Obviously, there's more coming next season, and we'll probably see Seg-El somehow returned from the Phantom Zone at some point (and the struggle to keep Brainiac from returning with him?), but... I have to wonder... Will the house of El eventually rise while the house of Vex crumbles, and little Cor-Vex finds himself renamed somewhen along the way to, perhaps, Zor-El or Jor-El?
So many weird possibilities to ponder...
Lots to like about this one. Things coming together, things splintering apart.
One gripe: Of all people, Primus Jayna-Zod should know that if the paramount objective is to kill that one lead figure, then you don't stop at one shot on him, however fatal the result may look. You keep firing. Against an enemy like this one, you keep firing until there's nothing left. But, oh, well. Aside from that...
Damn. I can't believe that in all that time I didn't place the Voice of Riario. Niiice.
There was some good stuff in there, but it also felt as though someone was trying too hard to pack the season finale with WTFs. The result felt... a bit jumbled...
One of the more fun episodes in awhile, methinks, weaving in increasing threads of wackiness in a way that worked.
And I think we all knew that all sorts of wackiness lurked deep inside the mind of Patterson. Like ninja bo-staff warrior madness. Right?
But that Breakfast Club riff... (The Blindspot Club?) Now that was some funny wacky...
I was starting to get a little encouraged by slow improvement over the last few episodes. The few two episodes of this season were far too rough, chopped together, sloppy. The last two were actually pretty decent, IMO. But this one was far too rough, chopped together, sloppy... Sigh.
Too much of Season Three so far is looking like a caricature of the first two seasons.
I heard that NBC has ordered a Season Four of Blindspot. Does that mean that Season Three does get significantly better somewhere along the way, or have NBC (who has never really been shy about canceling even good shows) dropped its expectations a bit much?
While this season has significantly more rough edges that the previous two, I feel the episodes are gradually improving for the most part. Maybe they'll reach the level of last season at some point, maybe not. We'll see. However, I must say that I hate when the writing sacrifices any sense of brains that a character may have in order to force a more dramatic moment, as they did at the very end of this episode. Kurt's not stupid, but leading off with "I killed your daughter" without any context at all certainly was.
Okay, this is at least a little better than the rush-fest of the last two episodes, while still not up to most of seasons one and two. I'm slightly more hopeful for the rest of season three than I was after last episode, but not a lot more.
My biggest gripe is that, while we've seen just last episode that Patterson has learned how to fight, she had multiple opportunities to smash her captor's face in, take the collar control away from her, and end the whole crisis, but she let 'em all go as though she'd forgotten all about that kind of thing. Uhhh... writers? Hello?
The adventures are great, but...
These reckless changes to history -- saving not only the one who shouldn't have died but the other eight, as well? -- can have significant effects on the present, and I hope that they at least get recognized and treated beyond a few vocabulary changes ("what's a 'witch hunt'?").
And... I thought Rittenhouse would be going for precise surgical changes to carve out the history they want. Preventing the birth of Benjamin Franklin would result in massive changes of many sorts, well beyond his influences on speaking out against authority; there's nothing very surgical or precise about that. If they wanted to curb the First Amendment, I'm sure they could have found a much more precise way to do just that...
Did we just see the proto-beginning of Heroes for Hire?
Anyone else get the feeling that this might story have been much better if more properly fleshed out over two or three episodes?
That personal-nightmare memory-flusher could have been a full episode by itself, and might've been much more believable if it were given that level of treatment.
IOW, high-level, I liked it, but many of the details felt rushed. Again.
Pretty much everything about Asmodeus was handled very poorly, like a sloppy afterthought.
However, the rest of the episode was worth it. Plenty of arguable rough edges in the details -- and while that the Library chose puzzles that the guests could solve makes total sense we believe that the Library recognizes and is trying to help Jenkins, although the puzzles themselves ranged from too simple (first) to just plain silly (second) -- but an overall fun episode, even if only for the interactions of Jenkins and his new unexpected friends.
Margo: Who are we, now, El? We used to be glamorous amazing mega-bitches. And now?Eliot: We have... depth, and... character.Margo: [the penultimate WTF look]
Another moment "pause" buttons were made for...
Thank God for pause-buttons, because...
Messenger Bunny 1: At castle, getting married.Eliot (to Quentin): Does that sound like Margo to you?Messenger Bunny 2: Need help now, dickwads.Eliot: Definitely Bambi.
Barry: Imma go get John Diggle and ask him.Cisco: Quick, grab a bucket.
See? Someone's paying attention.
So much wow.
I'd wondered how this movie would manage to handle so many varied superheroes and their interactions. I'll just say here that: It works.
And now I'm going to be wondering for the next year: What the heck did Stephen see?And why was Nick's unquestioning impulse to send a message to them/her?
I suspect we won't know much on those until the releases of Captain Marvel and Avengers 4.
Most of this episode made for a creepy sort of great, but...
Someone please tell me that this League of Assassins/Shadows storyline has more interesting plans than to simply implode the infamously deadly League into some sort of cheesy Barb's Demons thing -- and that this wasn't the entirety of the plan of the obviously deeply scheming Ra's al Ghul that we saw.
Mostly enjoyed it overall, but...
That nonsensical technobabble about how Chuck finally figured out how to end the blackout was complete gobbledegook. Please, writers, learn a little about your subject before you go waving your magic story wands like that.
That sight at the end, of John lighting his cigarette by leaning into the fireball, was worth pausing on for several seconds to appreciate the poster-shot appropriateness of the moment.
"I always knew that working with you guys was going to blow up in my face, but it's about to get literal!" —Deke Shaw
Knowing that our heroes have been through this loop of time who-knows-how-many times already, I have to wonder what can be different this time around that'll let them finally win and avoid The Ultimate EarthQuake. Then, I see this episode, and (among all the other amazingness and YoYo's horror), I wonder: Did their past trips through this time-loop include Zeke getting pulled back in time with them? Hmmm....
Wherein Anissa Pierce discovers that it's not so easy to just step into being the next The Hood without first being forged into someone else, something else, by, for example, spending five years in hell...
I agree with some of the comments about Killer Frost's seeming use as a plot foil more than anything else lately. C'mon, writers, she's stronger and smarter than that.
I really like the development that Ralph is going through, from his sudden acerbic (and acidic) mortality-check right through to the do-what's-right-anyway realizations, although I really do wish that parts of it weren't so bluntly presented -- like most of the crisis-in-the-toy-factory development and resolution, which had way too much sloppy in it (and not just from the axcid).
That Beebo appearance was outright hilarious. Great cross-reference there. And, given that (in the Earth 1 Universe) Beebo was a gigantic toy sensation around the time a much younger Martin was buying presents for his little daughter, where else would you find some Beebos today but in an old toy factory. Nice touch, that.
Is anyone else picking up on what almost have to be intentional Shawshank Redemption references? The wall-carving of "Henry was here" at the end of last episode kinda suggested it already, but then appending his own "So was Barry" to it seemed just too neat to be accidental. And throw in a little "everyone's innocent in here" and... Fun side-references without being overly forced or heavy about them. Niiice. (And I have to wonder if they'll continue like some sort of running side-joke. I wouldn't mind. Really.)
Oh, and while I like Ralph's new Elongated Man outfit, that mask doesn't do a damn thing for identity concealment. Especially with that signature dopey grin of his. Really? Oh, well. At least it's a little more than a mere pair of glasses. ;-)
From now on, whenever Oliver says "I have an idea" like that, John's stomach should drop, hard.
Oh, Quentin. I have to wonder which path would end up destroying you more, this one or the bottle...
Quick looking-back-on-this impressions:Good: Those two overlain speeches at the end. Very nicely done. Although, given the judge's speech, I did half expect Barry to wise-ass ask if he could have a cell nextdoor to Andy Dufresne, but it's probably just as well that he didn't.Good: Barry's manner of interrupting Iris's mid-court announcement. Well-played.Good: Ralph's you-don't-wanna-do-that speech to Joe. Niiice.Bad: So much of the rest of the trial. So quick, so simplified, no attempt to question any of the evidence details - evidence of the scratches DeVoe supposedly inflicted upon Barry; where was DeVoe's chair and how did he get to Barry's place without it; how long was DeVoe dead when the police arrived and why would Barry be still just standing over the body; Barry was late to work 72 times in 5 years which is ~5% of workdays vs all the time he worked extra and late to make sure the job got done right; etc. - nothing? Just hugely sloppy writing, that.Bad: Okay, I know the sciency parts often have to be simplified into technobabble in order to work, but... Everything about Neil Borman (Fallout) was wildly oversimplified. If his radiation was enough to so quickly knock out people he met in the bank (much less those on the street later), they'd be damaged way beyond just a moment of nausea. Neither whirlwind nor vacuum-layer is going to do much to block radiation. And how the heck does anyone gauge his readiness to blow based solely on radiation ("rad") readings? The idea wasn't a bad one (remember Ted Sprague and Peter Petrelli in "Heroes"?), but this handling of it was just... sloppy.
I did like the episode overall as an advancement of the ongoing story, just frustrated that the writing doesn't show much care for the quality of the details of that story.
Dammit, Writers! You can do better than this.
This is a total side-note, but...As I catch up on various recorded shows at different rates, I was somewhat amused by hearing very similar speeches from Raymond Reddington (to FBI Special Agent Harold Cooper) and from Ralph Dibny to (CCPD Detective Joe West). :-)
Lots o' great stuff in this one from nearly all directions, except... is some sort of Force of Idiocy growing inside of Roger's brain this season?
So far, this is turning out to be the strongest DCTV crossover so far. Good stuff all around. Well, almost...
One big gripe: When the partial Team Arrow (Dinah, Rene, and Curtis) appear and attack Black Arrow, why didn't they... you know... attack? I'd expect to see Dinah's Canary Cry, Rene's guns, and Curtis's T-Spheres all blazing in an all-out assault to take this Very Important Villain down. But... All hand-to-hand? Against an alternate version of a guy they all know can kick their collective asses? What the... Why? That has to have been the dumbest tactical call ever. These people're smarter than that. Dammit, Writers!
But in the moments that I can push that glaring sore-thumb aside, good stuff.
My only real gripe this episode: Why does Barry suddenly start to have flashes (yes, I said that) of incompetence whenever a apprentice-in-training is around to step in and assist (or fail to do so and earn a lesson)? (E.g., Barry can't speed-blast the armor-suit and then blaze off after Black Bison; Barry's leg is hurt so that he can't save the girl, but seconds later he can streak over to check on her injuries.) C'mon, writers, it shouldn't take that much more effort to write the scene in which the noobs earn those experiences, right?
Oh, and does Flash really have to stand there defiantly waiting for Black Bison to animate something? Every. Single. Time? (Dammit, writers!)
But, other than that... so many amusements in so little time...
"That belongs in a museum!" And before I could even say "So do you!" and look around for Indy and the Panama Hat guy, here comes Night at the Museum, immediately followed by Ralph's multiple Jurassic Park references -- Ralph and Cisco really should hang out long enough to compare pop-culture references -- ...
Also, that brief what-did-I-just-say look right after Cisco heard himself pronounce "you're a wizard, Harry"... Yeah, in this the writers are constantly on fire.
I can only imagine what we'd see if The Flash's writers put the same detailed effort into plotting as they do into the weaving in of pop-culture references...
Interesting developments with Lee and Ed, not sure what to make of Barbara, Tabitha, and Selena -- they seem a bit like they just haven't realized how confused they are -- but one disappointment kinda sticks out...
I've been somewhat fascinated Sophia's obviously complex and layered manipulations, wondering where she was going with it all, how honest she was being with Jim about her goals, etc. And now... Soooo, all that complex machinistic planning by Sophia, all of it depended on her ability to maneuver Jim into a state and position from which she could nudge him into simply (and very un-Jim-ly) rallying the GCPD like any other mob boss to go to war with Penguin? Whaaaaa.... Feels like a bit of a let-down after all that that storyline's gradual build.
Well, that, and... Did Sophia and the ladies really think that Oswald would really just hand over his empire like that, given that they held back nothing to hold over his head if he went back on any agreement? They've all been much smarter than that in the past... what happened here? Writer's Stroke?
And what's with the perennial stupidity of guards at Arkham? Is there some kind of intelligence-and-common-sense test on which one has to score sufficiently low to become an Arkham guard, or is that just where the GCPD assigns its dumbest and most expendable?
C'mon, o writers and directors of Gotham. You can plot so much better than this...