My favorite superhero TV show these days is The Flash. Heck, it may be my favorite TV show period. Grant Gustin is doing a great job as Barry Allen/The Flash and the stories have wonderful “Easter eggs” for those who know DC continuity. One of the best is casting John Wesley Shipp, who played Barry/Flash in the earlier TV incarnation of The Flash, is in this version first as Barry’s dad and now as Jay Garrick, the Flash of Earth-2.
What also is great is the supporting cast on the show. On The Flash, they’ve even increased by one to include Tom Fenton (perhaps best known as Draco Malfoy in the Harry Potter films) as Barry’s “frenemy”. He’s also joined “Team Flash” as it’s called, even on the show.
This is where the TV versions of the Flash (and the other superheroes) differs from the comics. In the comics, the hero is usually a lone wolf type; others in his circle don’t know his/her double identity and keeping that secret is considered vital. On TV, however, the superhero needs a circle of friends to help them function. Just as it’s been said that it takes a village to raise a child, on TV shows it takes a team to make a superhero. Actually, more than a team – the supporting cast acts a lot more like a family.
This isn’t true just on The Flash – it also holds true on Supergirl and Arrow as well. Legends Of Tomorrowis a team, as is Agents of S.H.I.E.L.D. There are good reasons for this – any TV show needs a good supporting cast for the main character to act with (or against). Those interactions provide drama, comedy, their own storylines and, with a continuing series, that’s necessary. It also lets the lead not be in every scene which can really burn out an actor. As an audience, we invest emotionally not only with the lead character but with the supporting cast. (I’ll be honest – on Arrow I’m not all that invested in the lead actor; often it is the support characters that I like better, especially Felicity.)
On Flash, for example, they have a wonderful conceit; there’s the character of Dr. Harrison Wells, played by Tom Cavenaugh. He’s the same character in each of the three seasons so far but he’s also very different as each season we get a new Harrison Wells from a different dimension. In the first season, he was a villain, in the second season he was something of an asshole, and in the current season he’s a bit of a goof. That must be a lot of fun for Cavenaugh and it creates a different dynamic with the team for each season.
Some comics have family – the Fantastic Four functioned best when the writers and editors realized the FF were not just another team; they really were family. Also, I remember when DC would publish large giant comics for the “Superman Family” or the “Batman Family.” Superman, for example, had his best friend, his girl friend, his cousin, his dog, other super-pets, and the kids from down the timeline, a.k.a. the Legion of Super-heroes. However, it’s not quite the same thing as the TV shows. There’s a central location where they all meet and work out of – S.T.A.R. labs, the Arrow cave (or whatever they’re calling it), the DEO HQ, the Waverider. Home.
Needless to say, the TV shows and the comics are different animals, each with their own needs. It costs less to produce the comic books and the special effects and locations are limited only by what the artist can draw. Yet, I will admit that I’ve come to prefer the TV versions in most cases. I think that, overall, they’re a bit better thought out. OTOH, they don’t have to justify decades of continuity; they’re re-interpreting and re-inventing everything. There’s more freedom in that.
It’s good to keep in mind that no man is an island.
TV has been so very good to us lately, has it not? Last week, I talked about Gotham. Making the rounds this week with the newly-coined label mid-season finale came both Marvel’s Agents of S.H.I.E.L.D and DC’s The Flash. And boy howdy, could two shows be any more different.
The dichotomous execution of these shows has offered the comic book geek in me a chance to have my cake with a slice of pie on the side. The Flash is proving how DC can unravel the entirety of its wonderful bench of compulsory concepts and characters to build a universe that celebrates the source material; and now makes it flesh. Agents of S.H.I.E.L.D. is happy to borrow only the table scraps of the 616 and spin a story that we couldn’t otherwise enjoy from Marvel Comics. Coulson and his cohorts are wholly a product of TV – built with respect to the medium in which they were born, but taking advantage of slow serialized arcs, and universe building by way of deep character work. In the macro, both shows are proving to the muggles that the best kept secret to first-class content has been comics all along.
Thus far this season The Flash has been an exercise in glorious gluttony. Where the House of Mouse is carefully crafting a cohesive communal cinematic universe, DC is running hard and fast in the other direction. In the front half of Flash’s second season we’ve seen a Man-Shark, a telepathic gorilla, the introduction of Earth-2, Jay Garrick, Zoom, Dr. Light, Vandal Savage, Hawkman and Hawkgirl – complete with comic-appropriate backstory, the introduction of Vibe, the return of the Weather Wizard (now with his magic wand!), the Trickster, a new Firestorm collaboration, and, of course, Wally West.
In the same amount of time, Agent Coulson got a black rubber hand and a D-Class Joe Maduereira Inhuman who doubles as Blair Underwood. I’m simplifying of course. And to be clear, I’m enjoying both shows, sometimes in spite of themselves. That being said, I have a few bones to pick with both programs.
Agents hasn’t fulfilled the destiny I’d hoped for it with the introduction of the Inhumans at the tail-end of last season. Where I was hoping to see an expansion to the use and usage of superpowers on an otherwise powerless show, we’re treated to only a few banal lightning bolts, melting metal, or CGI’d force waves. Oh, and the chairman from Iron Chef America can make guns float. At times, you can almost see the straining budget buckle – which is funny, given how profitable the entirety of the MCU has been for ABC, owned by Disney, who owns Marvel. But I digress. The Inhuman situation has been treated with kid gloves thus far in the second season. Whole swaths of them have been slaughtered off-screen to boot – which kills any chance for we the audience to feel anything about the quasi-genocide. And then there’s Hydra.
We all know the slogan – “Cut one head off, blah blah blah”. As we dove-tailed into this past week’s episode, all plots converged on a distant planet (see also: California dessert set #245 with a blue gel cap over the lens) where [SPOILER ALERT] an ancient Inhuman brain slug took over the newly deceased carcass of Ex-Agent Ward. We were supposed to feel things at that moment. Vindication for Phil Coulson who had lost so much. Regret over no longer having Ward to eat scenery up (and, according to my wife, be nice looking). And I guess fear over the Ward-zombie that will likely pick things up where we left off when we return from a 10 week jaunt with Agent Carter.
But, alas, I felt none of those things. Coulson’s budding romance with the head of the ATCU was far too short-lived to feel pangs when it ended. Andm come on, no one is really dead in comic book shows now, are they? I can already see Fitz and Simmons restoring an otherwise brainslug-less Ward back to semi-conscience by season’s end. Unless the slug is in fact Mr. Mind, and Marvel and DC are pulling a fast one over on us.
Over in Central City (or is it Keystone? Crap on a cracker I can’t recall), The Flash can’t stand still long enough to take a breath. As I’d detailed above, in half of a season it feels like 80% of the Flash portion of the DC Encyclopedia has been covered – but only in the faintest of ways. The biggest drawback with so many new concepts being tossed out is the inability to savor any of them longer than they appear on screen. And to be clear: They’ve all been on screen exactly long enough to say their names, show off their CGI, be defeated or recruited, and then walk off screen until they’re needed again.
Take the Hawkpeople. In the two episodes they appeared, they were introduced, given their lengthy back-story, and involved in a side-story revolving around Hawkgirl accepting her newfound disappearing wings and centuries-old memory lapse. The episode prior to wings, she was slinging coffee – for about twenty seconds. Suffice to s Say the leap we have to take from “Oh, she’s cute” to “Oh, she’s decided to throw whatever life she had away to now become a super hero with a man she’s ostensibly just met, but now will be in love with…” is short enough to make me scoff by the time she’s walking off the set of The Flash right onto Legends of Tomorrow. Put a pin in that one, kiddos.
At the end of the evening we’re still living in a golden age of comic book teevee. In between the angsty dialogue and drab sets of Agents of S.H.I.E.L.D. lies a show that’s made names like Melinda May, Phil Coulson, and FitzSimmons worthy of the transition to pulp. And in spite of the breakneck pace of The Flash, we know the surface has only been scratched; the back half of the season can take a deep breath to start exploring the universe they broke the sound barrier to introduce in only nine episodes.
As part of my ongoing series exploring today’s creators’ reactions to their comic creations’ successful crossovers into other media, this week I reached out to Steven Grant. His impressive career includes reviving Marvel’s The Punisher, creating characters like Whisper and writing the long running comics industry column, Permanent Damage.
Ed Catto: Your 2 Guns comic was a hit movie in 2013. Can you tell us a little about the process of bringing your comic to the movies, from your perspective as the writer?
Steven Grant: Getting a film made from a comic is generally a much longer and more arduous process than most people seem to think. I wrote 2 Guns somewhere between 1998 and 2001, and I had the idea for it much earlier than that. I’d tried selling it for years to various comics publishers, but selling a straight crime comic with no other genre aspirations is a very difficult thing. Finally I had a lull in my schedule and just didn’t want to let go of the notion, so I wrote it anyway. It took a long time. Still couldn’t sell it.
Finally, around 2006, Ross Richie, who I’d known for years, launched Boom! Studios, and he asked if he could publish it, though he couldn’t pay me for it at the time. I wasn’t doing anything else with it, so I said sure. I wanted to see it in print. It was published in 2007. This was right at the time Hollywood started paying a lot of attention to anything published in comics, and Hollywood was somewhat more open to the material – once it had seen print. Prior to that, I’d never been able to rouse any Hollywood interest in the story either, and I had tried – than comics was.
I wasn’t actively involved in any of this, but Ross kept me regularly apprised. Interest grew, studios got involved. I’m told there was something of a bidding war between Fox Atomic – I think it was Fox Atomic, it was one of the Fox sub-brands of the day – and Universal that Universal won, then the person who was involved in that at Fox ended up at Universal so everyone was happy. But even something like that doesn’t guarantee a movie.
A Hollywood deal is basically an unsecured promissory note. Putting a movie together these days is a complicated game requiring the right assemblage of what are now called “elements”: concept, a good production company (established track record preferred), a script by preferably a studio-approved screenwriter that’s good and interesting enough to attract actors with a reputation for “opening” a film (i.e. selling a lot of tickets the first weekend).
Prior to founding Boom! Ross had spent several years working in Hollywood and studying the mechanics, so with some help he was able to navigate the waters. Even at that, the script, cast and crew went through several iterations, and the studio came close to dropping the project a couple of times for Hollywood reasons that had nothing to do with the project itself. Things are always touch and go in Hollywood, even after filming starts.
I think ultimately that 2 Guns got made – and I’m not trying to diminish the many people who worked diligently throughout, like Adam Siegel and Marc Platt of the Marc Platt Co., our production company, who like Ross were also key and ceaseless champions of the project – came down to Mark Wahlberg, who we were lucky enough to land in one of the key roles and who made it his mission to get the film made, bringing in both additional financing when some of our financing fell through (also an incredibly common occurrence in Hollywood) and the wonderful Baltasar Kormákur when the previous director bailed. Baltasar brought such a great visual and stylistic tone to the film. It finally filmed in 2012, four years after the “bidding war,” and hit theaters a little more than a year after that. Trust me, if you’re invested in a film project based on your project, invest in a lot of Maalox because it’s a very bumpy road, and the road to 2 Guns was smoother than a lot of them.
EC: When you saw the movie, were you happy the finished product?
SG: I love the film, but why wouldn’t I? From the beginning, Ross, Adam and screenwriter Blake Masters, who’s a great guy, by the way, were determined to stick as close spiritually to the material as possible. There were changes of course, but you can do so much more in a film than you can on the comics page that I’d’ve been pretty disappointed if they’d stuck strictly to what’s in the book. I do think they kept everything that was important in and to the story. Blake in particular (and Baltasar later) picked up on 2 Guns being a very deadpan comedy. That’s how I always thought of it. Ross and I would have long arguments about that, but I wrote it so of course I was right. I think Blake did a wonderful job. Like I said, I love the film, and considering how many comics guys crab about what Hollywood did to their work, I can’t tell you how happy I am to be able to say that. I didn’t see the film until the premiere, and was terrified I’d have to lie my ass off about liking it afterwards, but thankfully it never came to that. I not only love the film and still find it tremendously watchable, I like their ending better than mine.
EC: In the ‘90s you created a character called X for Dark Horse Comics. What sparked the creation of that character?
SG: I didn’t create X. For several years, Dark Horse had been quietly developing a superhero universe concept in house, and X was one of their linchpin characters. What happened was a guy named Jonathan Peterson was an editor at DC and asked me to write some Deathstroke issues for him, then I started doing other work for him as well. DC was big into “reimagining” old characters, and they had one called Americommando in the ‘40s that I thought was both one of the greatest and worst names in the history of comics, so I created a political thriller concept around it that was probably a bit more left-wing than DC would’ve been comfortable with.
Then Jonathan left and, as is often the case, the projects he’d been setting up, including several of mine, evaporated. I retooled the concept, retitled it Patriot X and pitched it to Dark Horse, which had recently picked up the Badlands project I’d started at Vortex Comics before they hit the skids. Mike Richardson really liked the Patriot X concept, but asked if I could name it something else because they had this character X they were doing for their superhero universe. So I retitled that project Enemy, then Mike asked me to write X as well.
EC: I always remember X being called “the Batman from Hell.” Was that a fair assessment?
SG: Sort of. I didn’t create X but I did kind of recreate it. Their original concept for the character was – and this is badly bowdlerizing it into convenient shorthand – Batman dressed as a Mexican wrestler. I tuned him up into the relentless, fixated psychopath of the first X series. I don’t recall whether the “Zorro” gimmick – one strike as a warning, the second strike (completing the X) as death sentence – originated with me or with Mike, Randy Stradley and Chris Warner, the original architects of the character. Anyway, yes, Batman was key to their conceptualization of the character, but I tried my best to keep specific parallels to Batman beyond the unavoidable out of it.
EC: At one point it looked like X was headed to the Fox Network for a TV series. Can you fill us in on what happened and what where your reactions to that then?
SG: If X was ever a Fox pilot, I never heard about it. They were trying to get it done as a film for a while that I wrote a very bad screenplay for (I really didn’t know what I was doing at the time) that was quickly trashed. You might be thinking of Enemy. David Goyer and Columbia approached Dark Horse about getting the rights for a potential TV series after the book came out. I think it might’ve been David’s first producing job, whereas previously he’d just been a screenwriter. I could be misremembering. Mike was involved too as an executive producer, since he’d already had The Mask as a TV series. They pitched it to Fox, which paid for the pilot. I’ve seen it; I’ve got a copy around here someplace I’m not supposed to have. It’s okay. I’m not sure what happened. I know it was on Fox’s schedule for at least a few days prior to them announcing the schedule, but when they announced it wasn’t. I’ve heard various explanations from different people. It basically boils down to “It’s Hollywood.” Things are go, then they’re suddenly not go. Nothing’s real until it’s real.
Of course, I was thrilled they wanted to make a series. I had nothing more I especially wanted to do with the character. It was one of the first times I thought completely in terms of the story rather than a franchise, so a TV show meant I could make lots of money from it and they’d be the ones worrying about a franchise.
I doubt I’d’ve been very involved in it. Network TV didn’t pay much upfront then – not sure what the terms are these days but I doubt they’ve changed much – then you get a little chunk of change for every episode that airs (with some restrictions I forget), but as creator you don’t make a lot of money until the show goes into syndication, meaning it had to stick around for five to seven years, which are slightly better odds than winning the lottery, but not by a lot. But I would’ve liked to have seen it on TV in any case.
As it turns out, Mike and I have recently been in discussion and I’m probably bringing back Enemy at Dark Horse next year.
EC: You also created the Marvel super heroine, Mockingbird. What’s the ‘secret origin’ behind her creation?
SG: That was one of my early on things, when I first arrived at Marvel. When you go to a company like Marvel, everything’s niched. It’s very difficult to find something to put your stamp on. I wanted my own characters to play with, and to do that I had to create them. Mark Gruenwald, who I quickly became friends with because we both originated in Wisconsin, was assistant editor of Marvel Team-Up at the time – that book jumped back and forth between editors like crazy, if I remember correctly – got me assigned a bunch of fill-in issues. Marvel traditionally struggled with deadline problems, so they regularly assigned fill-in issues. I couldn’t get a regular book there but fill-ins kept me alive and taught me versatility, if nothing else.
Mark and I concocted a mini-series within Marvel Team-Up (which largely specialized in isolated stories) set in Los Angeles, and to wrap up that arc. Influenced by the mid-‘70s House investigations of illegal activities by the CIA, I’d pushed several times without success for a Nick Fury Vs. SHIELD idea, and wanted to incorporate that in a story suggesting SHIELD might not be quite the good guys they’d been made out to be. Despite my own failure, this obviously wormed its way into the creative psyche up there, as Nick Fury Vs. SHIELD was done some time after I was mostly divorced from the company.
I’d run across the Huntress character who’d briefly appeared in a Marvel magazine, but by then DC had a character named The Huntress, so Mark and I rechristened her Mockingbird and I retooled her shtick into something I could work with. The main response was fan outrage that Marvel Team-Up had debuted a character rather than team Spider-Man up with an existing one.
EC: I’m anxious to hear your reactions to seeing Mockingbird on the television show, Marvel’s Agents of S.H.I.E.L.D.
SG: I’ve only seen the first couple episodes she was in – I have the rest on DVR but haven’t had time to watch – but loved her first appearance. Adrienne Palicki works fine in the part, and I thought the shtick was great, very much in keeping with the espionage angle I always wanted for her that Marvel had mostly abandoned. I take it all as vindication, especially if ABC puts her in her own series, which I understand is still a strong possibility.
A funny thing: when I created Mockingbird, I came up with the interlocking staves as her key weapons that could be used in various ways: individually as two-fisted clubs, as climbing picks, locked together as a vaulting pole, etc. I can’t swear by it but don’t recall that being a thing before her.
Now Mark, at heart, was always a DC Comics fan first, and had this dream of creating a Marvel Comics analog of The Justice League. In that scenario, he envisioned Mockingbird as Marvel’s Black Canary, and hooked her up with Hawkeye (Marvel’s Green Arrow) at the first opportunity. I don’t especially like the whole concept of analogue characters (re: X) and tried to keep away from it. So a TV version of the Black Canary shows up on the second season of Arrow, and what do I see? Her key weapons are interlock staves that can be used in various ways: individually as two-fisted clubs, etc… They lifted Mockingbird’s bit and gave it to the Black Canary. Full circle.
EC: Gerry Conway has detailed his frustrations with the corporate policies dictating recognition and compensation for characters he created for DC Comics. Can you reveal your own experiences, specifically as they relate to the Mockingbird character?
SG: They were nice enough to start crediting me on every episode she’s in, though they kindly don’t mention what anyone’s credited for. I haven’t seen any checks yet. Those are my experiences so far. We’ll see what happens. But I don’t question that Marvel/Disney own the character. I’m not sure yet what their policy on these things is.
EC: Do you feel today’s creators are better prepared to deal with creation of their characters and their possible success in other media?
SG: Probably not, unless they’ve had a lot of personal experience. I’ve noticed by and large comics talent all think they’ll be the exceptions, and don’t seem to get what a minefield media is. It can be navigated but in general it’s all hard choices and risk, and most don’t understand the process and have wildly unrealistic expectations to both extremes.
I’m not suggesting people should start out cynical – that’s as good a way to kill of good opportunities as any – but it pays to educate yourself on the risks and pitfalls, and find out how things are really done rather than swallow the snake oil usually peddled as “how Hollywood [or anything, really] works.” A good education in the workings of whatever field and realistic expectations are the best shields against disappointment and bitterness anyone can get, and the best ways to increase the odds of success.
EC: Great insights and stories. Thanks for your time, Steven.
First of all, I was lucky because I got to go. I was lucky to hear Joe Quesada introduce the film, not only because he was amusing but he was gracious enough to thank the event planners before he thanked the Hollywood bosses. Trust me, as someone who has worked events for more than 20 years, it’s unusual when someone says “Thank you.” He also thanked all the people who worked on the books, the source material for the movies.
And I was lucky because of the audience. The people in Manhattan’s Ziegfeld Theater on Tuesday were Marvel (and Disney) employees, freelancers, and their plus-ones. It was the kind of audience that cheered the coming attractions (Ant-Man), of course. They cheered the created-by credits. They cheered Stan Lee. From their cheers, I could tell that I picked up all the Easter eggs, thrown in for the fans in the audience by the fans who made the film.
The film. How was it? There may be SPOILERS, depending on how you define the term, although I will try to avoid the big ones.
If you haven’t seen the first Avengers movie, you might have some problems jumping into the plot of this one. If you haven’t seen any of the Iron Man, Thor or Captain America movies, you may miss a few key character developments. And if you didn’t watch Marvel’s Agents of S.H.I.E.L.D. this week, you missed the set-up.
None of this was a problem for me. I’m going to guess, given the name of this site, that it isn’t a problem for you either.
The plot, as you might surmise from the title, concerns the creation of Ultron, using the Infinity Stone from Loki’s staff (from the first Avengers movie) and Tony Stark’s tech. Ultron runs amok, and the rest of the movie involves our heroes trying to stop him/it. As they do, they first fight and then team-up with Quicksilver and the Scarlet Witch. In the process, many, many places suffer severe damage, including Wakanda.
(During the fight in Wakanda, our heroes must deal with the local police and, later, the military. In both cases, the first faces we see in uniform are white. Given current events, this took me out of the narrative for a beat.)
If I approach this review with my English class lessons, it is difficult to describe. There is no single protagonist, no character who has a transformative story arc. My future husband, Robert Downey, Jr., and the other heroes with their own film franchises (i.e. Captain America and Thor) do very little other than fight and trade quips, once they get past the exposition parts of the dialogue.
Instead, the revealing character moments belong to the Hulk, to Hawkeye, and the Black Widow. If anything is going to rile up the fanboys, it is the changes the movie makes to Hawkeye. Since I haven’t followed the character in the comics (although I’ve enjoyed a bunch of the new version), I wasn’t offended. I think it works for the character in the movie. It explains a lot about his relationship with Black Widow.
Here’s my favorite thing about the version of the Black Widow we get in these movies, a part of her character I credit to Joss Whedon (based on Buffy and Firefly): she not only holds her own with the male characters, but she has relationships with them that are collegial, not romantic. She is, first and foremost, a friend and an ally. While there seems to be some suggestion that she and Bruce Banner might click, even that possibility comes from the trust and respect they have for each other as teammates, not hot bodies.
Ultimately, The Avengers: Age of Ultron suffers from the fate of most middle films in a trilogy. There can’t be a real resolution because then there would be no need for the third movie. Still, there are a lot of pretty people doing a lot of pretty spectacular things, with plenty of explosions and lots and lots of fight scenes in exotic scenery.
Go. You’ll have a good time. Just don’t try to write an English theme about it.
We’re now well into the new TV season and there were a number on new shows to which I was looking forward as well as some returning ones. I’ve now seen at least one of each and have formed some opinions. Since that’s what this column is all about, off we go.
On the returning shows, let’s start with The Blacklist. I was wondering if it could maintain momentum but so far it has, anchored by James Spader’s mesmerizing performance as Raymond “Red” Reddington. Terrifically charming, utterly lethal, ready with a quip, a story, or a bullet, Spader gives a wonderful performance.
I also wondered about Castle and the “cliffhanger” with which they left last season. They aren’t explaining things right away, making what happened part of the overall mystery for this season. It’s working. It feels as if there’s new steam in the engine and I’m enjoying the ride.
Arrow remains a little sudsy for me. I mainly tune in to see if Amanda Waller shows up; no sightings so far but she’s mentioned a fair amount. They’ve made Green Arrow (here just called “Arrow”) very dark and grim ‘n’ gritty. It’s like it wants to be Batman, without having Batman.
Marvel’s Agents of S.H.I.E.L.D. is a show I came to enjoy last season and it’s better this year. It’s throwing in some supervillains and characters known from the Marvel Universe and I look forward to it each week. There are some characters I would drop (buh-bye Sky) but it’s a good series.
On to the new shows. Let’s start with Gotham, the other non-Batman Batman show. I’ve long felt that the city is as important a character in the Batman mythos as any of the other characters but I don’t know if it works as the central character. It’s not helped by Ben McKenzie’s performance as Detective James Gordon. He plays everything stone faced and one note; he’s the only one who is like that in the show. Robin Lord Taylor as Oswald Cobblepot {the Penguin) is far more animated, almost over the top, and more fun to watch. To be honest, I’m not sure I’ll be sticking with this show.
I was really looking forward to Constantine and, by and large, I’m pleased. It looks right, it sounds right, it keeps largely to the mythos in the comic book. My main caveat so far is that Matt Ryan’s John Constantine is a little too guilt ridden and tortured. He could use more snark and be a bit more of a bastard. It’s as if the show runners want to make sure that we like Constantine and find him sympathetic. They should take a look at Peter Capaldi’s Doctor on Doctor Who or, again, James Spader on The Blacklist. You don’t have to love them but it’s hard not to watch them.
And then there’s The Flash, my fave among the new shows. DC seems to be about gloom, doom, and grim in order to show how serious they are. The Flash is light, bright, has fun, and makes good use of the comic’s backstory and the Rogues Gallery while adding their own characters and adding new slants on so much. It makes everything feel fresh.
I like Grant Gustin as Barry Allen/The Flash. His Barry is younger than in the comics but I think that works to the series’ advantage. The character is learning how to use his new found ability – its limitations and applications. And he enjoys being The Fastest Man Alive and he wants to be a hero. That is also refreshing in this day and age of tortured, self-doubting characters.
He also has a good supporting cast and some are stand-outs. It’s a pleasure to see John Wesley Shipp (who played The Flash in the earlier TV version) cast as Barry’s Dad who is in prison for a crime he didn’t commit: the murder of Barry’s mother. It’s a nice tip of the hat by the producers; they didn’t have to do it but they did and that’s classy, in my book. And Shipp does a good job.
The other stand-out in the supporting cast is Jesse L. Martin as Detective Joe West, father of Iris West, Barry’s great love and wife in the comics and here just a friend… so far. Martin has always been a good actor; I remember him especially on Law & Order where he was a favorite of mine among the cops, right behind Jerry Orbach and Chris Noth. Here he’s a mentor and father figure to young Barry. I hope they keep him around.
So – that’s my scorecard so far this season. I don’t know how they’re doing in the ratings but I hope most of them stick around. There will be more comics related shows a-coming on both the big screen and the little one until it exhausts the genre and maybe goes the way of the Western.
… from being what it could be. In short, they’re uncertainty is palpable, and it’s sickening to watch week to week.
For the uninitiated: Gotham creates a timeline in which a young James Gordon arrives in the titular city right as Bruce Wayne’s parents are murdered. The city that will one day be protected by a dark knight is at present a cesspool incarnate. Corruption is common and even embraced by the police force. Politicians are mob-owned. And the mob itself has its nightclubs, contractors and restaurants littering the yellow pages. Impending war between Don Maroni and Carmine Falcone is discussed as much as the local sports scores and the weather (the Knights won, and it’s always going to rain). And literally crammed into every visible orifice on screen, a future commoner of the caped crusader’s cadre of kooky criminals lays in waiting.
Look, kiddos. I don’t have an issue with starting the show with Bruce Wayne’s orphaning (yeah, I’m coining the term). It’s a pivotal moment with plenty of roots into the budding season’s serial storyline. What I take umbrage towards is how desperate it all feels. It’s truly as if the writers, producers, and executives behind the show are compelled to scream at the viewing public “People! It’s Batman! This is the Batman show! Don’t you like Batmaaaaaan!?” I know this is a common thought that’s traveling amongst the blogosphere, but, seriously, why can’t DC and Warner Bros. just take a page from Marvel’s handbook?
When the House of Mouse announced Agents of S.H.I.E.L.D., comic book fans largely held their breath. By anchoring their TV presence with a concept that could play in their cinematic sandbox but seemingly not require our favorite Avengers to drop by for a cameo… it took the better part of a season to truly win over the public at large. And when the words “Hail Hydra” were whispered, everyone rightly lost their marbles over the cleverness of it all. In contrast, Gotham has been obsessed with planting seeds that are so obvious they might as well just be trees already. Instead of trying to build a DC Universe, or even just a plausible setting, Gotham would rather be another Elseworlds tale. And were DC to have the smarts to tell us in any way that was the actual plan, maybe I would have happily declined even setting my DVR.
That’s a point I’d like to repeat for posterity. For Geoff Johns to drop even the inkling of a hint that the DCU-on-TV (Flash and Arrow clearly being coupled, Gotham, and potentially Krypton) could each exist in a parallel dimension to the movies, et al, is just dumb-dumb-doodle-dum. You can’t have your cake and eat it too. To think that the pencil pushers at DC Entertainment will eventually have to sell us a compendium guide to the Multiverse just so we can officially know where each damned show is in relation to one another is just sad to think about. Can you hear it now off in the distance? “Yeah, that Batman in Batman v. Superman isn’t the Batman from Gotham. No, I know that makes no sense [person who doesn’t understand Multiverse Concept].” Sigh.
As I’m prone to do at junctures like this, I’m apt to celebrate a few small victories the show has for itself. The cast – while anchored with pretty hammy dialogue – are all perfect fits. Our young Gordon is a proper police detective to Donal Logue’s lazy Harvey Bullock. The mobsters are all perfect caricatures we’d expect. And for what it’s worth, the Penguin is pitch perfect when he’s not going all kinds of Patrick Bateman on people wearing shoes he covets. The look of the show is also a small saving grace. Every edge is crammed with garbage and sepia toned grime. While it leaves little to no room for levity, the show is heads and shoulders above S.H.I.E.L.D. when it comes to environments… what little we’ve had to explore. And even young master Wayne is one of the better child actors I’ve seen cast. While (again) the script has called for less-than-stellar set-pieces for him to chew on (near suicide off the roof much, Brucey?), David Mazouz delivers a credible sell when he’s trying to be the rich kid forced to grow up too soon.
Beyond those points, Gotham is just too heavy fisted for its own damned good. With Edward Nygma posing poignant puzzles at every possible point he can, or Selena Kyle practically walking on all fours and meowing when she wants to be called Cat, it’s not as clever a turn as the showrunners seem to think. The public at large knows enough about the Batman mythos; few know about the brilliant shades of gray that exist in his world outside of the well-known rogues gallery. Why force feed us proto-Riddlers and Penguins when you can flesh out lesser-knowns like Mr. Zsasz, or Calendar Man who could tie to the mob war so much better than the current gaggle of goons being bum-rushed towards the credit roll. Agents of S.H.I.E.L.D. taught us that you need not depend on the name brands to be entertaining or credible. Don’t think so? Two words: Phil Coulson.
There’s still plenty of time for Gotham to turn things around. But the question to ask yourself is this: even if the show is successful, how will they find a way to not end up with fully developed supervillains straight outta Bat’s belfrey… all while he’s still having Alfred picking up Oxy at the Rite Aid? If the folks creating this cacophony could just take a deep breath and believe in Jim Gordon and solid police drama set in a slightly exaggerated world, Marvel might actually look up from their continuously growing pile of money and pay attention.
Im-not-so-ho, the best thing about The Flash is Jesse L. Martin as Detective Joe West and John Wesley Shipp as Barry’s father. Im-not-so-ho, the best things about Gotham are Donal Logue as Harvey Bullock, Sean Pertwee as Alfred Pennyworth, and Robin Lord Taylor as Oswald “Penguin” Cobblepot. Im-not-so-ho, the best things about Marvel’s Agents Of S.H.I.E.L.D. are Clark Gregg as Phil Coulson and Ming Na-Wen as Melinda May.
What does that say about me?
Am I getting old? Am I no longer able to appreciate a pretty-boy face or a hot young thang? Am I just being nostalgic in my appreciation of Martin, who originated the part of Tony in Rent on Broadway and played Detective Ed Green (opposite the brilliant and missed Jerry Orbach as Detective Lennie Brisco) on Law & Order, which I still regularly watch in reruns, and Ming Na-Wen, who played Dr. Jing-Mei “Deb” Chen on E.R., one of my favorite television shows ever, and not just because of George Clooney or because it also introduced me to British actress Alex Kingston, best known to Whovians as Melanie Pond, a.k.a. River Song.
Or is it that the only real acting chops being demonstrated, the only “this is how real people talk” dialogue is coming out of the mouths of the afore-mentioned actors?
Yeah, I’m finding all the rest of them pretty boring, cogs spit out of the Hollywood machine, cardboard cut-outs, paper dolls. I haven’t seen any one of them (Grant Gustin’s Barry Allen, Ben McKenzie as James Gordon, Chloe Bennet’s Skye, et.al.) display more to me than some experience at acting class. Okay, I do like Iain de Caestecker as poor, fucked-up Leo Fitz, but only as long as he continues to play a warped, hallucinating, schizo – if, as seems evident from the last televised episode, Fitz is going to be suddenly cured and become one of the cardboard cut-outs, then, well…so long, Fitz.
Is the fault in the writing? Take Selena Kyle for instance. The girl is supposed to be living on the streets, for cryin’ out loud! What streets? Rodeo Drive? Fifth Avenue? Place Vendome? And she talks like a spoiled brat from Grosse Point or Upper Saddle River, not a hardened kid dealing with junkies and pimps and the other “underworld denizens” of the inner city. I mean, at least young Bruce Wayne is burning himself with the flames from candlesticks. That kid is seriously disturbed. What’s Selena doing? Giving milk to stray kitties. Awww, isn’t that cute?
Yeah, so for me, it is the fault of the writers on these collective shows. I feel like they’re writing from one of those computer programs for aspiring writers that offer plots and characters from a menu that looks like it was cooked up in a Chinese restaurant’s wok, not from their life experience, not from their love of the characters or the comics…not from their hearts.
As Van Buren, the manager of the hard-luck Washington Senators in Damn Yankees sings, you gotta care, you gotta believe, “You gotta have heart, all you really need is heart…”
So, yeah, writers of The Flash, of Gotham, of Agents Of S.H.I.E.L.D., have heart. Don’t worry about pleasing your corporate suits. Take chances. Push the envelope of television standards and practices. You’ll win, because you’ll get the audiences. And audiences mean ratings. And ratings mean renewals. And renewals mean you all keep your jobs.
So have some guts, writers! You’ve got genies in magic bottles just waitin’ to come out. Rub those bottles and make it happen.
As for me, I’m crossing my fingers for Constantine.
