In hopes of becoming a certified private investigator, Dex seeks mentorship from veteran PI Artie Banks; Hoffman grows suspicious of Grey after evidence proves that he has a connection to a victim in his case.
Stumptown has been fun the first two episodes and the third gets more entertaining with the addition of actor Donal Logue as Dex’s mentor Artie.
Cobie Smulders as Dex delivers something really entertaining in her delivery. Logue goes toe to toe with her in the screw-up/sarcastic department and every scene has me wanting Logue to be a regular. There’s a great chemistry there that somehow has upped the game of the episode.
What’s great about Artie is that he pushes Dex in various ways but a specific scene that triggers Dex’s PTSD really brings it all home. There’s such depth to the character that’s teased out and part of her without it being on display at all times. Instead, scenes like this remind us Dex is more than just PI wannabe.
Grey’s storyline of his murdered friend moves along as well. It’s solid that the series has something strung out throughout the season instead of just delivering a standard weekly one and done storyline. It helps bring in other characters and give them something more to do than just being the background for Dex.
All of that is good and then things drop in the last ten minutes or so when everything comes together. That takes a really good and entertaining episode into great. There’s something so good about the twist. It all really adds to both characters in so many ways.
In the season 10 debut of The Walking Dead, the group in Oceanside continues to train in case the Whisperers return; tensions are high as the heroes struggle to hold onto their concept of civilization.
The Walking Dead returns with a packed episode that covers a lot of ground. It’s an interesting episode that attempts to explore the new normal and question who the heroes really are. With the threat of the Whisperers still looming, the civilization must focus on what reality is. Death looms over everyone as they reflect on those that passed and face new dangers.
The episode has some smart explorations, such as what happens to the infrastructure above. Satellites pose a risk and we see here what a challenge one presents when it crashes. It, as well as the opening, are reminders that this world doesn’t have the security that we take for granted. A fire in a forest is as much a threat as walkers or rival groups.
The episode’s highlights, like so much of the series, is the character and actor interactions. Norman Reedus’ Daryl and Melissa McBride’s Carol are the heart of the series still. Their friendship will be the emotional journey of this season and it does not bode well based on the finale.
While not an exciting start, the season 10 debut does a nice job of setting up the season to come. It’s not one of action but one of reflection and foreshadowing.
Supergirl kicks off its fifth season as Kara is surprised to find CatCo has a new owner who has brought in a star reporter; new couples emerge and explore their budding relationships; J’onn J’onzz receives an unexpected visitor.
I ducked out of the fourth season of Supergirl though appreciated the show’s willingness to take on very real-world issues. The fifth season seems to be keeping that mix of fantasy and reality. Kara has been awarded with a Pulitzer for her work about the President and she and the newspaper are focused on the upcoming election. It echoes the current Impeachment and 2020 election. It wears its advocacy on its sleeve with observations about voting and voters.
The show continues to balance its superhero aspects and “real life” but in this season opener it’s the real life that wins out. The exploration of modern journalism and employment is interesting. There’s clearly more there but what’s presented is intriguing and the best part of the episode.
Kara’s relationship with Lena is the other focus. Kara is torn as to whether she should reveal her identity. It’s the second best part in an episode whose villain is rather boring.
There’s some negative in that Kara’s glasses lack glass at times and Melissa Benoist’s makeup is just not up to snuff. There’s a mix of what looks like bad foundation and tan lines (really a lack of tan). It’s noticeable enough to distract.
The episode is one of the weaker debuts for the series. It has its moments but never quite excites. Its best moments are the human ones.
Kate Kane returns to Gotham when a gang targets her father and her ex-girlfriend Sophie Moore. Bruce Wayne, aka Batman, is gone and Gotham is facing increasing lawlessness. That’s the base of Batwoman, the latest entry into The CW‘s DCTV.
Ruby Rose suits up in the iconic role, donning the cape as Batwoman. Much speculation and nervousness has surrounded the show. Batwoman has become both an LGBTQ+ icon but also one of the few Jewish characters in comics. How much the show would lean into the many aspects of the character remained a mystery but the show has no problem in putting at least some of her out there.
At the center of Kate’s return is trying to save her ex-girlfriend. A woman she was expelled from the military due to “Don’t Ask Don’t Tell.” It’s an aspect of the comic character that was forward for its time and still has an impact today. The acknowledgment is there and it’s an important part of this version’s history.
Also present is the strife with her father Colonel Jacob Kane played by Dougray Scott. His history is teased but not quite as clear as to how closely it aligns with that of the comic counterpart. Where the show takes this relationship may become key as even in this first episode it’s a bit by the books and breaks little new ground.
Camrus Johnson as Luke Fox is her tech guy and he too adds little for emotional depth. His role is one we’ve seen on every CW show.
What is interesting is Kate falling into the role of Batwoman. Her discovery of her cousin’s secret identity falls short in a cold emotional scene. Sadly it comes off as too distant and doesn’t resonate. It highlights Rose’s flat performance. It works well for the military aspects of the character but beyond that, it borderlines unlikeable. This isn’t a character I want to route for beyond stopping the bad guys. The fun we see in the other DC based CW shows isn’t present.
The show picks up slightly as Kate dons the cape but that’s mostly due to Rachel Skarsten‘s Alice. As a villain, she brings a certain flair to an otherwise cold and unemotional show. She has a Joker like quality enhanced due to the seriousness and blandness of everyone else involved. Unfortunately, the reveal of the character is delivered too soon in the series and again lacks an emotional punch.
As a debut, the pilot for Batwoman has potential but falls short of the fun or excitement of previous CW DC shows. Its different tone may be the cause of that as it’s so different from the rest. The show’s last ten minutes is where the potential is as we learn more about Sophie and we see the result of the return of “Batman” around Gotham. The show has the fundamentals but it takes too much of Gotham’s dour tone to heart. Even Batman, and Batwoman, can enjoy themselves.
Dex is hired by a wealthy man to search for a woman whom he recently met, but she quickly learns that the task is not as simple as it seems: Dex and Grey’s history unfolds.
The second episode of Stumptown is an interesting one with a case that juxtaposes nicely with learning more about Dex and Grey’s past.
A wealthy individual pays Dex to find a girl he clicked with and while I expected one thing, it turns out to be something completely different. In a good way. Then there’s a revelation of Dex and Grey’s romantic(ish) past.
The two together share a theme of relationships of the unhealthy type. And each is that in their own way. It’s an interesting framing of it all and a step above the usual procedural detective show.
There’s also the laying out of a deeper story involving Grey, one that’s unexpected and adds a narrative that’ll thread through multiple episodes in a “big bad” sort of way.
The episode does a solid job of focusing on characters. At times it feels like the case is secondary to it all. That’s a good thing. The series is focused on its characters first and everything else second which makes it stand out from the pack.
Stumptown continues to be a fun hour of television and is a solid comic live adaptation.
Dex Parios tries to stay out of trouble while working as a private investigator in Portland, Oregon. Stumptown is based on the comic series by Greg Rucka, Matt Southworth, and Justin Greenwood. Rucka is given writing credits and al three have producing credits.
Starring Cobie Smulders as Dex Parios, Stumptown establishes the character as flawed in so many ways. The series gives us a likable character who’s at the same time an asshole. But, what the series intelligently does is adds to the character’s depth slowly as the first episode unfolds.
We learn about Dex’s PTSD, her caring side when it comes to her brother, and her loyalty in many ways. The series allows the viewer to connect the dots and only verbalize it when another character might.
The episode also delivers a solid whodunnit. There’s some twists and turns that some may easily figure out but it reveals itself well. Then there’s the humor of it all. Small jokes like a broken cassette or the car not starting adds depth and laughs. Smulders delivers laughs with a deadpan delivery.
The comic focus on a crime story with each arc with some great characterization. The show does what it needs to as far as giving us hour-long crime stories. So far so good with that.
The supporting cast is fantastic with Jake Johnson as her friend and sounding board Grey McConnell. Michael Ealy is a welcome addition as Detective Miles Hoffman, and Camryn Manheim is a welcome surprise as Lieutenant Cosgrove. Then there’s Cole Sibus as Ansel Parios, Dex’s brother with Down Syndrome who helps add a heart to the cold Dex.
The show too does a solid job of spotlighting indigenous characters in the first episode and hopefully beyond. Tantoo Cardinal as Sue Lynn Blackbird stands out as the head of a casino and mother of Dex’s former love interest. In the comic, Dex is bisexual and while that’s not apparent in the first episode, Smulders has said it’s something in the show. So, that’s a nervous wait and see.
The first episode of Stumptown is a solid start that captures the feel of the comic and shows what having the original creative team involved can lead to. In some ways, it’s a by the book detective show but it has a lot of personality to it and delivers an entertaining hour. It stands out as one of the best new shows of the television season.
Supergirl‘s season 4 finale “The Quest for Peace” starts off 24 hours before the death of Red Daughter showing us the aftermath of Kryptoclone Supergirl coming face to face with Kara. The show jumps to the 6-hour mark where we see Lex and Eve experimenting on aliens, the hour mark where Lex meets with the president, and then the pivotal moment where find out what happened to Red Daughter. Once again the first 10 minutes of the show called SUPERGIRL is devoid of Supergirl and focusing on a male sub character, in this case, Lex Luthor.
Meanwhile, back at the ranch, after the first commercial break, we finally get to see a whole 2 minutes of Supergirl, figuring out a plan with her big sis Alex before we jump back to Lex, doing yet another experiment on Red Daughter. We then jump to Ben Lockwood who has captured the Eve clone and find out the fates of J’onn J’onzz and Dreamer in the Lex Luthor work camp for aliens. Luckily the duo runs into some of the aliens who Dreamer helped save in the last episode and they are more than willing to give them a diversion. Kara and Alex meet up with Lena and Brainiac and decide to release all the info that she and Lena collected on their overseas jaunt. While they think of what to do next, Lena is summoned to the Oval Office to meet big bro and mom for a creepy family reunion.
Lex in true supervillain form decides to monologue his evil and capitalistic plan that as his mom points out, sounds very Hitleresque. After Eve realizes that he plans to use his alien powered satellite to destroy Argo and kill Superman, she takes a stand and asks for an aside, only to discover exactly where she stands with Lex. Back at the facility Dreamer and J’onn use a fight to figure out how to take the facilities power killer down, so she can project and give her location and using breath on the window she writes the location of the facility and the team heads out to rescue them. While Lex gloating about how much smarter than everyone else that he is, ara’s story goes live and is instantly sent to everyone. When the team arrives at the island of Dr. Luthor, Brainiac discovers that Lex plans to destroy Argo with his new weapon and takes off to hack the system leaving everyone else to deal with Lockwood and his lackeys who literally come out of the woodwork (woods) to call out Supergirl because haters are gonna hate even if they don’t have a reason.
Jimmy, Alex, and Supergirl get to work taking down the Lockwood Lackies while Brainiac tries to figure out a way to take down Lex’s Argo killer. Lex takes off to see why his alien powered kill machine isn’t working leaving Eve to guard Lena and Mommy Dearest. Lena being the badass that she is easily disarmed Eve and Lex arrives raining down green fire on Supergirl, Alex and Jimmy who in the middle of a side effect fueled nose bleed.
Lex is surprised to see Supergirl still alive and the two of them have at it and when Lex thinks he has the upper hand because of his green Kryptopowered gauntlets but, thanks to Lena, Supergirl has a suit and some slick acrobatics to protect her. Alex and Jimmy keep fighting to take down alien powred Lockwood their tag team efforts leave him down for the count. J’onn and Dreamer take out the satellites power source with the return of Brainiac who finally telling Dreamer her loves her and they manage to rescue all of the aliens, including Red Daughter who takes a mega blast of Kryptonite to save OG Supergirl and her death allows her to suck up some of Red Daughters superpowered chi and defeat Lex who chooses to die rather than be saved by a Kryptonian. But, he doesn’t die, he just falls to earth, back into his lab where Lena cures him of his superpowers and Lena realizing that the world will never be safe with Lex around, decides to shoot him and with Lex’s dying breath he tells him that Kara is really Supergirl and makes it appear that everyone she loves doesn’t love her back.
To wrap up the episode, the president is impeached, Dreamer and Kara are back to work at Catco with a now one-eyed Jimmy. The Alien Amnesty act is reinstated and Supergirl gets thanked for her service which brings a smile to her face. We also get the thing we had been rooting for since Jimmy’s sister showed up, her and Alex decide to give it a go and when Alex kisses her while she’s explaining how she feels and we all cheered. Lena shows up to game night with the secret on her conscience and Kara and Alex decide to wait yet another day before telling her the truth. Lockwoods son becomes a crusader for alien coexistence and Dreamer covers the story while Supergirl gives a knowing smile from the sky. In an effort to tie up all the loose ends we find out that Leviathan was pulling the strings and he’s the reason Eve was working for Lex but, now she can’t escape them.
Overall, the season finale was surprisingly good even if it was only 50% Supergirl featuring. Considering the abysmal amount of screen time that the title character got this season it was a start to heading in the right direction. The writing was pretty good, the directing was flawless, the cinematography relayed the tone of every scene perfectly and the episode was entertaining to watch. They managed to fit a lot into the hour, wrapped every major storyline up and give us something to look forward to in season five. I hope that this return to being mostly Supergirl focused writing I saw in this episode continues in Season 5 because, while I love the other characters, I still think it should be about them in relation to her and not the other way around.
The first few minutes of Marvel’s Cloak and Dagger‘s fourth episode “Rabbit Hold” are super intense with Mayhem vanishing into dark air, Tandy learning about a bonus “power” that Tyrone has and tries to help him figure out how to trigger it, while one of the snatched traffickers recognizes Ty’s mugshot and calls it in to his crew, and OG O’Reilly learns more about the crappy side of the NOLA PD. Tandy figures out to trigger Ty’s smoky dark side and uses it to find and hopefully pull out Mayhem and if possible Connor’s, the one man who can clear Ty’s name and give him his life back. While Tandy is deep fear diving for Tweedle Bad Guy and Tweedle Bad Ass, Ty gets a call from O’Reilly telling him the drug dealing traffickers might be headed to his parents’ house to get him.
Tandy encounters a tiny Not Pre-Teen Tyrone and tries to see if he can help her find Mayhem, he also tells her how to get out with a little apprehension about her taking Mayhem with her and, sends her on her way weaponless. Ty heads to his parents’ to save his mom but, since Tandy is in his darkness he can’t shift, so he has to get away from the bad guys the old fashioned way, with his mom hotwiring a car and driving away. In the void, Tandy follows Mayhems’ blood trail and tries to convince her to come with her to no avail. Back in the real world, O’Reilly goes to help Ty’s mom but arrive at an empty house, except for a lone patrolman responding to an alarm while Tandy and Mayhem arrive at a hall of mirrors and wax philosophical about who they really are.
Ty and his mom have a similar “Who am I?” chat while trying to evade the police and the drug/trafficking crew on their tail and in the darkness Mayhem and Tandy run across the hovel of a hiding , scarred and scared Connors’. Ty brings his mom to an unused coven to hide out for a while and, Mayhem tries to use feminism to get Tandy to turn on Ty. In a clever piece of storytelling, Ty tells his mom of the New Orleans legend of the Casket Girls is seamlessly interwoven with Mayhem and Tandy talking about the missing girls, who seem to be cataloged in the record shop they ran across in the darkness.
Ty and his mom find their safe space broken when they are held at gunpoint by a lone young gang member, Ty’s mom distracts him by talking to him and Ty takes his gun, just in time for an SUV of his fellow gang members, fully armed shows up outside the window. Tandy is stuck in her own personal hell as she discovers that playing the records in the shop that pertain to her only bring up bad memories and, nothing useful to help her get out until. Tyrone thinks smart and calls O’Reilly who brings in the cavalry and gets him mother out safely under the guise of his surrender while Tandy smashes records in the catalog vinyl shop of missing and lost girls. Mayhem comes across Connors’ and assaults him before trying to hang him, Tandy catches her and a fight ensues, she saves him and they get kicked out of the void just in time to allow Tyrone to get his powers back and escape. Unfortunately, because of the timing Connors’ escapes into the wild of New Orleans and he knows where Tandy and Ty are hiding.
Amanda Row brilliantly directed this intense episode and while there wasn’t a whole lot of action but, there was a whole lot of storytelling and layers. The story managed to maintain intensity and suspense using nothing more than words and visuals and it was beautiful to watch. The use of shadows and light that showcase the symmetry between what is happening with Tandy and what is happening with Ty is brilliant and adds a lot to the episode.
Overall, I give this episode a solid 8.8 as it served its purpose as a placeholder episode to propel the story along but, it also managed to maintain the momentum that the previous episodes created and served to engage the audience into the world of Tandy and Ty in New Orleans making us fall more in love with the story and the characters.
DC’s Legends of Tomorrow‘s episode “Seance and Sensibility” starts off with Nate’s dads funeral. It seems that Zari and Nate’s pretend relationship might be turning into something real. The whole team shows up to lend their support and Ray is afraid to see his bestie because everyone believes that Nora is the killer but, a cute little heart to heart assuages Ray’s fears and everyone’s favorite bromance is still going strong. Constantine is worried about the bad mojo where they are and it has nothing to do with Nora’s presence in the bathroom. While Charlie tries to help Nora deal with her monster half, a change in the timeline occurs and they discover some trouble in Bath, England 1802 and Jane Austen , and her writing, might be in trouble. Pre-mission girl talk gets raunchy in a super real way when Mona senses Zari’s attraction to Nate right before the time jump to the wedding and things get awesome when the bride to be leaves the groom at the altar for her maid and the groom confesses his love for his betrove’s mother.
Meanwhile back on the ship Ray is getting some secret alone time with Nora until Charlie interrupts. While Zari goes off to get some dirt from the handsome coachman she met earlier, Mona learns that it isn’t always awesome to meet your idols because Jane Austen turns out to be less of a romantic than her novels would have had us believe. Rory helps Nate do some digging while Constantine realizes that Nate’s dads spirit is still present and it looks like they might be able to make contact. Using Mona’s knowledge of the Sara and her blend in and get some juicy gossip and discover that the coach man they pushed Zari to get under so she could get over Nate, might just be the time fugitive they are after. Being the sharp woman that she is, she figures it out halfway through a heavy makeout session where he admits to his magical origin and reveals himself as Kamadeva, the hindu god of love.
Kamadeva, the namesake of the Kama Sutra, is more than willing to follow Zari wherever she goes , so getting him back on the ship isn’t that hard. While trying to keep Nora hidden from the rest of his team, by hiding her in his bedroom, which isn’t as romantic or passion filled as you would think for separated lovers. Constantine and Rory fill Nate in on his dad’s presence but, Nate is unwilling to hear him out which might bode poorly for Nora. Kamadeva releases his essence through the ship which helps give Ray and Nora a little boost , even if it is only in their dreams, to have some adorable and consensual sexy time and everyone else on board to have some super sexy dreams. While Charlie got David Bowie, Zari got Nate and Kama and, Sara got Ava and they were all happy about the match up, Mona got memories of her old dead love leading to an argument with an anti love Zari leading her to wolf out and go after Jane Austen.
Jane Austen gets into it with Mona/Wolfie and doesn’t back down, she admits that she does believe in love and only marrying for it. Mona decides to lay it all out for Jane and tells her that her writing will matter and, Jane in turn gives her advice about not losing control and keeping relationships equal. Zari has it out with Kamadevi who tells her his back story and tries to help her past her fear and love block and Zari is surprisingly all in and releases him to help her sort it out, leading to Zari proposing marriage. Back at the funeral Nate forgoes his plan to tell the truth about his dad and gives a lackluster and basic eulogy, his mom tells a sweet story about how much his dad loved him and how big his heart was.
In typical Legend campiness Zari breaks out in song and since they’re all still in the magic love spell, the musical turns into a bollywood musical complete with dancing. Mona shows up to put an end to the marriage madness and her girl squad backs up the deadening of the the love spell wedding, because who wants to be wife number 1001? Mona and Zari end their fighting and realize they will be okay because yeah, they might not have a relationship with the people they love, they do have some pretty kick ass female friends and it’s going to be okay because if all else fails they still have each other.
Constantine leads the seance we have been waiting for the whole episode and he jumps into Rory’s body, since Nate is still holding a grudge. Nate’s dad in his Rory suit tells Constantine that Neron was behind everything , just as Nate goes exploring in the house and finds his dad’s secret room where he sees a taped “commercial” finding out that his dad was trying to build a theme park based on one of Nate’s old drawings. Finding the tape causes Nate to forgive his dad because he realized he wasn’t being a bad guy, he was trying to do something good. Constantine is getting a little clarity too as he drunkenly fights with his taunting reflection before Neron, in his shiny new Desmond (Constantine’s former lover) suit, let’s Constantine know , officially, that he’s back and coming for him.
This episode hit all the good notes and while there wasn’t a whole lot of action, we got a whole lot of raw emotion and real feelings. Even the musical portion of the episode fit in, felt in place and made sense in the context of the episode. In a period piece with lots of drama and a little bit of song and dance, the camera doesn’t linger on bodices and beauty, even though there is much of it. Alexandra La Roche directed this awesome episode and the female gaze shows in the way things are shown and handled.
I give this episode a 9.3 for its visuals and its story.
When we last saw our fave dynamic duo in Cloak & Dagger, they were face to face with two very different sides of a PTSD filled Bridget O’Reilly coin. The third episode of the second season “Shadow Selves” gives us a little more insight into everything that we missed in the past 8 months since the previous season ended.
Cloak &Dagger kicked off by bringing back our fave female scientist, Mina who is experimenting, humanely, on some mice who seem to have developed in a way similar to the way OG O’Reilly ended up with her very own Mayhem. It seems that a Roxxon water bath can be fatal in a way that no one could have predicted, immense rage and the desire for the clone to need to kill it’s OG when triggered. We flashback to OG O’Reilly’s split day and learn that Mayhem tried to kill her once before, while she was in a coma. Mayhem decided to put her kill mission on hold to kill Connors since he landed her in her current position. We then get put back in the present where the two O’Reillys’ are coming to term with the other’s existence, luckily Tyrone was able to get them out of there before Mayhem can cause a little bit more. After Tandy has a riddle me this meltdown asking for answers to questions that OG O’Reilly clearly doesn’t have, they decide to go to Mina who luckily, has an explanation, even if that doesn’t quite provide a solution.
We get to slide back and forth between now and then, time seems to fold back on itself until the present meets up with the past and it gives us a full picture of Mayhems origin story and her becoming. She started out on a quest to find Ty, by way of the semi-disgraced priest from Ty’s old school. This interaction was quite important because it provides an explanation for Mayhem’s obscure POV and mission statement, the interactions that follow seem to have given her something that the mice didn’t have, a moral compass. During a drunken confessional, the priest basically, and inadvertently, gives her permission to act out her violent impulses on people, as long as they are bad people and deserve it. With the priests blessing, Mayhem sets out to save all the missing girls when she notices a pattern and she plans to inflict her own brand of murder tinged justice.
Mayhem seems to burn through the city leaving bad guy corpses behind her and Ty , Tandy and OG spend most of the episode eating her dust, showing up when Mayhem has already killed everybody and reminding her that she can’t (she can) do things the way she does them. The trouble is, Mayhem gets things done, she gets drugs off the street, she breaks open sex trafficking rings like a fridge door and while her methods , logic and kill count would make Deadpool look sane and lazy, she does get results. In Selves’ she saves a whole truckload full of girls who were being trafficked and while her methods may be extreme and criminal, no one can say she doesn’t get the job done.
Tandy and Tyrone have a few heart to hearts leading to a bit of a switch in ideology, at the beginning of the episode Tyrone is very afraid that he’s going to end up like Mayhem and Tandy talks him back by explaining that he’s a protector and not a destroyer. This conversation is kind of pivotal in that you can sense in its fullness and ominous nature when held up in comparison to how Ty and Tandy handle their solo superhero duties in the first two episodes, that the tide could shift for them. By the end of Selves we see Ty should be more worried about Tandy falling over to the dark side than he should be worried about himself.
OG O’Reilly wants the same thing that Mayhem wants, to save the girls and stop the bad guys, she’s just not willing to go as far as Mayhem is. Once OG realizes that she can get inside Mayhem’s head because they share memories and thinking patterns, they go on a bit of a field trip to stop her. Unfortunately, since Mayhem has no fear and is basically what The Punisher wishes he could be, OG O’Reilly with a Tandy and Tyrone assist team, seem to always be a step behind her. OG spends most of the episode feeling inadequate, ineffectual and scared which is actually a very valid feeling and reaction to have when you find out your Roxxon Clone is really OK with having you dead.
This episode gave us a glimpse into the Mayhem behind the curtain, if humanized her and left us rooting for her instead of the “good guys” even if behind the curtain there’s nothing but righteous vengeance and furious anger. I found my self longing for Mayhem and Tandy road trip a la Thelma and Lousie, except instead of driving off a cliff they start taking down all the bad guys from coast to coast. We got to see everything that makes Mayhem tick, from the talk to the priest we learn that she doesn’t have guilt or remorse and we got to see that she wants to be “good” but, she can’t help herself. It’s bittersweet watching her try to find a humane way to be the psychopath that she is and kind of evolve into a Dexteresque character. She knows she shouldn’t hurt OG , Ty, and Tandy so her compromise is to hurt every bad person she sees until she gets to the bottom of the sex trafficking ring.
“Shadow Selves” seems to have ended way too quickly, I would like to say it is because we got two whole hours last week but, the truth is that the show is just that good. The writing is crisp, the directing was thought out and sharp and the music was again, PURE FIRE making episode three a perfect way to move the story along. There’s something about the way the creative team proposes realistic moral dilemmas and social action undertones, in a way that makes you see the human side of the story, in all of its shades of gray. There is a theme of hope, survival, and fear that runs through the story in a way that’s deeper and way less surface that Tandy and Ty’s powers in relation to the human condition. I like that you know you’re supposed to root for Tandy and Ty but, even Tandy can’t tell if their side is the right side. Everything about Cloak & Dagger provides the viewer with a perfectly curated experience that calls into question everything you thought was right.