but they’re still driven by love. Dark Oliver isn’t just out to conquer a new world, he’s out to save the love of his life. He and his followers believe that strength is virtue, that compassion is weakness, and that they’re doing the world a favour by ruling it. They’re wrong, and we know they’re wrong, and the back half makes a very clear statement of “This is what Nazis do and it’s terrible, are you listening, Republicans” but giving them human motives and emotions buried under the hate and intolerance makes them more interesting than, say, some rat-faced vet who lets vague talk about “real Americans” turn him into a mad bomber. Or a horn-headed CG alien named after a late 60s-70s rock band for reasons no rookie viewer will ever, ever know.

Back on topic… Also on team Nazi is an Earth-X Prometheus, who is not the Prometheus from last season of Arrow. He’s got a surprising identity that gives Oliver a meaty scene when they come face to face.

Plus, the Reverse-Flash is back! Not some Nazi version from an alternate Earth, but the one we know from Flash and Legends of Tomorrow, who admits that he probably should be dead by now, but never seems to recognize the Legends, so maybe this is from before his Legion of Doom days? Anyway, he’s back to looking like Tom Cavanaugh’s Harrison Wells, which I suspect is a cost-saving measure. The crossover was already hell of expensive, and having Tom Cavanaugh do double-duty saves them paying for Matt Letscher. Also it’s fun. Good as Tom is/has been as the Harrisons Wells of Earths 2 and 19, it’s been too long since he’s gotten to properly chew the scenery as the Reverse Flash. So as long as Stephen Amell and Melissa Benoist are pulling double duty, why not let Tom “Playing just one character on a show is for lazy people” Cavanaugh join in?

Our Heroes

Now these shows have big casts. Green Arrow leads a team of four other vigilantes, five if you count Felicity “Overwatch” Smoak. Flash has two part-time sidekicks and two superpowered assistants. Supergirl rolls with the Martian Manhunter and has Superman on speed dial, and the Legion of Superheroes just came to town. And the Legends are a full team of time-travelling would-be heroes. That’s way too many people. So obviously not everyone gets to play all the time. Some characters get sidelined for one to three episodes, some get restricted to quick cameos. J’onn J’onz, for instance, gets maybe three lines in the first five minutes of part one.

It’s like how Justice League tries to slip in cameos by various supporting characters of the heroes, to varying success. Connie Britton’s return as Hippolyta makes for an impressive sequence; JK Simmons makes a great Commissioner Gordon in his two scenes; Billy Crudup does his best impression of John Wesley Shipp’s Henry “Flash’s Dad” Allen in a scene that does okay setting up Barry’s character, but seriously feels lifted out of the first season of the TV show; Amber Heard gets handed much more ham-fisted exposition as Mera, but I’m still interested to see what she does with a proper role in Aquaman. I mean her scene was only a little more character-driven than Anthony Hopkins’ voice-over narration at the start of the bad Thor movies. Meryl Streep couldn’t have made “Here’s who Aquaman is in twenty words or less” work much better.

And we’re back… so while most of the shows’ casts get at least a little screen time*, if not necessarily on their own show, Crisis on Earth-X focuses on a smaller team. Specifically, Kara and Alex from Supergirl, each nursing a heartache; Oliver and Felicity from Arrow; Barry and Iris from Flash (and to a lesser extent Caitlin… Tom Cavanaugh is there all the time, but mostly as Thawne, not Harry Wells); and Sara Lance, Jax, and Martin Stein from Legends (and to a lesser extent Heat Wave), as Sara’s essentially the lead of Legends and the crossover helps wrap up a Firestorm arc that’s been running through the season. And in the back half, The Ray turns up, alongside his cohort, the Earth-X Leonard Snart. Good to have you back, Wentworth Miller, if only temporarily.

Oliver’s team and the rest of the Legends are mostly there to make the final heroes vs. Nazis showdown sufficiently epic. And sure, some arbitrary lines got drawn here. Sure, a solid entrance by Mr. Terrific, Wild Dog, and Black Canary was undercut by what happened afterwards. Sure, I wondered why Ray Palmer didn’t get an invite to the wedding if Barry’s former nemesis Heat Wave did. But that’s okay, and I forgive all, because when The Atom finally makes his entrance, it is a stand-and-cheer moment, and the rest of the late-to-arrive Legends keep that momentum going. Plus then Team Arrow, Vibe, Killer Frost, and the Legends get to kick the stuffing out of Metallo and it is niiiiiice…

The finale of Justice League works that well too, especially one Superman joins the fray. Partially because Superman is finally the Superman we’ve been waiting for. And also the League refusing to let Batman make a sacrifice play is a nice moment as well. And yes, that one has more production value and is more spectacular, but while seeing the League come together to kick Parademon ass is fun, seeing a dozen or so heroes beating the tar out of Nazis is a pretty great finale as well.

*Regular characters getting the week off are Lena Luthor, Samantha “Reign” Arias, Black Siren, The Thinker, and Thea Queen. Sorry, my brain needs to list them, and here we are.

Emotional Impact

Past crossovers have just been fun adventures with no lasting consequences. Not negative ones, anyway. In fact, Invasion! is when Barry finally found forgiveness for all that Flashpointing, and the musical crossover fixed Barry and Iris and Kara and Mon-El’s relationships… man, given how much work the seemingly all-powerful Music Meister put into getting Barry and Iris engaged, he surely was blasé about extra-dimensional Nazis crashing the wedding… no. No, leave it there, do not get into the weeds about Music Meister again.

But this… this isn’t just a crossover. They invoked the name “Crisis.” And that is not a word DC just throws around. When it’s a Crisis, Earths are in peril and people die. Permanently, for decades, or just for a little while, controversial or forgettable, a Crisis has a body count. This one is no different.

Some crossovers try for this, but don’t nail it. Think of Superman’s death in Batman V Superman, and how it had no emotional impact at all. Maybe because you didn’t like the movie at all so nothing did, or maybe because you know that come Justice League he’ll be back. See also Defenders. 


Matt Murdock sacrificing himself for the others meant basically nothing because Daredevil season three had already been announced. Daredevil’s “death” was just a way to get him off the board for a while so we wouldn’t ask where he was during Punisher.

But Crisis on Earth-X was playing for keeps. And it…

It hurt.

A lot.

I went from cheering to crying several times over the course of the final hour, and actually yelled “Don’t do this to me” at the screen. A hero’s death, dying so others can live, it might be noble… but it doesn’t hurt much less in the moment.

Sorry. I thought I was ready to talk abut this. I was wrong.

This wasn’t an issue in Justice League. They were going for hopeful, inspiring, and a sense of wanting to see these characters in their own solo movies. Guess we’ll have to wait 13 months for Aquaman to see how well they managed that last one.

The Little Moments

Half the fun of these crossovers is watching characters from different series interact, and Crisis on Earth-X does not let us down. First and above all others, Sara Lance finally meets Supergirl’s sister Alex, and it is everything I wanted and more, given that in a satisfyingly roundabout way, meeting Sara helps Alex move past her breakup with Maggie. They also make a fun duo kicking Nazi ass together.

Heat Wave meets Killer Frost, which is fun. I’d love to see those two get into trouble for an episode or two. Barry, Oliver, and Kara work together so well (Nazi or otherwise) that it’s a shame they only get to do this once a year, twice at most. Eobard Thawne claims that at some point in his past/everyone else’s future, he fought Superman. A tease, or a promise?

Of course there are missed opportunities as well. Just like how we never really spend a lot of time with Aquaman, Flash, or Cyborg outside of the group context in Justice League because of all that cut footage. For instance, we’ve never gotten to see how Sara “White Canary” Lance feels about her late sister’s codename, Black Canary, going to newcomer Dinah Drake. They never interact at all, in fact. Also I haven’t gotten a proper Detective Joe West/Detective Officer Captain Deputy Mayor Quentin Lance* team-up in over two years.

And there are questions. Lingering things that I require answers to, and in one case won’t get them. The fact that the main Earth calls itself “Earth-1” and nobody calls them on it… when did the numbering of the Earths become a multiversal standard? What representative came to the Nazi world and said “You’re not Earth-1, that’s Earth-1, and you’re Earth-X, and we’re all going to pretend you don’t exist when we’re counting the total number of Earths if that’s okay,” and which super-Nazi said “Sure, that’s fair, Earth-X it is?”

But more importantly, and in this case I do need an answer… are we just ignoring the fact that the overeager server who was offering Barry a sparkling water and gushing about being at the wedding… that was clearly Barry and Iris’ daughter or granddaughter from the future, right? I mean it must be, she was way too excited about being at the wedding of a CSI and a reporter, but they just, but they just, they just moved on and she vanished and they never came back to it but I’m right, aren’t I? I must be right. Just tell me I’m right. Explain that. Explain yourselves, Flash writers not fired for sexual harassment.

*Dude has worn a lot of hats in six seasons.

To Sum Up

The one catch about Crisis on Earth-X is that for anyone watching, say, only The Flash, you’re going to be a little lost. Unlike Flash Vs. Arrow/Brave and the BoldCrisis on Earth-X doesn’t work as individual episodes. And unlike Invasion!, each show doesn’t maintain its own feel. That is, the Arrow chapter doesn’t feel more Arrow-ish. In fact, they cut the usual title cards and replace them with a unified Crisis on Earth-X title sequence combining images and themes from all four shows. And to those upset that they can’t just watch Supergirl this week because it’s full of other characters and plotlines from other shows, I say…

Nuts to you.

Because this was awesome and the only way to do it is to blend all four shows into one four-hour event, and I’m sorry that makes your Netflix binging harder, but watch all four, you numpty.

Once again narrowing down to Oliver and Barry in the end remains charming, but unlike following Invasion’s celebration with Oliver and Barry having a quiet drink, we needed something a little more celebratory to shake off the preceding, well, funeral. 

Gonna get into spoilers.

Some people complain that when Barry and Iris have their sudden, improvised, “finish what we started” wedding ceremony in front of no one but Oliver, Felicity, and Diggle, Felicity shoehorned herself and Oliver into it, making it a double ceremony without asking. Well, frankly, it’s not like she did this in the church. Barry ran to Star City to get Felicity and Oliver’s best friend just so they could do a three minute exchange of vows. It’s not that big a deal, and now Arrow doesn’t have to spend seven episodes on Oliver and Felicity’s wedding. It’s done. No mess, no drama, no derailing season six with Olicity wedding stuff.


In the end, Crisis on Earth-X was amazing in the ways Justice League was just okay, and is a pinnacle example of why the Arrowverse hosts the best superhero shows on TV.

Watch and learn, Defenders.

And seriously. Was that Barry and Iris’ daughter? Was it!?


Comic TV With Dan: The Punisher

Comic book TV is everywhere these days, and it’s happening all year. So I’ll hand out awards and rankings in June, but in the meantime, we’ll be reviewing shows one by one as they wrap up.

This installment: a breakout character from Daredevil gets his own solo series.

Short version: fun if you like violence, but Marvel Netflix, we need to talk about your pacing problems.


Frank Castle, as established in Daredevil’s second season, has been on a violent rampage of revenge ever since his wife and children were killed in a gang fight that was somehow orchestrated by rogue operatives of the US military to cover up something that happened in Afghanistan, and now that I write it out it sounds pretty convoluted… man Daredevil got scattered in its second season.

Anyway, given that when we last saw Frank he was learning that his former CO and his bosses were behind the assassination attempt via gang fight, naturally we join him having opted not to care about that and live in lonely, quiet seclusion… in the city where he was very publicly tried for mass murder a year or so ago. It’s hard to tell with Marvel Netflix, their timeline is fuzzy.

But Frank’s retirement doesn’t last long, as a former intelligence analyst turned outlaw hacker calling himself Micro tracks Frank down in an attempt to go after those guys we thought he was already going after.

Frank sets out to kill everyone responsible for his family’s deaths (for reals this time), but a Homeland agent named Dinah Madani is trying to get justice for one specific part of all that stuff Frank and his comrades-turned-nemeses did in Kandahar.

So the question looms: what will win, vengeance against the military/CIA conspirators, or justice? Or are they both basically the same? No. They aren’t. They try to be clear about that, but… we’re here for all the gun battles, but they don’t want to endorse vengeful murder-sprees, per se… awkward.

And for a change, I’m not going to complain about lack of connection to other Marvel properties. First off, the Punisher as a protagonist works better on his own rather than surrounded by other Marvel characters. Second, Marvel Netflix and the Marvel movies are not connected, they just aren’t, let’s all accept that. And third, it’s not even a problem that the only link to the other Netflix shows is a few appearances by Daredevil‘s Karen Page. Daredevil is out of play until his third season; The Punisher might be set in New York, but it never makes it to Harlem, so no Luke Cage; nobody has need or desire of a private detective, so no Jessica Jones; and unraveling the events of the series requires covert intelligence connections, forensic abilities, situational awareness, and the ability to recognize basic patterns, and that rules out Iron Fist.


John Bernthal remains great in the title role, capturing Frank’s rage, grief, and even flashes of charm. Westworld’s Ben Barnes shines as Frank’s former combat buddy-turned-private military contractor Billy Russo. 


And when he inevitably turns out to be one of the bad guys, as we all must have known he was going to, he’s utterly believable as Frank’s equal in violence.


Agent Madani follows in the footsteps of Marvel Netflix’s frequent attempts to pair a male hero with a strong, badass female co-lead. Actually not the men, ’cause Jessica Jones had Trish Walker. But this one might be one of their better attempts. She doesn’t need constant rescuing like Karen Page in Daredevil, doesn’t consistently fail at the one thing she’s supposed to be good at like Misty Knight in Luke Cage, and she isn’t savagely undermined by her writing like Elektra in Daredevil or Colleen Wing in Iron Fist, becoming subservient to the male hero’s arc at the cost of her own. She always has her own motives and agency.

Micro works, and is well acted.

And if you do enjoy bloody, violent revenge stories, they do not let you down on that front. Well, in episodes with action beats. Which I think is most of them?


If the “Secret military wrongdoing in Afghanistan” plot doesn’t do it for you, or rooting for a guy whose go-to solution to problems is murder doesn’t appeal to you, well, there’s not much else to enjoy here.

Rawlins, the man behind Kandahar and architect of the Castle family’s deaths, is kind of just a blank slate of “corrupt, criminal, torture-happy would-be patriot.” He lacks depth, humanity, or redeeming qualities of any kind. But then Punisher villains can’t really be nuanced. A Daredevil villain can come down to philosophical differences driving different ideas of The Good; a Batman villain can be driven by sympathetically tragic events in their past, like Kite Man (hell yeah); an X-Men villain can be a good man thinking he’s protecting humanity (I’m referring mostly to Legion, not The Gifted, police dude from The Gifted is just an asshole); but when you exist to be someone for Frank Castle to murder for our entertainment, you kind of have to be unambiguously evil. Which… I mean, that’s fine, but at least try to be fun like Damien Darhk, or engaging like Kilgrave. Rawlins is just there and you want him not to be.

Madani’s partner, Sam Stein, is incapable of speaking without delivering ham-fisted exposition. Like, really ham-fisted. “Quite a story. Doesn’t bode well for me, your newly-assigned partner.” As natural-sounding expository dialogue goes, he’s somewhere between a Star Wars text crawl and Narrator Smurf.

Let’s talk about Lewis. In the first episode, Frank lurks around his old military pal Curtis’ support group for veterans. It’s the one scene in that episode where he acts like a human person with emotions. One of the veterans is a gun nut, liberal-hating, “keep America for white Christians” asshole, and his rantings catch the attention of a younger vet named Lewis, who mutters “sic semper tyranis.” A weirdly educated remark for someone who falls for ignorant hate speech so quickly.

Here come the spoilery bits.

If that had been the last we saw of Lewis until episode nine, that would have been fine. But no, we spend swaths of the first two thirds of the series watching Lewis have PTSD, decide that the only cure to his PTSD is to be back in combat, get rejected by Russo’s company Anvil because he’s very clearly too unstable for any sort of combat, and then slowly but surely turn to domestic terrorism, all so that he can distract Frank Castle from the main story for two episodes near the end of the season. Which, okay, while putting the plot on pause, allows for a couple of key character beats to happen (two in two episodes, that’s not a lot), but there must have been a more elegant way to do them.

And sure, yes, an examination of how life on the homefront is difficult for vets would be good, if not necessarily germane to classic Punisher stories, but surely the right approach would have been to show how not all vets turn into Castle-style murder machines, not to imply that PTSD turns vets into domestic terrorists because mental trauma renders them incapable of not fighting. Lewis had all the love and support you could ask for, and still went mad-bomber, and that does not feel super respectful to struggling veterans.

I get it, man, I get what you were trying to do. When the second-amendment, concealed-carry douchecanoes show up to point at Frank Castle and say “That’s my guy! A good guy with a gun! That’s what we’re saying!” the producers can point at Lewis and his “Jews control the internet” mentor and say “You idiots aren’t the Punisher, you’re these morons.” But if that’s what he’s for, you did not need to spend ten episodes failing to build Lewis up as a character just to make him a third-act bonus villain. If a third-act bonus villain is even needed, which brings us to…

The Ever-Present Pacing Problems, or “It’s called episodic narrative, look it up.” If you needed to pad out the first season with all of these dull, reductive Lewis scenes, maybe it’s time to rethink your episode counts. It’s happening more and more with Marvel Netflix, so it must be said… if you don’t have enough story for 13 episodes, you don’t need to make 13 episodes. And there’s more.

It takes three episodes for the Frank-vs-corrupt-CIA-guy arc to kick off. Three episodes waiting for the show to catch Frank back up to where he left off when Daredevil ended. Three episodes giving Punisher a second, worse origin. Guys, it’s time you gave up the whole “The reluctant hero must be gradually dragged back into action” routine. Only Daredevil has ever managed to hit the ground running. Even The Defenders took three episodes to get out of first gear, and it was only eight episodes long. Punisher could have been a tight ten, if they’d sped up the first act and restricted Lewis to that first scene and his bombing spree.

Being on Netflix means people can and often will binge-watch, but not always. Stop treating each Marvel Netflix show as one really long movie and learn how episodic narrative works.

High Point

It’s easy to spot off-episodes of the first season, but it’s a little harder to name standouts. There’s sort of a baseline level of decent quality that they sometimes fall short of, but never really break past. I guess… either episode three, “Kandahar,” in which we examine Frank and Micro’s pasts as they have the most awkward “getting to know you chat” possible, or “Virtue of the Vicious,” a Rashomon-style examination of the long-awaited end of Lewis’ arc.

Low Point

With two flow-breaking Lewis-centric episodes and an hour-long torture session to choose from, it should be hard, but… let’s talk about episode one, “3 AM.”

First off, Frank hunts down the last members of the gangs whose gunfight left his family dead, despite knowing that his ex-CO arranged all of that, so really he’s just hunting down pawns in his ex-bosses’ sick game. Having killed the final possibly unrelated peon, Frank takes the iconic skull costume it took him 12 episodes of Daredevil to get around to wearing and burns it. Then moves back to New York and, despite being a notorious criminal with a very distinctive face, takes a job with a construction crew, knocking down walls with a sledgehammer. Knocking down walls. On a construction crew. Don’t tell me they’re a demolition team, why would a demolition crew need a cement mixer.

Save for introducing Curtis and Lewis the Rat-Faced Time Waster, they spend the next forty-five minutes, forty-five goddamn minutes, with Frank’s asshole criminal co-workers verbally harassing and threatening him while he silently ignores them, hammering his walls and thinking about his dead family all day and all night. Finally, in the last five minutes, when the assholes try to kill the one co-worker who was nice to Frank after a botched robbery of a mobsters’ poker game, his former self is unleashed upon the assholes and the mobsters they robbed. Which would have been a great jumping off point for a classic Punisher vs mob story, but is instead when Micro spots Frank, after months of waiting for him to notice that intel he’d slipped Frank back in Daredevil. If it had been Frank vs. the mob, sure, maybe I could see him needing to be convinced to take up arms, since this Punisher didn’t fight mobsters, he only hunted people he blamed for his family’s death. And some ninjas. But this is just the same vengeance rampage.

The Punisher had an origin. We did not need to drag him back to square one just so he could be reluctantly pulled back into the same vengeance spree he was on when we last saw him. Stop with the reluctant heroes. Stop it.

It’s a weak opening, designed to fill in anyone who didn’t watch Daredevil, while annoying anyone who did watch Daredevil by taking a huge and unnecessary step backwards.


Gotta be John Bernthal. Like Daredevil season two, the show is at its best when he’s on screen. Unlike Daredevil, that’s most of the time.

Tips for Next Season

He’s run out of vengeance, so it’s clearly time for an Equalizer-style grudge match between the Punisher and the mob. That would be some classic Punisher storytelling, far more on-brand than taking on black ops groups. Maybe try something like that.

Also… The first episode ends with Micro spotting Frank through “gait recognition,” which, no, what is that… and then says “Welcome back, Frank.” Garth Ennis’ “Welcome Back, Frank” is a classic Punisher story filled with humour (often black), memorable villains, oddball supporting cast, and frequent, innovative action beats, like a shootout in a morgue or a chase scene through a zoo, forcing Frank to use zoo animals as weapons. It is everything you should have aspired to, and if you’re not going to manage it, then keep Welcome Back Frank’s name out of your mouth.

Overall Grade: B-

Coming soon to this feature: can I find a source for Runaways? Let’s find out.

Dan Watched Inhumans and Wow But You Shouldn’t

Comic book TV is everywhere these days, and it’s happening all year. So I’ll hand out awards and rankings in June, but in the meantime, we’ll be reviewing shows one by one as they wrap up.

This instalment: what happens when the showrunner of Iron Fist doesn’t try so hard.

Short version: If you are watching Inhumans, then stop.


Behold, the Inhumans! Created centuries ago by the Kree (this is not specifically explained on the show), the Inhumans live on the far side of the moon, safe from the prying eyes of the humans below. Well, except for all of those Inhumans that lived in the secret village we saw in season two of Agents of SHIELD, who are never mentioned, and all of the new Inhumans that have been springing up in seasons three and four of Agents of SHIELD, who are begrudgingly acknowledged and a couple of whom even make appearances… but no mention of the government agency that worked so closely with them before ending up in space at the end of their last season.

So, like season two of Agent CarterInhumans continues the trend of other ABC shows being the only Marvel properties willing to very, very vaguely reference events on Agents of SHIELD. As little as they can get away with. Which… you know, Agents of SHIELD has been Marvel’s best TV show since Daredevil stopped trying halfway through season two, so maybe… whatever.

The Inhumans use a process called Terrigenesis to unlock their true selves, which sometimes just grants a power, sometimes causes a physical transformation (good or bad… just ask Eldrac, who got turned into a wall), and sometimes does diddly-squat, in which case welcome to the Moon Mines, you genetic failure.

The Inhumans are ruled over by Black Bolt (short for Blackagar Boltagon… not a joke) and his royal family. Black Bolt’s voice has incredible destructive power: speaking at a whisper hits like a cannon ball, and normal volume can obliterate a person. His wife, Queen Medusa (Serinda Swan, who in better days was Zatanna on Smallville, yes I just called Smallville better days, that’s where we are with this), has prehensile hair. I don’t know how to describe it to make it seem more dignified. Karnak (Ken Leung, of many things, one of which was Lost), one of the top warriors, can see and exploit the flaws in anything, and precisely plan any scenario in seconds. Gorgon… has hooves for feet and can stomp on things like super hard. Crystal is cute but boring. That is… she can, like… control the elements and whatnot, fire and air and… I mean she looks good in jean shorts but she basically adds nothing to this show except being the closest one to Lockjaw, the adorable giant teleporting bulldog.

And Maximus (Game of Thrones’ Ramsay Bolton, Iwan Rheon), Black Bolt’s brother, has no powers, but a serious lifelong case of throne envy. Which is where we find ourselves in the first episode.

They were really banking on us being on board with the apparent protagonists right from the top, because we open with Maximus staging a coup to seize the throne. The royal family retreats to Hawaii (sure), gets split up, and attempts to regroup so that they can retake their home from Maximus.

Maximus, by the way, won the support of the royal guard through his platform of “Maybe we shouldn’t take everyone who didn’t get powers in Terrigenesis and force them to work in the Moon Mines, maybe a rigid caste system based on genetic accident isn’t cool.” Black Bolt, therefore, is pro genetic-caste-system, which is problematic, but they compensate for Black Bolt being on the wrong side of history by ensuring that Maximus is the sleaziest sleeze in Sleazetown, dripping malice and creepiness every time he’s on screen.

Okay, let’s break this thing down.


The big teleporting bulldog is pretty cute.

He’s a good boy who doesn’t get the pets he deserves.

And it’s short.


Where. To. Start.

Every character is made the least interesting version of themselves possible, whether for budgetary reasons or just utter lack of vision from showrunner Scott Buck, who just a few months ago also failed to deliver an even slightly interesting take on Iron Fist. That he was given a second Marvel show demonstrates flawed leadership at Marvel’s TV branch, even if going from Netflix to network is the equivalent of being sent down to the minors. Right, the characters…

Medusa has super-strong prehensile hair, so of course that’s taken away from her immediately as Maximus shaves her down to a buzzcut. Sure her CG hair couldn’t have been cheap, and it looked bad, but the fact remains that they swiftly took away her most notable feature, and made it really rapey when they did it, and goddamn you guys that wasn’t cool. Karnak is a master strategist, so by the end of episode one, he walks off a cliff, I say again the master strategist walks off a cliff, and suffers a head injury that compromises his power. Black Bolt, king of Attilan, is overthrown inside of half an hour. Maximus, in the comics, is an insane genius, brilliant but untrustworthy, and here he’s just a power-mad douche incapable of thinking anything through. Eldrac is a person who got turned into a wall that can open portals and they barely even touch on that. Crystal… I don’t know much about comics-Crystal but she must have had more going on than looking cute in shorts. She couldn’t have less going on than she does here.

Look, every comic book show eventually does “Are they still a hero without their powers,” but a) it’s always a drag, and b) they don’t make it the whole first season. But this is just where our problems start.

Every single aspect of the show is punishingly bland at best. The dialogue is bad, the acting mediocre, the effects cheap, the characters uninteresting, and while Maximus is insufferably terrible it’s hard to ignore that fact that he seems to be right about everything. He doesn’t want to live under a genetic-lottery caste system and thinks maybe forcing 1400 people to live in cramped hiding on the moon isn’t the best call, and he’s right on both fronts. It takes 10,000 individuals to maintain genetic diversity. With 1400 people in Attlian it’s amazing that the Inhumans aren’t as inbred as an Austrian duke by now.

Sure, there’s apparently another reason they live in hiding, some larger danger hinted at repeatedly in the finale, hints almost assured to never be paid off, but it’s the Kree. They were hiding from the Kree, the aliens who created them, and in season two of Agents of SHIELD made it clear they thought that was a mistake worth erasing, that’s the deal, fuck you for making a show this bad and thinking you could lure us in to wanting a second season with such obvious cliffhanger-bait.

Medusa and Black Bolt keep wanting to give Maximus one more chance to turn things around despite him taking every opportunity to not be worth it. It gets old.

And it’s not a recent development, either. A flashback to Maximus and Blackagar’s youths shows young Blackagar moping about not wanting to be king, while his brother keeps shouting “I do! I’ll be king!” And when their father says no, it has to be the elder brother, Maximus literally says “But if he dies, I get to be king, right?” And Father-of-the-Millennium lets it slide. Sure, pal, nothing to worry about there.

The human scientist who teams up with Medusa is trying so hard to channel Arrow’s Felicity Smoak that I can only think of her as Faux-licity. Also she might be in love with Medusa. A more interesting show would have run with that.

My only theory is this. Head of Marvel Entertainment, Ike Perlmutter, has been desperate to introduce the Inhumans to the MCU as a replacement for the Fox-owned mutants (even though the Inhumans are terrible replacements for the X-Men, do not work as metaphors for oppressed minorities, and Fox’s The Gifted is proving why mutants do it better on a weekly basis). He tried to force Kevin Feige to make an Inhumans movie, only for Feige to break away from the rest of Marvel Entertainment and cancel the movie the second he didn’t have to report to Perlmutter anymore. So Ike made it into a TV series. Maybe, maybe Jeph Loeb, head of Marvel TV, knew that the only way they were going to shut Ike up about the damn Inhumans was to make the show, but make it Fant4stic bad so that the concept would lose appeal. And so they hired the Iron Fist guy to write it.

I mean that’s the only explanation that makes sense to me. They screened the pilot on IMAX. They read the script, saw the dailies, and then still felt comfortable putting the worst thing Marvel Studios has ever, ever done onto the largest screens possible and charged people money. I don’t see how that happens unless they are actively trying to fail.

High Point

…Um… “Make Way For… Medusa,” maybe? They finally managed to add a character I enjoyed, even if he’s one of the bad guys.

Low Point

“…And Finally: Black Bolt.” The season (and gods willing series) finale managed to be just as excruciatingly bland and pointless as the pilot while delivering a thoroughly unsatisfying conclusion (seriously, the final scene was entirely dull) and spending too much time setting up a second season that I cannot imagine anybody actually wants at this point.


Lockheed the giant dog, I guess.

Tips for next season

Fuck you. I shall think of this show as cancelled until ABC’s May upfronts confirm it as so, and then I will think of it no more.

Overall Grade: F

Like, it’s not even fun bad.

Gonna have to finish series five of Doctor Who just to wash that crap-fest out of my brain.

Comic TV With Dan: Preacher

Comic book TV is everywhere these days, and it’s happening all year. So I’ll hand out awards and rankings in June, but in the meantime, we’ll be reviewing shows one by one as they wrap up.

This installment: an unconventional search for God.

Short version, if you’re not watching Preacher, then start.


Following the explosive events that ended season one, small town preacher with a shady past Jesse Custer is on the road searching for God, with his volatile girlfriend Tulip and buddy Cassidy the Irish vampire in tow. Jesse’s still bonded to Genesis, the half angel/half demon baby that gives him the power to make anyone do anything he says. So this should be easy, right?

Well… There are a few complications.

First… and I’m surprised the comics didn’t go into this more… the world is big and God is hard to find, even if you think you know which city to start with. And since nobody’s ever met God, you could be looking right at him and you wouldn’t necessarily know.

Second… last season, the angels who were supposed to be guarding Genesis dispatched the unstoppable cowboy killing machine, The Saint of Killers, to kill Jesse.

The Unholy Cowboy Terminator

Third… The Grail, a religious organization that secretly controls the world, has taken an interest in Jesse. And one of their top people, the cunning and heartless Helmut Starr, wants to control him.

Not a person you want giving you a lot of thought.

And fourth… Tulip and Cassidy are not 100% on board with this plan. They have their own things going on that Jesse barely seems to notice, and the perpetually debauched Cassidy is still sweet on Tulip.

Oh, also, Eugene “Arseface” Root remains in a sticky situation after last year, and makes an unexpected friend who might be able to get him out of it.

This show’s debut season was impressive if scattered, but with all of the origin stuff settled, they were off like a shot this year, and everything was clicking. In university, half of my friend group eagerly waited for the new Preacher every month, and now I’m right back there waiting for fresh Preacher every week.

Or, at the moment, eight to nine months. Damn it.


Wham! Pow! Billy Joel’d! When Preacher has a major fight scene, they do not mess around. It doesn’t happen every episode, but there are some epic throwdowns. Everyone else doing fights on TV, watch Preacher and take notes (yes, you, Iron Fist, always you, Iron Fist). The rest of comic book TV has their work cut out for them if they want to top the Billy Joel Fight.

Tighter focus: Season one was spread over the entire town of Annville, but season two opens with the thing season one most notably lacked… a tight focus on the three leads and their relationships. After too many season one episodes where Jesse, Cassidy, and Tulip were split up, they’re finally a unit, and the first half of the season is laser focused on them, and it’s delightful.

The Faces of Evil: As good as Jackie Earle Haley was as Odin Quincannon, the show absolutely crushed it this year with the Saint and Herr Starr. Graham McTavish is chilling as the killer cowboy, and Pip Torrens kills as Starr. He’s savage, humourless, absolutely hateable yet fascinating to watch. If he’s to be the main villain on this show, may he last six seasons and a movie.

Twisted Storytelling: I read every issue, miniseries, and one-shot of original Preacher, and I never know what they’re going to do next. For example, one of the three new regular characters? Until he walked on screen for the first time, I would not expected [REDACTED] to be a character at all, let alone an opening-credit-regular character. And with one slight exception, everything they have pulled has been pretty impressive.

Two Acts: Basically, the show splits into two halves, fairly cleanly. The first half follows the trio’s journey to New Orleans and run-ins with the Saint (with revelations about their pasts), and in the second half, Starr and the Grail make their play. It works well.

Impressive Cast: The cast all does such great work, it’s impressive even if you don’t know that almost none of them are speaking in their native accents. I think it might just be Julie Ann Emery as Featherstone, and I’m not even positive about her.

Cassidy and the angel Fiore take a break from a hedonistic bender to read Archie comics.

Learning about the Saint of Killers involves the trio reading the actual, original Saint of Killers miniseries.

A Bill Hicks poster in Fiore’s dressing room serves as a neat Easter egg to the Bill Hicks tribute issue of the original comic.

They actually did Humperdoo. I wasn’t sure they would but they did. (When it happens you’ll know.)


Underused Tulip: Somehow Jesse is still the only one whose story has momentum. In the back half, when cracks begin to form between the central trio (which of course they had to, so let’s not call that a flaw), Tulip’s plot has no second gear. Again. And Cassidy’s is mostly background.

High Point

Sokosha. After two shootouts and a lot of walking, the Saint of Killers comes to call on Jesse… with unexpected twists and hints along the way.

Low Point

Backdoors. Look… there aren’t really bad episodes, but… sometimes, when the protagonists are clearly being manipulated, and they’re not seeing it happen, and you want to scream “Damn it, Will, Hannibal is literally messing with your brain,” but you know this is just going to keep happening until the finale… it can get frustrating. That’s where I was going into Backdoors.

Also the more they split up the main trio the more the show suffers, if only because they are not good at giving Tulip her own story.


Pip Torrens as Helmut Starr. It’s a whole new Preacher when he shows up.

Tips For Next Season

Okay. So. We’re going to Angelville. Gonna finally meet Jesse’s less noble relatives. That is… gonna be thing, and after the Saint and Starr I trust you to nail it. And Cassidy’s there. That’s new, he took that arc off in the books, so seeing Cassidy meet Gram’ma and Jody and TC could be neat.

But you know who else is around that wasn’t in the comic arc? Herr Starr. I want to see Starr and Gram’ma cross paths in just the worst way. Give me that, please thanks.

Also Tulip and Featherstone’s reunion should be a fight for the record books.

Overall Grade: A-

Coming soon to this feature: I swear to Zod I’m going to get around to watching The Tick soon.

Coming next time to this blog in general: something less TV related.

Does that mean I’m done with examining Doctor Who? HA! No.