Category Archives: Reviews

TV Review: Marvel’s Agents of S.H.I.E.L.D. S7E1 The New Deal

Marvel's Agents of S.H.I.E.L.D. S7

Coulson and the agents are thrust backward in time and stranded in 1931 New York City; with the all-new Zephyr set to time-jump at any moment, the team must hurry to find out exactly what happened.

Marvel’s Agents of S.H.I.E.L.D. is back for its final season as the series takes on a Quantum Leap quality about it. While the show has its usual popcorn-light flair about it, the series clearly has a mission as it wraps things up.

With its debut episode, Marvel’s Agents of S.H.I.E.L.D. has planted a flag for where it’s going, and that’s a retrospective in a way. Through the season, the series will explore the formation of S.H.I.E.L.D. and pivotal moments throughout history. It also has a goal of tying into previous seasons and wrapping up questions and delivering answers. That’s evident from who guest stars in this season’s debut as well as what is eventually revealed. It’s a wink, nod, and a bit of a payoff for long-time viewers of the show.

While the show at times has put the emphasis on the “enemy” of the week with shoutouts to Marvel comic’s deep bench, this season’s tone shift a bit where the enemy is a generic bad guy who wants to change history and literally whose face can change. The season villain is a literal blank slate and generic emphasizing the focus elsewhere.

The episode’s not bad. It has the usual fun and flair of the show never going too deep and not taking itself too seriously. Some thought has gone into the impact of the team in 1931 and what the reaction would be to them. But, like with everything on the show it feels not deep enough. While Mack’s presence is acknowledged, as it should be, Quake’s is not. Whether the fact that actress Chloe Bennet’s father is Chinese while her mother is Caucasian, and we can debate if 1930s individuals would know she was, there’s no comments as one might expect. So, while one aspect of the racism of the time is acknowledged for another character it isn’t. It’s something that stood out to me as a viewer as it’s a plot point for one character but not another. Still, the show does bring up how a woman would be treated in these situations. So, it both nails the details and doesn’t which is interesting.

The draw of the series at this point is the enthusiasm of the actors and it continues here. You can tell so many of them are having fun and while that enthusiasm doesn’t quite become infectious it does make the show more entertaining.

Marvel’s Agents of S.H.I.E.L.D. is doing its victory lap as a show that has gone on much longer than expected. It continues to do its thing and this season feels like it’s made for those who have stuck along this entire time. While it continues to not be groundbreaking, it is still a fun hour and for those into the details of the Marvel Cinematic Universe, this season might just be a must by the time it’s over.

Overall Rating: 7.0

TV Review: Stargirl E102 S.T.R.I.P.E.


Stargirl featured a solid debut that dripped with nostalgia and saccharine sweetness. The second episode picks things up quickly as Pat explains to Courtney about the Injustice Society of America and we get hints as to why the Injustice Society is all in one small town.

What’s briefly mentioned feels like something we’ve seen so many times before but it works and explains a Pollyanna-ish town.

What the episode does right, and right away, is to continue the dynamic between Pat and Courtney. There’s something that really clicks and works between Luke Wilson’s Pat and Brec Bassinger’s Courtney. They’ve got a timing that plays off each other and moments, like when they both say they hurt themselves on the stairs, really plays off their dynamic which relies heavily on humor.

And that goes into the humor of the show. Much like the debut episode, the second has a lighthearted sense about it. That’s best shown in Pat getting S.T.R.I.P.E. to work in a sequence full of fantastic moments. We also get the segment of Courtney creating her costume which breaks the mold of the sequence going smoothly, takes on stereotypes of women, and also is just funny. Both segments really set up the tone of the show which tends to be a bit less serious than other DC live-action shows.

That sequence, like so much else of the show, really highlights the production value of the show. S.T.R.I.P.E. looks really great, so much so I’d love to see segments in how they put it together. There’s also something very “Iron Giant” about it, again tapping into nostalgia.

What the episode also does it set up the future. There are moments that feel like they foreshadow future threats once the Injustice Society is defeated. It’ll be a while before we see how that plays out and most likely won’t happen until a second season.

The episode continues the solid start of the pilot delivering humor and entertaining moments. There’s a good blending of the superhero genre with that of a small town setting. And, while it hints as to why everything has come to this one point, what is teased works and makes sense.

In the end though, what the episode really does is surprise. While there’s so much nostalgia, Stargirl flying by the moon is very ET, what’s said and where the episode goes is unexpected. The finale of the episode isn’t the direction that one would think the series would go. It ends on an interesting moment, not just for Brainwave, but also for the relationship between Courtney and Pat.

Stargirl isn’t the best comic adaptation that has been done for live-action but there’s an enthusiasm and innocence about it that’s unmatched. It’s hard to not just smile and enjoy the series.

Overall Rating: 8.5

TV Review: Snowpiercer S1E2 Prepare to Brace


In the second episode of Snowpiercer, “Prepare to Brace,” Layton uses his new position as the train detective to investigate the murder while gathering intelligence for the revolution on the side. Melanie faces a resource crisis with potentially drastic consequences for the entire train.

The second episode of the series does a bit better of a job diving into the themes of the show, especially the disparity and brutality of the reigning regime. The episode opens with punishment being meted out for the uprising in the first episode. It’s a brutal in your face reminder that those that rule see the individuals in the back of the train as less than human because they’re not ticketed. Adults or children, it does not matter, justice and order shall reign and those who rock the peace shall be sacrificed to “appease” the train.

The episode continues to tell much of its story and world through the visuals. As Layton explores the train, we the viewer, do as well. Each train car tells a story with so much detail pack in it begs to be watched again.

An prime example here is the nightcar concert. It’s hard to not watch the excess and free expression while knowing the suffering in the back of the car is occuring. What’s interesting is what we also see happen in that car, which hints that the order from outside the tail might not be as present as believed and there may be potential allies.

The nightcar does allow us to learn more about Andre’s life before the train. We get a better sense of who he is and it’s a positive direction. Up to this point we just know he snuck on the train with family, lying about being a detective, and plotting a revolution. These aren’t exactly the makings of a straightforward hero. Instead we at least get a better sense of who he was before in a “loving” sense.

But, where the episode goes from there is interesting. Andre discusses the gangs and cannibalism that happened in the tail creating a sharp contrast with the individual we just saw. And the episode continues its uses of visuals by then cutting to the cows of the cars setting a contrast between what the tail has needed to do to survive compared to what the rest of the train has done.

From there, we get a bit more potential of the show as threats in the environment itself emerge with the train taking a beating from the snow and entire cars wiped out from a breach and the cold. That, along with the choices that stem from it continue to tease the potential of the show. And the entire episode is mostly those teases. We see the disparity of the cars and the people. We also see the choices that need to be made due to resources. It really continues the first episode’s setting up the world the show takes place.

While the debut felt a bit too much focused on Andre and his solving a murder, the second episode uses that as just a plot to set up our exploration of the train and the world and a tool for potential revolution.

The second episode is an improvement on the first teasing the potential of the series and bringing it more into focus of what was expected from the previous graphic novels and film. While still a bit drawn out, it’s setting up an intriguing series with a lot of potential.

Overall Rating: 7.15

TV Review: Stargirl E101 Pilot


Stargirl is the newest DC comic hero to make it to a live-action series and it’s one that’s a bit unexpected. But, from the first few moments of the show beginning, the show not only stands out from what has come before but feels like a welcome improvement.

The show has an almost Disney like feel about it evoking a style and special fx look that’s reminiscent of the string of films based on their popular rides. Through the action, and a brutal fight, we’re delivered an opening that’s exciting and fun with a style unto its own. There’s a “retro” aspect to it with that Disney feel and a bit of Rocketeer thrown in.

The opening is impressive with what feels like high production values and an attention to detail. There’s a lot going on in the chaotic battle but no detail of the costumes falls short and everything looks high quality and well designed evoking the classic designs they’re based off of.

There’s a lot thrown in there to start with the Justice Society of America getting torn apart and destroyed. And despite the seriousness of it all, there’s levity with Joel McHale as Starman delivering some laughs in an otherwise serious moment.

It sets the tone of the show and what’s to come and it’s clearly intentional. From that serious moment the show pivots a bit and Darlene Love’s “Christmas” plays which brought back memories for me of Gremlins and from there some Hanson and “Mmmm Bop.” The show’s playing with some interesting tones and it doesn’t end there.

The show follows Brec Bassinger‘s Courtney Whitmore whose mother, Barabra played by Amy Smart, marries Luke Wilson‘s Pat Dugan, the former partner of Starman. They move to Nebraska where the town is very “white” and mysterious. It sets up an interesting family dynamic and some familial friction. But that white bread vibe of it all also helps the eventual discovery by Courtney of Pat’s past and what he’s been hiding, Starman’s staff.

It too evokes a familiar emotion, one from my childhood of the hero discovering their power or the excitement of meeting that friendly alien. It’s saccharine in a way evoking an innocence that feels almost needed in these rather dark and ominous times. It’s a feel good start that makes all that’s recently come before feel a bit jaded and missing that childlike excitement. It’s a clear goal with hints like the use of the film The Goonies at a drive-in which also shares many of these qualities.

But with that also comes some predictable moments and tropes we’ve seen numerous times. The discovery of the power and its misuse to take on bullies is reminiscent of Peter Parker fighting Flash Thompson in the original Spider-Man. The school bullies and what’s revealed about them too is not too surprising and a bit predictable in many ways.

What’s so interesting about the show is the tone it delivers having as much in common with films like ET and the animated Transformers movie as it does Spider-Man and other teen-focused heroes. There’s a fascinating tone about it all and one that feels like it’s been missing in the current superhero genre.

Stargirl feels like a bit of a throwback in many ways with an innocence about it that’s missing from today’s superhero live-action releases. It really goes for a throwback 80s feel in so many ways and it nails it in so many ways. It’s a show that wants to deliver fun and wonder

Overall Rating: 9.0

TV Review: Snowpiercer S1E1 First, the Weather Changed


When the news that Snowpiercer was coming to television, I wondered how they’d take such a compact story and adapt it for television without stretching out what we’ve seen so far. Based on the French 1982 graphic novel series and praised film spun out from that, the show takes the familiar and mixes in… the familiar.

The story of Snowpiercer tells the tale of the last of humanity. The world has become a frozen wasteland and all that remains, that we know of, is a 1,001 car train the can never stop and circles the Earth. Along with the ticketed passengers a rush of those trying to survive fill the back of the car with stowaways. That sets up a story of class and caste. The “tailies” and ticketed passengers. The haves. And the have nots. It’s a story of class warfare while the survival of everyone is on the line. In the age of COVID-19, the series takes on an even more interesting twist layering on the haves representing those who want the world to open at the expense of the lives of tailies.

But, where can the show go? A police procedural.

There’s been murders on the train and actor Daveed Diggs‘ Andre Layton is tapped to solve it. Layton is a tailie and uses his newfound role to explore the train so that his fellow oppressed can rise up and take the train. We’re not getting the uprising, instead of a familiar genre with an unfamiliar backdrop. There had been a previous murder and now there’s doubt the individual found guilty committed the original.

Jennifer Connelly, the other marquee name on the series, is relatively underused acting as the voice of Mr. Wilford and keeping the train running. The talented Steven Ogg is the other face you might recognize, but his role is also rather short and abrupt. That leaves the focus, and pressure of success, on Diggs’ shoulders.

It’s an interesting start that teases the show’s themes as it introduces us to this world. There’s something intriguing about the direction and choice of how to plot this season but the end result is a bit cold in the end. The excitement and tension of the graphic novel and film are missing and we’re left with the shell of the original concept. It feels like a different show was fused with the Snowpiercer story.

The first episode teases a possible great series but doesn’t quite deliver on its concepts. It doesn’t commit to the struggle. But, as a debut, it’s more than enough reason to explore this world further. Hopefully, we get a more to connect with, instead of CSI: Train.

Overall Rating: 7.0

Review: Batwoman S1E19 “A Secret Kept From All the Rest”


Secret opens with Kate confronting Reagan about the stolen journal and discovering that she’s Magpie’s sister and accomplice. While Tommy, Mouse and Alice are torturing a Professor Carr for help deciphering the journal at Arkham they decide their best bet might be to kidnap Luke. Mouse tries to talk sense into Alice, who’s hellbent on revenge with a side of reckoning but, she’s more than her usual level of irrational. Kate talks with Julia about her attacking Reagan on the book hunt but, they’re forced to stick a pin in the conversation because Julia’s new love interest and Kate’s ex Sophie shows up.

The Big Bad: Gotham is under attack from a new villain, Hush (aka Tommy) kidnapping cryptographers to help decipher the journal. When their plan to get Professor Carr to help fails they “enlist” the services of NSA data analyst Tony Kim and Alice doesn’t want to stop even with all of the codebreakers in Gotham on lockdown so Hush takes the one that they don’t know about, they take former “nemesis” turn friend/mentee Parker from school.


The Bat Gang: Mary tries to get Kate & Luke to reconcile because the team needs him, and personally so do they. Mary might not be a Luke level tech genius, she does come up with the idea of tracking Carr’s pace maker to the location where it went dark to find out where he was taken. Since Parker was facetiming with her girlfriend when Hush took her and her girlfriend had the sense to call Batwoman, she was rescued before Alice was able to get her hands on her which means the Bat Gangs resident techie Luke is back on her radar as prime target number one.


Confrontations All Around: After going toe to toe with Kate over needing to trust Julia, Luke does some research of his own and discovers that Julia is in fact rogue but, after he talks to Julia about it and tries to get her to come clean to Kate, the duo is captured by Hush, right in front of Crows HQ and they plan on using Julia as incentive to get Luke to crack his dad’s code.


What I Liked: Watching Parker and Mary watch Sophie & Kate make awkward small talk , like only two people who are still in love and neither wanting to yield can, like it was a soap opera.

Julia trying to talk Luke through his mental block to save both their lives was one of the most beautiful moments because it was in sync with the whole theme of reconnecting and emotional history.

Parker being a computer whiz doing her best to track Carr’s last living location and Mary coming through with an unintentional assist by trying to keep herself busy and accidentally uncovering special glasses that were made to read the journal.

Luke and Julia deciding to die rather that tell Alice what the journal says even though Luke, being the genius that he is deciphers it on his own.


It’s Almost the Finale and… : Batwoman has broken into Arkham which leaves the already angry Papa Kane with even more of a reason to go after his , unbeknownst to him, super suited daughter.  Alice has the glasses and the book after Batwoman makes  a heroic and selfless trade but, that’s not good enough for her and she lets loose all the crazies in the asylum to fight off Kate while she drags a reluctant Mouse through the tunnels on their escape. Papa Kane shows up with an army of Crows with one mission, to capture the Bat, not knowing what he’s really setting in play and Alice is now loose in Gotham with everything she needs to know, to kill her sister. It’s all one hell of a set up for what I’m sure will be a killer season finale and no matter how the chips fall in episode 20, it’ll pave the way for a fan worthy season 2.

Overall: The episode is exceptional and kept with the dark nature of the show. It’s well written, exceptionally acted, brilliantly directed, and completely plausible. The creative team behind Batwoman seems to be amazing at having just the right mix of action, drama, and credibility which sets it apart from the rest of the CW’s DC Universe shows. “Secret” is a believable and strong episode from the first frame through the final scene and it showcases the excellence that we expect from the show.

Rating: 9.8

Recap: DCs Legends of Tomorrow S5E10 “The Great British Fake Off”

Up until this episode, the Encore showing was small, contained, and for the most part not nearly as badass as I was expecting with the plethora of historical baddies at the CW writer’s disposal. Since the show is always a whole bop and my favorite CW/DC collab, the writer’s kept us on our toes and pretty busy with all the subplots, side stories, and easter eggs so, I didn’t really mind. In Bake Off we get more baddies than we can shake a totem at and then some starting off with Jack the Ripper himself and then a boarding house check in line of some of the baddest badasses in history! While Z and Constantine try to track down the loom piece, hidden in a ring, in the past, Ava heads to hell with Mick and Gary who gets them there, to hunt for Astra, in his first solo wizard mission. Nate and Charlie/Colotha are kicking it back on the Waverider with some beers watching over Sara who’s experiencing some after-effects of the energy bolt from Charlie’s killer sister.

Villains Villains Everywhere: This episode had more Encores than expected and somehow it didn’t overburden the plot or come off too on the nose. Jack wasn’t the only hellish baddie to come out to play, Bonnie & Clyde, Brutus, Black Caesar, and Henry VIII all make an appearance but, they’re not even close to the baddest bad guy of the night. The honor of that crown lies solely on the head of Charlie’s oldest sister/Astra’s mentor Lachesis who shapeshifter her way into Astra’s office to steal her soul coins and get the loom for herself along with her sister Atropos so they can get back to business, as usual, affecting the lives of humans.

The Good Stuff: Mick wanting to get out of hell to see his newly found daughter Lita’s soccer game is more of the baddie with the heart of gold side of him that we love to see. Zari and Constantine drinking to forget so that they can find the ring and learning to see the other’s worth and darkest secrets.

The Double Cross: Lachesis offers Astra the chance to become a fate and take Charlie’s place which Astra agrees to exchange for Constantine’s soul coin which seems like a decent deal. The writers have laid down so many hints and character nuggets that we knew the cross was coming the second the fates basically told her that if they found the ring, she wasn’t getting her mom back but, it was completely believable that the singularly focused fates wouldn’t be able to fathom her making any choice besides power.

The Surprise Twist: Freaking Enchantress turning out to be the inn keeper AND leader of the fates was nice and technically a double twist at the open and the close of the episode and it was amazing.

The Big Picture: Legends is one of the busiest shows on TV but, the writers, directors, and cast make it so engaging that the hour feels like that big holiday plate, filled with a bunch of different things that you like, that you finish super quick because it’s so good and then feel a bit empty and want more; not because it wasn’t good but, because it was so good you want to do it again! Legends is that plate and this episode was no exception, in fact, it was that plate with dessert as a part of a 7-course meal because it started to tie together all the pieces that came before it and prep you for the after-meal drink.

Overall 9.8

Recap: Supergirl S5E17 “Deus Lex Machina”

Deus Lex Machina” shows us what Lex did after the Crisis and his plans to create a world of his own liking, his singular focus and dislike of Kryptonians in any multiverse means that he didn’t notice the bigger threat, the Leviathan. In this world, Eve has gone from mousy sycophant to assassin spy badass for Leviathan and Lex sets out return her to his fold.

Something Wicked This Way Comes: Obsidian Platinum via Leviathan orders is the big baddie to beat in this episode and Lex, with all of his good intentions, is still a baddie and up to his old tricks of double-dealing while rekindling his toxic, one-sided, relationship with Eve.

Stupid Games: Lex has been the king of playing stupid games to win stupid prizes. His privileged straight white male plan to stop Leviathan and kill whichever Kryptonian is stealing his thunder. We all know his plans will not work and he will need Supergirl’s help but, it’s so much worse having to watch him emotionally destroy /abuse and manipulate Eve, in every world, and blame her, in every world while he steals valuable screen time from the person who should be centered in the story.

Overall Thoughts: The Supergirl writers are staying the course they took last season. What initially started out as a show about Supergirl has turned into an ensemble show that just happens to bear the title character’s name. In “Deus,” the show manages to give the talented Melissa Benoist less than 1/4 of the screen time on a show that she’s the star of. What’s worse is that the show focuses a majority of the episodes time on Lex, her male arch-enemy and when they share the screen, it’s mostly about Supergirl in relation to Lex, not the other way around. In a show that started out being a feminist comic book-based show, it was bearable and somewhat OK when they shifted course after Cat Grant’s departure and became mildly faux woke because at least the show stayed about Supergirl. Unfortunately, in recent seasons the show has shifted away from even pretending to be something feminist centered and has settled in a space that erases even the lead character. If the show wishes to veer away from its initial offerings, it could simply add “and friends” to the title so that the viewer’s expectations can be managed. I understand that Lex is a huge part of the story but, this isn’t supposed to be about Lex or any of the villains, what worked before was seeing how Supergirl navigated her life as Kara while still doing her duty as Supergirl. There’s also the issue of Lena, her woe is me story arc has become unbelievable and unnecessary, it’s a waste of the amazingly talented actress that portrays her as she shows up every episode to give the same speech and then storm off. These Lena appearances do not do the character and justice nor do they serve a purpose, other than enforcing negative and harmful stereotypes about female friendships and pettiness. The way the writers have things play out between the once close friends borders on every cliche that men come up with then they write female relationships and it kind of forces any future writers to follow suit. I feel that it would have been better to just have her not in the episode at all rather than underutilize her by having her be manipulated by Lex and then storming off to yell at Kara before storming off.

Overall: 7.5

Recap: Batwoman S1E18 “If You Belive In Me, I’ll Believe In You”

After episode 17 gave us all the calm thrills a superhero loving fan could want, episode 18 tosses us straight into the storm and it’s easy to fall right into the cozy embrace of what should be one of your new favorite shows.

This episode kicks off with Batwoman stopping some black market organ dealers, selling alive and unwilling donors, on a shady street in Gotham. With her conscience semiclear after coming clean about the murder and her PTSD she’s back in full fighting form. Sophie and Julia are out going through Tommy’s things for Lucious Fox’s journal and some proof that he was behind the senior Fox’s murder.

Mary is trying to insert herself into Kate’s Batwoman team so she can retain the closeness that they have. Mouse is still rocking the Dr. Butler suit at Arkham, and he threatens to give up Tommy by telling The Crows he’s sane enough to stand trial in exchange for the journal. Tommy decides to up the stakes leading Mouse and Alice to offer him escape and a new face but, Kate and Luke have been eavesdropping on his panic call and decide to break into the mob owned club where it’s being held and steal it themselves. Unfortunately, even though Mary uses her passion for passion to help Kate, she doesn’t get to go on the mission, which crushes her, that honor goes to Julia. And, while Julia is talking all about her newfound friendship with Sophie, Kate bumps into the one that got away, from earlier in the season, and it’s impossible not to want the two of them to give it another go.

The Big Bad: This episode doesn’t have one mega villain, instead it focuses on a heist. That doesn’t mean that bad guys aren’t front and center since the heist is in a mob-run night club IN GOTHAM which means it’s pretty much bad guy center and a trap. Julia and Kate both get captured, separately, in a place where everyone wants a piece of the bat.

Scene Stealer: This episodes MVP is Mary, she plays the role of the kid sister who wants to hang out with her big sister and her cool friends to prove she’s a grown-up but, also wants to spend more time with her because she loves her, in the cutest and most heartfelt way possible. The scenes that Mary showed up in, in this episode, were all made memorable by her, she didn’t make her character seem needy or whiny, she made her seem vulnerable and human in a way that was relatable. Kate wants to protect her but, Mary wants to protect her and prove herself. But, in a pinch, Mary is the one who saves the day because Batwoman got caught in her world and she wants it.

That Twist Tho: Alice being distrustful of everyone, even herself, had a backup plan for getting the book for herself. Her and Mouse (as Dr. Butler) let Magpie out to do what she does best, steal. While no one saw Tommy’s mob bestie double-crossing him, Alice did and whatever Alice wants, Alice gets and right now Alice wants that damn book and I pity anyone who gets in her way.

If that’s not enough of a shocker for you, Julia is out for the journal AND Magpie has a sister (the bartender).

Best Moment: The visit between Beth/Alice and her dad. The heartbreak, loneliness and loss in both of their voices and eyes as he explains to her why she’s in there will break your heart too.

Final Thoughts: Batwoman as a show has a lot of moving parts, subplots, side stories, and while normally that would make a show like this a hot mess, it works. Most of the major characters are interesting enough to carry their story arcs solo, whether or not there’s any action involved. The world that the writers built for these characters to live in feels so real that it’s damn near impossible to not catch the feels for them and get a little emotional with every twist and turn. As a show, Batwoman started out a really cool looking piece of coal and has turned into a whole diamond. Batwoman isn’t the hero that Gotham needs but, she is the anti-hero hero that Gotham desires and should want and as a whole, it’s the show that we should all be rooting for.

Overall: 9.2

Recap: Batwoman S1E17 – “A Narrow Escape”

A Narrow Escape opens with Alice/Beth and Kate playing video games inside of Alice’s mind while her body is stuck in Arkham getting shock treatment at the hands of a brutal sadistic doctor. In the outside world, Batwoman is fighting off the baddies and taking her guilt and aggression out on every criminal that crosses her caped path. We time jump a week into the future where a GCPD officer wakes up in his patrol car with a bomb strapped to his chest and given the choice of killing himself with the bomb or freeing himself and letting another bomb go off taking someone else’s life.

Back at Mary’s clinic, she treats a wannabe caped crusader who has taken over her duties while Kate suffers from PTSD and panic attacks stemming from her murder of Cartwright. Ms. Pennyworth and Kate have resumed their relationship to a degree and she tries to talk Kate back into the mask before she leaves to go back to her life. Mouse and Alice are in group therapy “unburdening themselves” and while Mouse sees it as a safe haven and sanctuary from those after them, Alice sees it as a cage keeping them from causing mayhem.

The Big Bad: This episode’s villain is The Detonator but, not the original one, a copycat who’s taken up the mantel after a 7-year absence. The Detonator is strapping bombs to heroes and giving them a choice between saving themselves or allowing a bomb to go off somewhere else and killing other people. Only, since the real Detonator died 7 years ago, the copycat is using his MO to tie up some loo

The Side Story: Lucious Fox’s alleged murderer went free in the last episode and was promptly gunned down after having a conversation with Luke that convinced him of his innocence. But, his assassination put Sophie on the trail of a huge conspiracy within The Crows that she’s determined to crack before more bodies drop to cover it up

Best Moment: There were a few but, the one that got me the most was Mary letting Kate know that she knows who she is and giving her the push she needs to put the cape back on and save the day. It was beautiful, sincere and touching.

Episode MVP: Alice is a whole rockstar who steals every scene. She manages to play crazy and longing so well that it’s hella hard not to root for and feel sorry her. She’s toxic AF and even seems to have a toxic relationship with herself but, when she gets herself shived in Arkham to smuggle a gun to Mouse so they can steal the evil docs face.

Overall: 9.6

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