The Orville

Yesterday, I talked about how cool I thought "Star Trek: Discovery was, so today I'm going to talk about the other, unofficial, Trek show being talked about lately - "The Orville." There has been a very vocal group of Star Trek fans out there saying that "The Orville" is more Trek than "Discovery," and while that might possibly be true, you all know how I feel about Star Trek fandom.

The first hype that was out there about "The Orville," from creator Seth MacFarlane of "Family Guy" fame, was that it was a plagiarization of Star Trek, with fart jokes. But as reviews began to come in on "Discovery," with its wholesale changes to the Klingon mythos, weird ship designs, and shaky retcons of established Trek timelines… the Trek fans began to warm to "The Orville," almost as if in retaliation. Some may say it's about content, but I think it's about paying for it, because "Discovery" airs on the pay service CBS All Access. Apparently, Trek fans will take fart jokes as long as they’re free.

Personally, as I said yesterday, I think "Discovery" is brilliant, but, hold on to your drinks, so is "The Orville." I think with the involvement of Seth MacFarlane, most folks expected a big joke-filled parody of Star Trek, but the fact is, he is a huge Trek fan himself. He not only created a loving homage to Trek mythology, but did it so well, that when vulgar humor does show up, it feels out of place. Yes, it's true, MacFarlane has out-Trekked Trek. This show is damn good.

The humor has brought up situations that we know must happen in the Star Trek universe, but no one has tried to tackle before. Not only is it hilarious in those moments, it's thoughtful, refreshing, and in some cases, daring. In the space of three episodes, we have seen on "The Orville" both the best elements of the original series and TNG, with fart jokes. That is impressive. This is a show to watch, and you should watch it because it's good, not just because it's free. Two thumbs way up.

Star Trek: Discovery

There have been reports before the fact about this series that are the stuff of nightmare, and there is of course the whole concept of having to pay for it as part of CBS' new All Access network, so even before it started, "Star Trek: Discovery" had a hard road ahead of it. First imagined as an anthology series, taking place at any time or place in the mainstream Trek universe (as opposed to in the Kelvin timeline of the last three cinematic films - here, here, and here), this series now might just be about one ship, one crew, and one time - time will tell.

I have been impressed with the previews myself, especially the acting and casting, but not so much with some of the designs, particularly the Klingon ones. Further while I was very happy with the casting of "The Walking Dead"'s Sonequa Martin-Green as First Officer Michael Burnham and one of my favorite actresses Michelle Yeoh as Captain Philippa Georgiou, I was disappointed that Green would take lead as the POV protagonist with Yeoh in a more background role. That said, as with all such things, I should have an opinion until I actually see it, right? It's what separates the Trekkers from the Trekkies, I suppose, pre-perception.

I loved the opening of the first episode, "The Vulcan Hello," as well as the new theme. The composition by Jeff Russo incorporates elements of the original theme, and while it's no country song like in "Enterprise," which I found original, refreshing, and catchy, it is adequate. The visuals are much less exciting, and disappointing. But as noted, the acting and lesson of the intro with Green and Yeoh showed much promise and dedication to the cause. It had my hopes up that I was able to get through the less-than-stellar credit sequence.

Ten minutes in, introduced to Doug Jones' paranoid science officer Saru, and others in the diverse crew of the USS Shenzhou, this was feeling very Trek, from the dialogue, to the uniforms, to the procedural, and I was digging it. This crew gets along, knows each other's quirks, and has a camaraderie similar to later seasons of "TNG." There is however an annoying Motion Picture conceit of showing off special effects and model building, almost like a child jumping up and down and yelling, "Look what I can do!" and it results in scenes dragging and taking much longer than they should.

And then there are the Klingons, some might say drastically different in appearance and conduct to what we have known before. They have been known to change their physical appearance in the past, but this is quite different, and quite possibly what drove fans up the wall when images surfaced. We have more gothic, more bestial, more feudal Klingons here, with a darker, larger, more sinister and menacing bird of prey. I am willing to accept this, after all, who knows how much and how fast Klingons might evolve physically or change culturally.

A more sophisticated explanation from the showrunners suggest that the Klingon Empire is huge, and not all Klingons come from Kronos. Their various cultures and styles and even physical manifestations vary from house to house, their system of power, similar to that of "Game of Thrones" in a way. Just like a New York businessman would look different from an Aborigine shaman for instance, these Klingons are just as different as say Kang and Worf are to each other. Seems like a lot of dancing to just make more fearsome alien monsters and not change the name. And once the thought that they were more like "Doctor Who" monsters than "Star Trek" villains entered my mind, it would not leave.

The setting is ten years before the original series, and the USS Shenzhou has discovered a Klingon ship. Burnham, who has a history with the Klingons who haven't but rarely been seen in generations, goes to investigate and ends up killing one of their Torchbearers. Burnham, we learn was the only survivor of a Vulcan-Human space station attacked by Klingons. Her parents killed, Sarek (yes, that Sarek) took her in, educated, and trained her. So this discovery is a hot issue for Burnham.

As the episode continues we see more of Burnham, as well as Saru and Geogiou, all doing fantastic jobs. The performances are on mark. Meanwhile we are also learning of Klingon culture and how one house is trying to unite all twenty-four houses against the Federation. The cliffhanger on the first episode is a tight one, and must have been very frustrating for those not subscribed to CBS All Access. My take on this however, based on the first episode, would be it's worth it.

Lucky folks outside the United States got to see it on Netflix, it should be noted. And in watching the second episode, "Battle at the Binary Stars," it's evident that the structure of the show fits Netflix to a tee. This is a binge series, and watched best as a binge. It's episodic, with a binge-worthy flow, interspersed with character-revealing flashbacks - this is a Netflix show, and CBS couldn't have found a better formula to copy. It's damn good. I dug this a lot, recommended.

Marvel's Doctor Strange

Marvel's Doctor Strange ~ I was first introduced to Doctor Strange during the Avengers/Defenders war in the early seventies as he was the leader of the latter superhero team. I knew he was Marvel's 'magic guy' and that he'd been around since the beginning of the Marvel Age and was created by Steve Ditko and Stan Lee, the same team that brought us Spider-Man originally, but little else.

While my impression was usually the Sal Buscema Defenders leader, as I grew older I started to read the Ditko stuff, and it was out there, very weird with outlandish villains and bizarre mindscapes. I never dreamed anything like it could be brought to the screen, and yet the previews seem to indicate it can be done. But then again, I never imagined we'd have an Avengers movie, let alone three - Marvel is just full of miracles.

Beware spoilers hereafter.

I am not a Cumberbitch. I'm comfortable enough with my sexuality that I'm not afraid to say when a man is attractive, but I have never understood what women and men see in Benedict Cumberbatch. I love "Sherlock," but he's so unlikable a character there, and let's face it, his Khan was one of the worst things about Star Trek Into Darkness. So I was not sold when I heard Cumberbatch was cast as Doctor Stephen Strange. He proved me wrong. After seeing the movie, I can't see anyone else in the role.

The story is thematically the same as the hero's first appearance from 1963's Strange Tales #110, which I had first read more than four decades ago in Stan Lee's Origins of Marvel Comics. Arrogant surgeon Stephen Strange gets in a car accident that damages his hands. Unable to continue as a surgeon, Strange searches the world for cure, eventually coming upon the Ancient One, who gives him a new vocation with magic. Long story short, of course.

All the elements are here, the desperation, the salvation, but a few things are turned on their head. I'll start with the good and move to the ugly. We get more insight on major Doctor Strange enemy Baron Mordo, fellow student of the mystic arts under the Ancient One. I really liked Chiwetel Ejiofor here, easily one of the best performances of the movie, especially as he changes in the space of the film, beginning as an ally then by the end credit sequence, more villain than the actual villain of this piece.

Let's talk about Mads Mikkelsen and the character he plays, Kaecillius. I realize now that Kaecillius is an old school Silver Age foe of Strange, although essentially a henchman of Mordo's, but until the movie I had no idea who he was, and had to look him up. Why was he chosen as our hero's first foe? I wouldn't normally mind such an unknown entity if the actor behind him was worthy, and he is - Mads is a major heavy with incredible talent, but they really do very little with him or Kaecillius here. It's all posturing and posing, no real depth. All we get is Mordo, and we really have to wait for the sequel to see his evil turn.

And then there's the Ancient One. I have nothing against Tilda Swinton or her performance, she's amazing, and funny, and ominous, and tragic. But she's white. It's her casting I still have a problem with. With Mordo, a black man was cast into the role of a white character to wonderfully add diversity to the painfully white Marvel Age of the early sixties. But the Ancient One is actually one of the few Asian characters in that same age, and the producers chose to cast a white woman in that role.

In old Hollywood, this was called whitewashing. Taking an Asian role and casting white actors to play Asian. Movies that I love, like The Mask of Fu Manchu, The Good Earth, and Mr. Wu, are stained by both this practice and the racial stereotypes depicted. Sidebar to the stereotypes, Wong, Doctor Strange's servant is treated well and as an equal if not a better to Strange in this film, gracefully and cheekily by Benedict Wong. Notably the character was also treated equally well in the often forgotten but quite good 1978 television movie/pilot of Dr. Strange. Back on point, which is worse, the color blind casting of Mordo, or the whitewashing of the Ancient One?

Rachel McAdams is merely a plot device in the film, who could have been more, but doesn't live up to potential. If they were going to use Night Nurse in this film, why not use Rosario Dawson from the Netflix Marvel Television Universe? But then again, I admit my bias toward her, but why create another Night Nurse character - isn't the comics continuity confusing enough? I would have rather had Clea, perhaps we'll get her in the sequel.

Strange's journey into the magic world is wonderfully depicted, I even dug the Inception-like special effects of turning one's surroundings into a weapon by altering its structure (up is down, shifting buildings, moving gravity, and Escher nightmares). This was one of the ways the film depicted magic, and it made the fight scenes phenomenal, something we'd never seen before. I liked that the Cloak of Levitation was like a wicked stepbrother to the Rug from Disney's Aladdin and seemed to have a fun sentience. And then there's the rings.

The concept that certain items are imbued with magic and aid in the casting of spells is a solid and revered concept. Much of the Doctor Strange comics mythos comes from this - the Cloak, the Eye, etc., and then there's the Sling Ring, created for this film. The Sling Ring helps to cast portals, and without it, a portal cannot be opened. It actually plays well in some of the fight scenes I mentioned. When Strange says, "Sling Ring, do your thing" at one point, it completely removed me from the film.

Back in the bad old days of the 1970s when there really wasn't all that much comic book superheroism on television, and what there was was changed or made silly, there was a Saturday morning cartoon called "Fred and Barney Meet the Thing." Yes, that Fred and Barney. One of the program's segments featured a teenaged Ben Grim who could transform into the Thing by bringing two rings together and saying, "Thing Ring, do your thing." It took a while to recover when that happened in the film.

While I wished that Dormammu had a bit more fire (less Zemo, more Dormammu), I loved his representation here, and even the uncredited fact Cumberbatch did his voice. The way Strange beats him is brilliant. Casting problems and Thing Rings aside, I really did enjoy this movie. Of course stay through the credits for the two extra scenes, one a set-up for Mordo, and the other a seemingly mismatched piece directed by James Gunn that prologues Thor: Ragnarok. Highly recommended, as are most of the Marvel films.

Star Trek Beyond

Star Trek Beyond ~ The trailer for Star Trek Beyond is one of the things that kept me going when I spent this last December in the hospital. Beyond of course The Bride, my friends, my family, and a short video of my kitty Snowy, there was the first trailer that broke.

My friend Andy Burns posted it at Biff Bam Pop! on a day when I was feeling a bit better and I showed that YouTube clip set to the Beastie Boys' "Sabotage" on my iPhone to everyone who came into my room that day. I was psyched. One reason I was going to get out of that hellhole was certainly to see Star Trek Beyond in July.

It's July, and I'm out. I saw it, and I loved it. Star Trek Beyond is one of the three best movies out this year so far. And the other two - Captain America: Civil War and The Legend of Tarzan respectively - actually have a lot in common with Star Trek Beyond.

Like Civil War, this carefully structured script by Simon Pegg and Doug Jung, gives all of the many characters in this venerable cast equal time. Everyone has something to do and no one gets the short end of the stick. No matter who your favorite is, he or she gets a spotlight. Speaking of the script, Pegg and Jung are masterful in creating adversaries and situations that are absolutely geared to defeat the crew of the Enterprise, but never once does it degenerate into a when-is-it-time-for-the-good-guys-to-win scenario. There is no desperation, we are always rooting for our heroes.

And while we're on the topic of heroes, the similarities to Tarzan become apparent when as a viewer I realized that this was not the new crew, or new actors, but the real thing. This was Star Trek, and it was bringing it for a new generation without losing that which made it cool to begin with. I not only loved the traditional characters, but the new ones as well, and look forward to a fourth installment - something I could not have said after Into Darkness sadly.

This new Trek was fun, exciting, and triumphant. Highly recommended, and worth living for.

The Man Who Fell to Earth 1987

The Man Who Fell to Earth ~ I haven't seen the David Bowie version of this film in decades, so when I saw it on the schedule, I immediately DVRed it. At the time I didn't know there was any other version of The Man Who Fell to Earth, at least until I sat down to watch it. This is a 1987 television adaptation with Lewis Smith in the title role.

There are changes to the story, including oddly the characters' names, and of course the ugly updating that happens with any remake. Smith lacks the charisma of Bowie, yet brings it off well and is adequately believable. Look for Annie Potts and Beverly D'Angelo, as well as then-future "Star Trek" cast Wil Wheaton and Robert Picardo. I love Wheaton, but he's not good in this at all.

Once the memory of Bowie, and the original movie, can be removed, this flick isn't bad. It's not good either, mind you, but it's harmless viewing, a sometimes painful, sometimes amusing 1980s time capsule. All things considered, it's probably better than it should have been.

Blunt Talk and Tunes

This past week featured the premiere of the new Starz series "Blunt Talk" starring Patrick Stewart and created by Jonathan Ames. I was looking forward to this one more for the creator than for the tenuous Star Trek connection. While it was fun to see Brent 'Data' Spiner show up in the first minute of the opening episode, I'm sure that the adventures of title character Walter Blunt, played by Stewart, may well turn off most Trek fans.

Stewart plays Blunt, a British war vet and newscaster who's come to America to do a news/opinion show, the kind that I hate so much. One drunken escapade with a transgender prostitute, and Blunt is in trouble, and continuing his downward spiral as he takes drugs and lies to his employers. This dark humor is what I tuned in for, not Star Trek.

I'm a big fan of Jonathan Ames. His novels, columns, and especially his HBO series "Bored to Death" are full of this type of sarcastic darkness, and I love it. Stewart plays well in this world, and is a comic delight to watch. One particular scene in an airport bathroom in the second episode had me in hysterics. Stewart has a real talent for physical comedy.

The real bonus for me watching the first few episodes was the song "Miss Cindy" by The High Decibels in the first one. Sort of a hip hop rockabilly, it grabbed me right away, so after Shazam-ing and SoundHound-ing it, I sample-listened to the two albums by the band on iTunes. I dug it, a lot, and bought both. Seriously, there's not a bad song in the bunch. When was the last time you bought an entire album where you liked every track, let alone two? Great stuff.

Star Trek Morning Coffee

This past Friday I had the opportunity to speak with friend, fellow writer, and TV host Kristin Battestella at the RadioVision Network on their program "Morning Coffee." The topic was Star Trek, in the movies, and on television, in all of its various incarnations.

We discussed the original series and what made it work, moved on the animated series, and into the movies. We talked about our love for (and apparently we're the only ones) for the much-maligned "Enterprise," about "The Next Generation" and its spin-offs "Deep Space Nine" and Voyager."

We also talked about the movies - how Wrath of Khan was the best, and what was right and wrong about all the others, from The Undiscovered Country to the new reboot of the series. It was a great discussion, you can check it out here. Thanks to Kristin, Morning Coffee, and the RadioVision Network.

RIP Yvonne Craig

Actress Yvonne Craig, TV's Batgirl, has passed away at the age of 78 after a battle with breast cancer. This was not the kind of news I wanted to wake to a morning earlier this week, or any morning.

For many of us, boy and girl, Yvonne Craig's Batgirl was our first crush. It was never a matter of Ginger or Mary Ann, it was Batgirl or Julie Newmar's Catwoman. Hell, even today, those two women might very well be responsible for my predilection for redheads. Seeing her with Elvis in Kissin' Cousins, and later as the green-skinned slave girl from Orion on "Star Trek," cemented that crush for myself, and thousands of others.

As Batgirl on the 1960s "Batman" TV series, she was the original super-heroine role model - before Wonder Woman, before the Bionic Woman, or Electra Woman and Dyna Girl, and definitely before the Black Widow, Yvonne was kicking butt and taking names and even had her own theme song, debatably cooler than Batman's. And although there was a Bat-Girl in the comics in the 1950s, the character of Barbara Gordon as the new Batgirl was launched almost simultaneously with the TV version, many times taking her cues from Yvonne Craig's portrayal.

I met Ms. Craig once, for just a moment at a convention years ago. She still looked great, was sweet and tolerant of my gushing, and was funny and ironic. Unlike many stars folks meet at cons, she was a delight, and she will be missed.

The Explosive Generation

This film was brought back to my attention when I saw on the Facebook that my friend Rob Kelly was planning on watching it. A day later I saw that The Works was showing it. Curiosity piqued, I set the DVR and got ready to be dazzled.

As the title might imply, this 1961 black and white 'classic' is all about wild kids growing up too fast. Think more Eddie Haskell, or the Jets and Sharks without knives, as opposed to say Clockwork Orange or Class of 1984. The real selling points of this one however are the pre-Star Trek William Shatner and the post-Bad Seed Patty McCormack. Also look for Edward Platt, The Chief from "Get Smart," as the principal.

Shatner is the 'cool' teacher, and in trying to get the kids to talk about their problems, he invites an open discussion of sex in the classroom. Yeah, reality check, it's 1961. This was brave territory for the time. McCormack, who was a much more believable actress as an evil little girl, is a student with a problem.

All hell breaks loose when the parents get wind of what's been going on in the classroom. They lose their minds and try to put a stop to it. The whole business gets Shatner suspended and the students fight back with a good old-fashioned protest, of course in the days before such things were in vogue.

I dug the jazzy timely score by Hal Borne, who's also done such varied soundtracks for classics like Promises Promises and The Big Store, and later 1989's Family Business. And why yes, that is a baby-faced Beau Bridges as Mark, and the accent-less Stafford Repp, a few years before his Chief O'Hara from "Batman," as a police officer.

And yes, I'd seen this one a few times before, but forgotten. Heck, I had even forgotten I'd given it a quickie review back in 2009. Hopefully this is a bigger better review. Well worth a look.

Daredevil S01 E05: World on Fire

We open on Matt moving Claire into his apartment. Moving is a tricky word as she has nothing. With the close of the last episode, Matt finally broke down the wall of blindness and confided in her, and now things between Daredevil and Night Nurse are a bit different. Downtime equals romance, and to paraphrase what someone wise once said about Captain Kirk and the ladies, ain't Matt something?

Claire asks Matt how he sees, and he complies, or tries. She asks him what he sees, and after some thought, answers with the title of this episode, "a world on fire." However true, appropriate, or literal and prophetic that may be, it signals a new beginning for the hero. Attached, no matter how casually, he no longer has nothing to lose. Matt has to be careful, or the world soon will be on fire.

Vincent D'Onofrio is emerging slowly but prominently in his role as Wilson Fisk, the Kingpin. We got a taste of his brutality last episode, as well as his management skills. His manipulation of the Russians and eventual destruction of what was left is demonstrative, and when confronted by the rest of his underlings finally, it's a lesson learned.

My first encounter with the Kingpin was not just as a Spider-Man foe, but as one wildly animated by Ralph Bakshi in the 1967 cartoon series. This intimidating well dressed fat man crime boss was frighteningly brought to life with the same psychedelic acid-induced animation with which Bakshi brought us Infinata and Dimension 5, borrowed from "Rocket Robin Hood." It was positively terrifying.

When I next encountered the Kingpin, it was in the telemovie "Trial of the Incredible Hulk," an odd pilot/spin-off for Daredevil as played by Rex Smith. Folks who've complained about the Ben Affleck Daredevil, and the first Netflix costume need to see this relic. Played by John Rhys-Davies of Raiders of the Lost Ark and "Sliders," this was a less than satisfactory Kingpin.

After that I began to see the character in comics, cartoons, and role-playing games more. Up until that time, other than Avengers, or an occasional Defenders, I didn't read many Marvel Comics so he escaped my notice. I was always puzzled however why he became a Daredevil enemy rather than Spider-Man who he had originally opposed. I mean didn't Daredevil already have a manipulative crime boss type villain in his rogues gallery? Yeah, I'm talking about The Owl.

Perhaps that is why I was thrilled to see Leland Owlsley among Kingpin's underbosses in this series. Maybe, just maybe, and I don't know yet as I'm reviewing these episodes as I watch as opposed to doing it after I've seen the whole series, but maybe he will emerge as a villain like his comics counterpart. Already, I have enjoyed Bob Gunton's performance with his owl-like gestures and facial expressions. Gunton is a great character actor, memorable from Shawshank Redemption and Evita on Broadway among others.

All that said, I can see why showrunners might shy away from the Owl as he is in the comics. A mutant with birdlike powers, motifs, and mannerisms might be too cartoonish, although Robin Lord Taylor seems to be doing quite well as the Penguin on "Gotham" doing much the same schtick. As for the comics, I suppose matching Daredevil, whose title at the time had flagging sales, with Spider-Man villain the Kingpin probably made better financial sense, even the Owl would agree with that.

The cinematography and direction continue to amaze. The brief scene in the cab as Gao's man sings in Mandarin and the camera moves slowly 360 degrees is pure brilliance. Fisk continues to romance Vanessa, and Foggy and Karen help the downtrodden and get to know each other better, while the Russians, working on fuzzy planted information from our friend Turk, declare war on the Kingpin and Daredevil.

They all play into the Kingpin's hands, right into the cliffhanger with the police surrounding Daredevil standing over the remaining Russian brother, as the city burns...

KarePax

The big gift craze this past holiday season seemed to be the infamous mystery box of stuff. Various companies were offering these mystery boxes and depending on genre, that was the kind of swag you got. This year I ordered from KarePax for a few friends, and for my trouble, they sent me one too.

KarePax specializes in mystery boxes containing candy, snacks, and comics from all over the globe. At first, when it arrived, it seemed a rather small box, but let me assure you, it was stuffed full, and the bounty seemed to never end.

The swag in my box came from the United Kingdom, Japan, Germany, the United States, Poland, Thailand, Croatia, Indonesia, and Serbia. Among the comics were issues of Star Trek, Bill and Ted, Fatima, an IDW catalog, and something called Security Guild that featured reprints of some very cool but obscure public domain Golden Age superheroes. Who remembers Ghost Woman? How about Nightmare and Sleepy?

On the snack end, there were items that were familiar and some I didn't know what they were. Among them were Swoffle, Ellse, Smoki, Walkers Smoky Bacon potato crisps (a variety of which I reviewed over at French Fry Diary right here, Delicje orange biscuits, and Churrotos.

Some of the candy was even more baffling. The Mallo Cup I knew, just as I did the Kit Kat logo but not the mystery Japanese flavors of Kit Kat. There was a Bueno bar, Nut Goodies, Bocadin, and Hi-Chew. And amongst the other unmarked candies was a Curly Wurly bar, a clone of the old Marathon bars from the 1970s. I can see much hesitant taste testing in my future...

Thumbs up for KarePax.

Marvel's The Avengers - Three Years Later

I reviewed Marvel's The Avengers right after I saw it, three years ago, and although I have seen it numerous times since then, I thought it might be fun to take a new look at it on the eve of Avengers: Age of Ultron.

The movies have many franchises, among the biggest and longest are James Bond and Godzilla, but neither really depends on any kind of serious internal continuity or connection to each other. To an extent, the Universal horrors worked the same. Each film represents its own story and doesn't really need the others to be seen. Star Wars and later Star Trek play it differently as you do need to see the others, as it's more of a longform movie serial.

No one really tried to do an internal continuity on this scale until the Marvel Cinematic Universe. All of their 'phase one' led up to this moment - Marvel's The Avengers. This is House of Frankenstein as an endgame. We can't wait to see our heroes, and then we can't wait to see them together. Everyone is given room to move, time to shine, and still we are wanting more. From Iron Man's AC/DC entrance to Black Widow turning the tables on a brutal interrogation to Captain America going hand to hand with Loki - everyone gets a chance to shine solo until it's time to work together.

Then there's the reality of what we're really seeing. This is a S.H.I.E.L.D. movie, this is the S.H.I.E.L.D. movie. Had the series been like this, it would have been a surefire hit. Witness the majestic Star Trek-like launch of the Helicarrier, the huge bridge, the glee and command that Coulson has in the flick, all of this should have been the basis for the "Agents of S.H.I.E.L.D." TV show, rather than what we got.

This is the S.H.I.E.L.D. show we wanted. Did they dismantle the Helicarrier set as soon as filming was done? They could have used that. Maybe Samuel L. Jackson or Cobie Smulders could have recorded more footage for the show, but from other locations rather than going to the series set. And would we have really minded recycled footage from this movie in the show? I think not.

There is joy in the chemistry of the characters, and the actors. Without the shadow of Civil War over them, Captain America and Iron Man are friends and partners, Hawkeye and the Black Widow share moments, and Mark Ruffalo subtly steals the show as the buffer between all parties, even his CGI counterpart does his share of scene stealing. Loki is delicious, Fury is perfect, and the movie remains the best comic book superhero movie ever…

…at least until I see Avengers: Age of Ultron later tonight…

Arrow S03 E15: "Nanda Parbat"

Our opening this week, although brief, clears up a bit of a problem I've had with the character of R'as Al Ghul on "Arrow." The idea that he did not approve of the relationship between his daughter Nyssa and Sara, the first Canary, has always had a bit of an unspoken and icky anti-gay sentiment to it. Although a villain, it was always in my mind that R'as would be a bit more open minded, being immortal and all.

What is made clear in this short exchange between R'as and Nyssa is that yes, he did disapprove, but because he knew Sara would leave Nyssa (and him, and the League of Assassins) and hurt her. Also made clear is that R'as knows Oliver is alive, and that he did not kill Sara. Still, he must be dealt with. I also have to say that this opening is the first time that Matt Nable has made me believe he's R'as. He's good, but this is the first time he's struck me as that good.

The Arrowcave and the club have been fortified by Dig with A.R.G.U.S. tech, and given everyone inside a bit of time to catch up and get to know each other better for good or ill. Whether it's trading quips, training for battle, revealing even more secrets, or just the hostile environment caused by Malcolm's presence, it's just not pretty. I did love Malcolm's comment about Oliver bring a bow and arrow to a sword fight.

The thrust of the first half of the episode focuses on the mad obsession of Oliver's that Malcom train him to defeat R'as. Why is he so adamantly on Malcolm's side? As Dig says, there must be something to it, but Oliver is such a liar we'll never know it, until it's too late. When it does come up - while it's irrational male ego more than anything else - it makes more sense than 'trying to save Thea's soul.'

Laurel confronting Merlyn, followed by the assassins taking Merlyn, and Arrow fighting Nyssa are three excellent fight scenes in quick succession. For all the talking in the episode, this more than made up for it in the action column. I have to say however they are making much too fine a point on how good a fighter Malcolm is and how bad Laurel is. It's just not consistent.

Meanwhile Felicity has been distracted babysitting Ray Palmer. This A.T.O.M. suit sure is taking a long time to put together. Before his test flight I was beginning to wonder if we'll even see the Atom before he shows up on "The Flash" in "All-Star Team-Up." At least Felicity finally gets a real kiss from a bare chested man, even if it's not the bare chested man she really wants. I'm also starting to wonder what this Atom's powers are - he's more Iron Man or X-O than any version of the Atom. What I'm wondering now however is what the proposed spin-off pilot is about with the actors who've portrayed the Atom, Black Canary, Captain Cold, and Prof. Martin Stein…

What happens in "Arrow" this episode is that Malcolm is captured by R'as Al Ghul's forces, and Oliver and Diggle follow him back to Nanda Parbat. They're easily captured of course, but just when we think R'as will kill them, he instead makes an offer to Oliver. He asks him to become the next R'as Al Ghul. Now, despite various references to Bludhaven, it's been assumed that the Arrowverse is Batless. There are far too many bits from the Bat-family that have ended up here without a mention of the Batman for there actually to be a Batman. Of course that could be because of legal complications, but it still seems a stretch for R'as to groom Oliver just as he tried to with Batman. But then again, they did reconstruct the swordfight from Batman #244, so why not co-op the rest of the Batman/Demon story?

One last fun bit. William Shatner was live-Tweeting this episode the night it aired. Fun stuff, you can check out his feed here. Special thanks to super cool friend and fellow Biff Bam Pop! writer Leiki Vestimets for hipping me to it. You can check out the latest On… column at the site where she talks about "Saturday Night Live" here. And speaking of "Star Trek" and Biff Bam Pop!, please read our memorial of the late Leonard Nimoy here.

Back to the Arrowverse, I have more questions. Why does Oliver need Nyssa to tell him where Nanda Parbat is? Wasn't he there before? Isn't that where he faced R'as the first time? And after all the men that Oliver and Dig probably killed, how can R'as let them live? How can they live with themselves? I thought Oliver swore off killing.

Arrow returns March 18th, see you then...



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