#Arrow reviews

[jbuffyangel]

No Choice to Make: Arrow 2x07 Review (State v. Queen)

Is there anything better than Oliver saving Felicity? The correct answer is no.  Of course, my feminist side is screaming Felicity can take care of herself (and does in most circumstances), but my inner Gloria Steinem needs to zip it.  I want romance novel heroism and “State v. Queen” delivers on a swoon worthy level.

Let’s dig in…

Olicity

This is easily my favorite Oliver protecting Felicity moment because there are so many nuances in their two primary scenes. However, to understand those nuances we have to review a little background information.

The Count escaped from Iron Heights during the earthquake (and released the Dollmaker while he was at it). I love this explanation for returning villains because it makes total sense. Logic in Arrow is rare jewel – treasure the moment.

Moira's trial is under way, but Diggle is not feeling well. Oliver sends John home, but he collapses in the bunker.

Oliver: I heard you passed out.

Diggle: I told Felicity not to call you.

Felicity: Yeah, but before that you said ‘gaw’ and ‘thud’ so I didn’t take it very seriously.

Felicity has John's blood tested and there are trace amounts of Vertigo in his system. They try Oliver’s antidote, but it doesn’t work. Adam Donner, the lawyer prosecuting Moira, also collapses in court due to Vertigo poisoning. The Count kidnaps him and forces him to take the drug to alleviate the withdrawal symptoms. It’s broadcasted live, so everyone affected knows the only cure is Vertigo.

I feel I would make a pretty good drug lord after watching Breaking Bad, Power and Queen of the South. The key to success is return customers, so this is not a half bad plan. You have to admire the Count’s industriousness. Ghost and Walter White would definitely approve.

Oliver hoods up after Felicity tracks Adam Donner’s location through the city seal of the Starling Municipal Records Department, which is reflected in Donner’s eye. Ok, so science is not sciencing in this episode. Felicity is immediately concerned about Oliver.

Felicity: I know what you're thinking.

Oliver: No you don't. I made a choice not put an arrow in this guy and it was the right choice. There’s no more killing.

Felicity was concerned Oliver would regret allowing The Count to live, but it’s just the opposite. He’s doubling down on his vow to Tommy. Oliver is not a conflicted man. He knows he made the right call. That's called growth, my friends.

Felicity’s little assertive nod means she backs Oliver’s decision one hundred percent. In fact, I’m sure she had a whole speech prepared for why not killing The Count was the right thing to do. It’s not just Oliver who believes there is a better way – Felicity and Diggle believe it too. This is as much their mission as it is Oliver’s. They also made a vow to Tommy to do better.

Unfortunately, The Count has caught wind that The Arrow’s aim is not lethal these days. The Count holds his arms wide open – an easy shot – and taunts Oliver to kill him, while Donner is held hostage by a henchman. It’s always a bit of a pickle to determine how Oliver is going to get himself out of these situations without killing. I’m all in favor of the vow he made, but killing does have some practical applications.

Of course, Oliver always finds another way. He fires on some flammable canisters, which creates a fire in a drug factory – clearly against OSHA regulations. Oliver spins and throws a flechette into the henchman’s arm, so he drops Donner and they make their escape.

THIS SCENE IS EXTREMELY IMPORTANT. REMEMBER WHAT OLIVER DID.

Felicity and Diggle determine the common denominator between all those poisoned with Vertigo is a flu vaccine, but they need to be sure. Oliver is busy with his mother’s trial at the courthouse and Diggle can barely walk. Felicity decides recon is on her tonight and seeks out the vaccine distribution van.  Low and behold, there is an entire shelf of Vertigo in the van, but The Count catches Felicity as she snoops.

Oliver and Thea are waiting for their mother’s verdict, which could be coming at any moment, when he receives a call from Felicity. But it’s not Felicity. It’s The Count.

The Count: Oliver? Is it okay if I call you Oliver? Surprised to hear from me, right? Not as surprised as I was. You see, I find this… not unattractive blonde getting all up in my business. And what does she have on her?

Source:  laurelscanary 

Oliver can hear Felicity crying on the other line and closes his eyes in absolute horror when he realizes she’s being held hostage.

The Count: A Queen Consolidated ID badge. Now, I think to myself, why does that name ring a bell? Oliver Queen. He tried to buy off me last year just before the hood put me in a padded cell. Ipso facto, ARROW.

Source:  laurelscanary 

Oliver doesn’t bother to contain his rage and without a second thought leaves the courthouse. Thea calls after him, reminding him that the jury will have a verdict anytime. All Oliver can tell her is that something came up at the office, but he cannot hide shakiness in his voice.  Oliver is afraid.

Oliver arrives at Queen Consolidated, suit on but hood down. For practical purposes, he doesn’t need to conceal his identity from The Count because he already figured it out – something so many other characters have failed to do with much more information than he had.

But from a symbolical perspective, the hood down is crucially important. Oliver is not here as The Arrow. He is here as Oliver Queen. This is personal to him. So much of this series is about Oliver struggling to reconcile his two halves – the hood and the man, but Felicity is one of the few people who truly knows both sides. He doesn’t have to hide with her.

Oliver approaches very slowly. He recognizes The Count has the upper hand and he cannot afford any mistakes. Felicity is zip tied to a chair and The Count holds a gun on her while he strokes her ponytail. That action alone sends the creep factor sky high.

Source: @yet-i-remain-quiet

There is a sexual element to Felicity’s kidnapping. The Count referenced her attractiveness on the phone with Oliver. Now he’s stroking her ponytail. Oliver asks The Count what he wants and he responds, “World peace and personal satisfaction. Though not necessarily in that order.” He massages Felicity’s shoulders at “personal satisfaction” in the grossest way possible.

Source: @yet-i-remain-quiet

It’s a thinly veiled threat of sexual assault, which does not go unnoticed by Oliver.  There are few things worse than rape and it serves to amplify Felicity’s terror and Oliver’s powerlessness and rage. If the writers intended to keep Oliver and Felicity strictly platonic they would not introduce this terribly disturbing aspect into the scene.

The Count monologues for a bit longer and tells Oliver someone else hates him almost as much. This mysterious benefactor funded the Vertigo operation, so The Count could draw The Arrow out and kill him. (Spoiler alert: it was Blood).

The Count gets the drop on Oliver and fires off a couple rounds. It forces Oliver to run and dive behind a couch. It always surprised me The Count was able to get the upper hand in this moment, which points to Oliver’s fear for Felicity more than anything. He’s not thinking strategically when it’s her life in danger. He can’t.

The Count cuts the zip ties and grabs Felicity by the ponytail. He drags her to the spot where Oliver was hiding, ready to finish him off, but this time Oliver gets the drop on him. He points an arrow squarely at The Count’s chest, but he is using Felicity as a shield. The Count holds two syringes of Vertigo (a lethal dose) to Felicity’s neck. It’s important to remember Oliver’s antidote for Vertigo did not work on Diggle.

Source: @yet-i-remain-quiet

Don’t ever say to me Felicity Smoak is not a hero. She was willing to die to keep Oliver’s vow to Tommy. Felicity was ready to trade her life for Oliver’s soul. She believes in Oliver, and their mission, that much. What's madness is thinking Oliver would put the vow before her life.

The Count orders Oliver to lower his bow, which he does and tosses the arrow to the floor. Then we see him do something Oliver never does – he tries to negotiate.

Again, Oliver doesn’t bother to hide the fear in his voice which makes the negotiating sound a lot like begging.

The Count: Consider this your penalty for making me go to plan B in the first place.

The Count raises the syringes to Felicity’s neck and Oliver manages to pull not one, but three arrows in rapid succession - killing The Count. 

The look on Oliver’s face when he fires the arrows, tell me two things.  First, this kill is emotional. When Oliver shoots to kill he typically only needs one arrow. The Arrow never misses. Three arrows is excessive.  It is literally overkill which means one thing – pure rage.  

Second, the act is instinctual.  The rapid succession in which he fires the arrows shows there is something programmed deep in Oliver’s bones to protect Felicity. Her life was threatened and his body simply reacted.

Felicity drops to the floor and The Count crashes through the window. Oliver closes his eyes and exhales like he’s been holding his breath the entire time. I think it is part relief and part regret. He doesn’t regret killing that bastard, but regrets he couldn’t find another way this time.   

Or was there? Upon this rewatch I noticed a couple things. First, Laurel was held hostage by the Dollmaker and Oliver did not kill him. (Sara did the honors that time). But consider the scene with Donner. Oliver threw a flechette into the henchman’s hand to free Donner. The henchman let go of Donner as a reflex to the pain. Could Oliver attempt the same with Felicity? Would a flechette in The Count’s arm free her as well?

The point is we’ll never know. Oliver made a calculated risk at the municipal when he fired on the flammable liquid and injured, but didn’t kill, The Count’s henchman. Oliver was willing to take the risk when Donner and Laurel were involved, but not Felicity.

I’ve been watching a lot of Bridgerton, so the next scene screams romance novel to me.

Source: AARONSWARNER

Oliver makes his way to Felicity who remains crouched on the floor and crying.  He gets down on one knee and tenderly touches her shoulder.

Source: AARONSWARNER

Felicity immediately flinches in fear at his touch, so Oliver in a voice so soft it’s almost a whisper, gently reassures her. She finally looks up and sees Oliver staring back at her with concern and love. She exhales with relief.

Source: AARONSWARNER

The shock wears off quickly once she hears Oliver’s voice and feels his hand on her shoulder. Oliver’s first thought is for Felicity, but her first thought is for him. SHIP COUPLES WHO WORRY ABOUT EACH OTHER FOR CLEAR SKIN.

Source: AARONSWARNER

Oliver moves his uninjured arm from Felicity’s shoulder and cups her face. The man has an actual bullet in his shoulder, but can feel no pain because Felicity Smoak is alive and safe. She is all that matters to him.

Source: AARONSWARNER

These physical moments are no small thing. Oliver keeps an extremely rigged line with Felicity that he rarely crosses. Shoulder touches are the maximum physical contact he allows and even those are on rare occasion. But she almost died tonight, so Oliver allows himself to take it one step further and touches Felicity’s face.  Oliver’s whispered reassurances in his reserved-for-Felicity-only voice unveil the real intimacy between them. He comforts her. Not in the way Oliver would like, but in the way he can allow. The line is still there, but it’s blurred at the moment.

There is no moment which better encapsulates the two sides of Oliver Queen than this scene. One moment he is a rage filled killer and the next he is a soft spoken, loving and tender man. It is not an accident the two sides merge into one for her. Darkness and light working in perfect cohesion to be the hero Felicity Smoak needed.

Source: @laurelscanary

Oliver makes his way back to the courthouse. He is so visibly shaken that Thea asks Oliver if he’s okay. She touches his injured shoulder and Oliver flinches, but it’s not the bullet that’s bothering him. He came too close to losing Felicity. Way too close.

Source: @laurelscanary

Sadly, this somewhat reinforces what Oliver said to Felicity in 2x06. There is a direct correlation between proximity to Oliver and danger, so he thinks it’s better to remain emotionally unattached. In his mind, keeping Felicity at arm’s length means keeping her safe.

But there’s what Oliver says and what he feels. He can refuse to acknowledge or act upon his feelings for Felicity, but that does not eradicate them. If Oliver is truly worried about proximity then why does he allow Felicity to be part of the team? Two reasons, Oliver needs Felicity and firmly believes they can protect her. But this was a frightening close call and Oliver’s fear is stemming from a more than friendly place. Felicity Smoak has become too important to him and it is scaring the crap out of him.

Source: FERRISBUELLER

Oliver returns to the bunker after his mother’s verdict to check on Diggle and Felicity. The way he looks Felicity up and down y’all is… a lot. Queen Consolidated is formulating a non addictive antidote for the people with Vertigo poisoning. Moira is not guilty. All’s well that ends well, so Oliver tells Diggle and Felicity to go home and rest.

But Felicity needs to get something off her chest.

Felicity: Oliver, I uh…

The way this man spins at the sound of her voice like he's a golden retriever who saw a squirrel. He is so gone for this woman.

Felicity: I just wanted to say thank you.

Oliver: (nods) Yeah.

Source: laurelscanary

He truly cannot fathom what she is apologizing for and steps much closer than necessary.

Source: laurelscanary

It seems Felicity has inherited a little bit of Oliver’s guilt complex. YOU WERE KIDNAPPED MY PRECIOUS CUPCAKE!!!

Source: laurelscanary

HE. TAKES. HER. HAND. We had a shoulder touch, tender face caressing and now holding hands. At this point, this equivalent to first base for these two. MY BRAIN SHORT CIRCUITED.

Source: laurelscanary

Earlier in the episode, Oliver and Felicity discussed not killing The Count previously and how it was the right decision. Oliver’s certainty in the rightness of the decision solidifies his commitment to his vow to Tommy. It is not something Oliver is questioning or wavering on. 

But Oliver is not qualifying what happened to Felicity in those terms. This is not about right or wrong. In fact, it wasn’t a decision at all. Oliver was not calculating the risks. Oliver was not thinking about a vow, or honoring his best friend, or the mission. His only thought was Felicity and her safety. Oliver simply reacted. All he could see was Felicity. All he could feel was the unbridled rage that came from anyone threatening her life.  It is programmed deep into Oliver’s bones to protect Felicity. There is no rational thought when it comes to her.

Nor does he care if it was right or wrong now. Oliver is not Monday morning quarterbacking the situation. Someone raised a hand to her, so that person is dead. End of discussion.

There is a war happening between Oliver’s mind and his heart. Oliver was clearly thinking with his head when he told Felicity in 2x06 that he will not allow himself to love her. But this episode was a completely different story. Sometimes life and death circumstances bring a much needed moment of clarity. Oliver may believe he has a choice whether or not he loves Felicity, but his actions show his heart knows different. There is no choice to make.

Moira Queen

The trial is not going well, so Moira is forced to testify. Laurel is lead prosecutor now that Donner is infected with Vertigo.  "Conflict of Interest" is flashing in a neon sign. On any planet in the solar system, Laurel would recuse herself. THE INSANITY GIVES ME A MIGRAINE.

Laurel also decides she’d like to get disbarred and visits Moira in prison because they are “family." Yack. Give me a break. She doesn’t want Moira to take the stand because Laurel will have to prosecute her to the best of her ability and use their smoking gun. Sure, because now she cares about legal procedure.

So, Moira comes clean to Oliver and Thea and tells them she had a one night stand with Malcolm Merlyn while married to their father.  The kids are shocked to say the least. Oliver has a solid case of the yicks. Thea is more than a little angry since she accused her mother of having an affair with Merlyn last year. Moira assures Thea it was not an affair, so technically she didn’t lie. Moira should teach Professional Gaslighting 101.

Inexplicably, Moira is found not guilty. (In my notes: Hahaha suck it Laurel)

Even Oliver is wondering what the fuck just happened. Upon release from prison, Moira is driven to a secret location to meet up with none other than MALCOLM MERLYN. His explanation for being alive is basically, “I’m a super awesome actor and faked it.” Oliver – did you check his pulse? What happened to the body? Did we miss a step Team Arrow? CLEARLY WE DID.

Merlyn bought the jury and Moira’s freedom (Ummm thanks I guess?) so he can deliver the second bomb. He ran a DNA test and knows he’s Thea’s father. PLOT TWIST! Honestly, this makes a lot of sense. I wasn't that surprised. Thea looks more like Tommy than she does Oliver.

Wait, this means Thea kissed her brother. Are we just going to Star Wars this and never talk about it again? Works for me.

Stray Thoughts

Oh shut up Laurel. Quit your bitching - me every time she opens her mouth lately.

Ivo is looking for the hosen because it contains coordinates to a sub that sunk in WWII. Whatever is on the sub can save the world. Shado and Oliver hope it can save Slade, so Team Island is going on a submarine field trip!

Slade has burns on half his body and yet he can still move. The man is not human.

"I have this thing about needles, all pointy things, which is ironic given who we work for.” I just love her so much.

David Ramsey is so enormous he doesn’t fit on the table. The mind cannot conceive of all that muscle.

 “Mom secrets are what put you into this situation. Secrets and lies. And now is the time to give truth its day.” Oh the irony, Oliver.

Donner took drugs on live television. Re-election is going to be a real bitch for the DA.

I like the Thea’s boxing moment with Roy. Nice foreshadowing. Girl is going to have a lot of rage to work through.

Laurel did make a good point about Walter and Merlyn. See? I can be positive about her.

OLIVER. STOP. ASKING. LAUREL. IF. SHE. IS. OK. Her whole “how can you possibly forgive me” speech was also nauseating and not believable. I like her better drunk.

“I’m pretty sure they aren’t interested in Buddhism.” Slade is burned over half his body but he jokes.

30-30-175-12 I’m sure that has something to do with the comics but I don’t care.

Some guy named Cyrus survived Blood’s Frankenstein experiment. So that’s not good.

Listen to the Watchover podcast reaction to 2x07!!!

If you’d like to support the blog, please buy me a cup of tea!

Disclaimer: Any gifs on the blog are not mine. If you would like a gif removed from my reviews, please message me!

[obsessedftshit]

Young Justice S2 Ep8

Tbh I get Roy because how did Oliver not know that the Roy he found after 3 months was not the actual Roy? But I also understand y Oliver didn't realize because he was worried about Roy to the extent that he was just relieved and content when "Roy" showed up and didn't bother to think it's weird.

Ngl I feel like Oliver in Arrow CW would have known if the clone Roy was fake cause Oliver in the TV show is really serious compared to Oliver in the cartoons. But that doesn't mean I don't like both Oliver's. I actually love both of them cause they're both different.

I'm happy that Connor found someone else. I mean yeah they rnt dating or anything but I just want Connor to be happy. I don't want him to suffer anymore. Megan put him through a lot and won't even acknowledge it. Also, idk y but they give me Superman x Lois vibes. I have no idea y but they do.

NOW I'M ACTUALLY LOST. IS ROBIN DEAD?! AND THE ROBIN WE HAVE NOW IS JUST ANOTHER RANDOM KID BATMAN ADOPTED? I'm actually so lost. No matter how many times I read ur guys's explanation I still get lost cause u guys keep saying Batman adopted 3 kids: Dick Grayson/Nightwing, Tim/Robin & Jason Todd/Red Hood (I think) but then y did they change Robin's name from S1 (Dick Grayson) to Tim in S2? Also, Idk if I'm right and what u guys r saying is what I will say rn but I think the Dick Grayson/Nightwing in S2 rn was Robin in S1 because he said smth like he and Zatanna had a thing in the last episode and literally in S1 Robin and Zatanna were flirting together and kissed in the second last episode. So technically, whenever Batman adopts kids, they always end up training as Robin and then grow up into whatever superhero they want to right? Because the Robin in S2 looks younger then Zatanna and Zatanna and Robin were a thing in S1 and the only explanation is that Dick Grayson/Nightwing was Robin from S1 cause no way that new baby Robin is the same age as Zatanna now.

Tell me if I'm right guys.

They're so fine.

Gifs made by moi

[fisheito]

Would you consider yourself to be a Yakumo connoisseur? Because I would pay to see you rank and review all of Yakumo's rooms. Your thoughts and ramblings are very fun to read.

**coughs up a bit of blood**

[dabs at my mouth with a small towel] although i ..HAVE seen, uh, every yakumo room I CANNOT CONSIDER MYSELF necessarily a connoisseur because uhhh the magic of subjectivity is that we can all be exposed to the same media, and yet interpret it vastly differently so!!! who's to say what makes someone a yakuconnoisseur or a yakudabbler..!!!

......... tho you probably agree with many of my interpretations if you think my words are fun to read.... err...... [CLANGS MY METAL CUP AGAINST THE BARS OF THE JAIL CELL] WELL, PUT YOUR MONEY WHERE YOUR TYPING FINGERS ARE , buDDY cuz THOSE wORDS r gonna COST YA

[brokehorrorfan]

4K Ultra HD Review: Basket Case

Unlike most "prestigious" organizations dedicated to the arts (I'm looking at you, Academy of Motion Picture Arts and Sciences), the Museum of Modern Art doesn't ignore the existence of genre fare. Nevertheless, there's something surreal about seeing "This film is from the collections of The Museum of Modern Art" at the start of Basket Case, a sleazy exploitation picture shot on 16mm over the course of a year for under $35,000.

The 1982 film follows Duane Bradley (Kevin VanHentenryck), who carries around his formerly-conjoined twin brother, a deformed, fleshy menace named Belial, in a wicker basket. While Duane intends to get revenge on the medical professionals who performed their unwanted separation surgery, Belial indiscriminately kills anyone who opens the basket like a malevolent jack in the box.

It's clear from the start that some sort of creature is contained within the basket, but writer-director Frank Henenlotter (Frankenhooker, Brain Damage) smartly allows the tension to build before revealing Belial in all his glory at the end of the first act. There's no mistaking it for anything but inanimate rubber (save for a primitive stop-motion sequence), but its blood-curdling screams give it life. Special effects artists Kevin Haney and John Caglione Jr. both won Oscars for Best Makeup — for Driving Miss Daisy and Dick Tracy, respectively — less than a decade removed from Basket Case.

MoMA's 4K restoration of Basket Case's original 16mm AB negative reels arrives on 4K Ultra HD with Dolby Vision (HDR10 compatible) and original uncompressed PCM mono audio via Arrow Video. Importantly, the restoration presents the film in newfound clarity while preserving the '80s NYC grime inherent to the film. The limited edition set comes with reversible artwork, a double-sided fold-out poster, and a booklet with writing on the film by horror historian Michael Gingold and a Basket Case comic strip by Martin Trafford, all housed in a slipcase featuring artwork by Sara Deck.

While no new special features were produced for the 4K, the plethora of existing materials including cover every conceivable aspect of the film. Henenlotter and VanHentenryck's breathless commentary from Arrow's 2017 Blu-ray doubles as a low-budget film school, from reusing sets to dumpster diving for decor. An archival track from Something Weird's 2001 DVD with Henenlotter, producer Edgar Ievins, actress Beverly Bonner, and Basket Case 2 production assistant Scooter McRae repeats most of the insight, but it's fun to hear their rapport.

Interviews are ported over with VanHentenryck, who discusses his cerebral approach to playing the character; Bonner, who wrote and starred in a play examining where her character might be 30 years after Basket Case; Florence and Maryellen Schultz, Henenlotter's identical twin cousins who play nurses in the film and share his unique sense of humor; and legendary film critic and The Last Drive-In host Joe Bob Briggs, whose campaign to host the film's drive-in premiere saved it from being cut by its distributor.

A joke interview with Henenlotter features the filmmaker portrayed by Albert Cadabra, a sideshow performer who edited Henenlotter's Bad Biology, in the nude. The Latvian Connection explores four crucial members of the Basket Case team of Latvian descent: Ievins, associate producer/effects artist Ugis Nigals, casting director/actress Ilze Balodis, and Belial performer Kika Nigals. What’s in the Basket? is a 78-minute documentary produced by Severin Films in 2012 covering the Basket Case franchise with cast and crew.

Three short films are featured: Basket Case 3½, an 8-minute mockumentary from 2017 in which Henenlotter interviews "Duane Bradley" (VanHentenryck) about the events of Basket Case; Slash of the Knife, Henenlotter's 1976 short film that ultimately lead him to make Basket Case, with optional commentary by Henenlotter and playwright Mike Bencivenga and outtakes; and Belial’s Dream, a 2017 stop-motion animated short by Robert Morgan (who just made his feature debut with Stopmotion), accompanied by its own brief making-of featurette.

Other extras include: the MoMA's 2017 restoration premiere introduction and Q&A with Henenlotter, VanHentenryck, Bonner, the Schultz twins, and Ugis Nigals; The Frisson of Fission, a video essay by film historian Travis Crawford exploring the history of conjoined twins and "freaks" in cinema; a 2011 filming location tour with Henenlotter and rapper R.A. The Rugged Man (who co-wrote Bad Biology) explore the filming locations; outtakes; five image galleries (promotional stills, behind the scenes, ephemera, advertisements, home video releases); three trailers; a TV spot; and two radio spots.

Henenlotter didn't set out to make a cult film — in fact, he didn't think anyone would ever see his feature debut — but that's what he accomplished with Basket Case. Shot on location in New York City, the picture doubles as a time capsule of a seedy version of Times Square that no longer exists; one littered with drug dealers, sex workers, and porno theaters. While the sequels would lean more into the comedy, the original film balanced its camp with well-placed shocks.

Basket Case will be released on 4K Ultra HD on April 30 via Arrow Video.

[gaycookiesnstuff]

so with the cake event coming back soon, have my favorite reviews from the cake event cuz i find them amusing or heart shattering

[is she implying that she doesnt usually get to eat sweet stuff? MY POOR GIRL???]

same yam, same

:(

the implication that black pearl is practically swallowing the entire cake is fucking hilarious cuz all i imagine is her going like this [img by yamujiburo]

u go black pearl

[kittykatninja321]

Much to think about…

[fancyfade]

Ok finished Kevin smiths green arrow run.

I liked it. Mia was a fun character and seeing her drag ollie is hilarious. The general intro to the arrow fam in issue 1 is well done and sets the scene really nice. Seeing connor and ollie get to interact as father and son was charming as ollie died before they could really do that earlier.

I think the "how is ollie alive" plot dragged on a little too long, and should've been resolved quicker to do more star city and arrowfam setup.

Dinah was... OK. both Dinah and Connor felt like their competence was reduced to let lightheaded-from-bloodloss ollie save the day. non-protagonist syndrome I guess. It definitely wasn't anywhere near as bad as Grell's writing on Dinah, but also not peak IMO.

I liked that Carter and Ollie initially got along in their 'hey we're not dead' thing, and only later actually started beefing when they came across some projection town disagreement.

[helenaheissner]

Comic Review: Green Arrow by Joshua Williamson Volume 1: Reunion

As a longtime Green Arrow fan, I had been looking forward to reading the first trade paperback of the current ongoing series by Joshua Williamson for a few months now. Williamson's been having something of a moment lately- his also ongoing run on Superman has been widely-lauded and very much enjoyed by me personally, and while I've not yet read his Batman & Robin series, the snippets I've seen online make it look very much up my alley.

In the wake of a recent event storyline titled Dark Crisis (also written by Williamson, and which I've not read either), Oliver Queen, rich brat turned hardcore survivalist turned bow-wielding man of the people superhero, is missing, stranded on an alien world for reasons he knows not why. So he does what he does best: survive.

The drive to survive is something I consider an inherent part of Ollie's character: he's motivated not by a desire for justice, vengeance, or familial obligations like many other DC heroes, but by an iron will to survive implanted by his being stranded on the not-so deserted island of Lian Yu for several years. He wants to survive, by any means, and he wants that for everyone around him as well. That is both his greatest strength and his greatest weakness, because sometimes by choosing survival over all else, he neglects to let himself truly live the life he wants with the family he has built, or otherwise cross moral lines for the sake of his (admittedly very noble) concept of a greater good. That dissonance is a huge part of what drives this six-issue opening act. Because while Oliver is doing what he does on the other end of universe, his family- specifically his adoptive son and former sidekick Roy Harper/Arsenal; the on/off love of his life and mainstay of the JLA, JSA, and Birds of Prey, Dinah Lance/Black Canary; and his illegitimate biological son, former Buddhist Monk turned co-Green Arrow, Connor Hawke.

It's on their hunt that they find trace of Roy's presumed-dead daughter by an unrepentant supervillain, Lian, and a touching father-daughter reunion happens... Only for Lian to suddenly vanish in a rush of light, and rematerialize on the same world where Oliver has been stranded.

Let's talk about the Arrow Family for a moment, shall we? The Arrow Family is freaking great! Oliver and Dinah are genuinely one of my favorite ships in all of comics, Roy is a Teen Titans mainstay who's undergone some of the best character development in all of comics, Connor is a brilliant example of a legacy superhero done well, and Oliver's adoptive daughter and other sidekick, Mia Dearden/Speedy, as well as his other-other sidekick and much younger half-sister Emiko Queen/Red Arrow, are two of the most criminally underrated heroines in the DCU. But due to several questionable editorial mandates and a few baffling writing choices over the past twenty or so years, the family has been scattered. Lian was straight-up dead for over a decade in real time, Connor and Mia were stranded in the proverbial comic book limbo after a continuity reboot in the early 2010s (long story), Roy and Dinah were on the outs with Ollie at various points in the past two decades, and while Emiko has gotten to hang around pretty consistently, the character wasn't created until 2013 and didn't became her big brother's sidekick until 2017. And this is without even getting into all the instances of Oliver being an idiot about his personal life and isolating himself from his family in the process.

This comic makes that a driving tension in a very literal sense- something is causing the members of the Arrow Family to teleport away from each other when they're near each other, causing Oliver to conclude that the only way they can all survive is to be apart.

He's wrong, of course. And he realizes he's wrong. And I won't spoil why, other than a very clever reveal of just who from Oliver's personal history would want to mess with him, as well as setting up a new potential archnemesis for the entire Arrow Family going forward in Amanda Waller (which, frankly, is a move that makes so much sense thematically it's surprising it took so long for someone to try it, given the potential contrast between Oliver's humanistic progressivism and Waller's authoritarian patriotism). What I will say that when truly pushed, when truly forced to choose between survival and family, Oliver sticks to his guns (so to speak) and chooses his family, chooses to take a chance on all of them being together no matter what risk there is for something to go wrong. Because when you're hardwired for survival above all else, the idea of letting someone, anyone, let alone a whole family of someones, into your heart is TERRIFYING. But Oliver Queen is not a coward, and he wants very much to be able to prove wrong all the many, MANY people who think that he is a bad man. He wants to be able to look in them in the face and tell the unblinking truth when he says 'no, I am a good man. Fuck you.'

And he does. And it is GLORIOUSLY CATHARTIC.

This book also does emotional beats very well. We get two parent-child reunions in this story, between Roy and Lian and then later Ollie and Connor, and both of them bring on the warm and fuzzies something fierce as these people who have been through so much together put aside all the hurt feelings and bad memories and are just thrilled to see each other once more. And then there's Ollie and Dinah's reunion... Let's just say I swooned. I swooned something fierce when my OTP got a spectacular (and rather hot) kiss scene.

This book also does banter and superhero lunacy very well (Roy and Peacemaker getting into a shoot-off becomes a plot point, and Oliver fights literal alien corporate fat-cats while in space) while still balancing it all in real emotion and a compelling personal story with personal stakes. It's aided by superb artwork from Sean Izaaske, who not only provides fantastic panel layouts, action scenes, and facial expressions, but also does several fun stylistic shifts when representing different periods in Ollie's history. It builds on established lore and character arcs without actually requiring you to know the storylines they originally came from (which is not always easy in superhero comics). Basically, it's very, VERY good, and I recommend it highly.

***

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[gorogues]

Spoilers for Justice League vs. Godzilla vs. Kong #6!

Not tons to say about this, but things are happening and there isn't a lot of standing around talking: Lex has finally put his plan into operation and Batman is countering it with his own giant mech, and even the League of Assassins has sent their pet monster into play. Plus, Grodd uses King Kong and Supergirl to the Legion's advantage and Superman comes out of his coma to confront Godzilla (who is chained with Nth metal at the bottom of the ocean). So there's lots going on, even if the Rogues are basically Legion cannon fodder and not doing much; there probably isn't much for regular villains to do anyway in a melee with giant monsters, mechs, and warriors like Wonder Woman.

I like that Black Manta is still the smartest voice of reason in the Legion of Doom, and the only guy arguing (futilely) that the group is a collective. He's fighting a losing battle, but I appreciate the effort to keep things more egalitarian.

It's interesting that Grodd saw Kong as a god in the first issue but is quite happy to mind-control him now. Maybe that's just Grodd's malicious self-interest at work, or maybe he had second thoughts about Kong's divinity when he saw how benevolent he is towards humanity. Brian Buccellato has always written a particularly vicious Grodd, and he's in fine form here by personally crushing Guy Gardner to death and controlling others with super-strength to do the rest of his dirty work. This is definitely the ape who ripped off Axel's arm and put Roy's head on a pike, and though I think Johns' Grodd was scarier, you can't argue with this Grodd's results.

[ogradyfilm]

Recently Viewed: Re-Animator

[The following review contains SPOILERS; YOU HAVE BEEN WARNED!]

Stuart Gordon’s Re-Animator (an extremely loose adaptation of a serialized story penned by H. P. Lovecraft) comfortably resides at the intersection of horror and slapstick. The scenario of a zombified corpse carrying its own severed head, for example, wouldn’t feel out of place in a Chuck Jones animated short (albeit a particularly grotesque, macabre one)—though actor David Gale’s talent for nonverbal communication elevates the classic gag (sheer annoyance has never been so palpable).

And no, I won’t elaborate on what exactly that decapitated torso gets up to. If you know, you know.

The true MVP, of course, is young Jeffrey Combs, who is seemingly impervious to the inherent absurdity of the film’s premise, delivering an utterly earnest, straight-faced, unironic performance. In his capable hands, ambitious medical student Herbert West epitomizes arrogance, vanity, and egotism; despite his formidable intellect, the aspiring scientist is neither wise nor self-aware enough to recognize his increasingly obvious madness. Thus, Combs’ unwavering sincerity merely reflects his character’s humorless disposition and unflinching confidence in his academic brilliance—a compelling, insightful, thematically appropriate creative choice.

The movie is hardly flawless; indeed, Arrow’s recent 4K restoration inadvertently exposes some rather lackluster cinematography (flat lighting, bland compositions) that might otherwise have been disguised by the fuzzy grain of a VHS transfer. Such minor blemishes, however, are ultimately inconsequential. The artistic value of a production like Re-Animator is measured not in the quality of its craftsmanship, the structure of its plot, or the depth of its narrative, but in gallons of gore and volume of sleazy subject matter—and on those dubious “merits,” it is an undeniable success.

[owlmylove]

next time u try to say “bc i’m an idiot” or “what i’m doing is dumb” just F

UCK that and say “bc i’m a genius” and “this is brilliant”. the secret to self confidence is cultivating the unearned hubris of a mad scientist

[jbuffyangel]

Hot and Cold: Arrow 1x22 Review (Darkness of the Edge of Town)

There is no episode that exemplifies the disjointed nature of Season 1 more than “Darkness on the Edge of Town.”  We have Exhibit A: an OTA field op and the smoaking hot chemistry of Stephen Amell and Emily Bett Rickards igniting in an elevator shaft of all places.

And Exhibit B: the other show. A frigid black hole I feared we’d never escape from.

Let’s dig in…

Olicity and OTA

Let’s start with the positive since there is soooooo much freaking positive! It can take time for a television series to find its footing in the first season.  Unfortunately, nowadays if the audience isn’t binging the entire season in 24 hours, the show gets canceled. But blessedly, this was 2013. Network TV was still the supreme ruler, and Arrow was pulling big enough numbers for the CW to allow for some leeway.

Twenty two episodes of leeway. Arrow finally found its groove and latched on to the mystical “it factor” that keeps an audience watching - Oliver, Felicity and Diggle. The chemistry and dynamic between these characters and the actors who play them is undeniable and it creates an action packed, laughing out loud, and sizzling hot episode. The writers are having FUN in “Darkness on the Edge of Town" and it shows, which means we get to have fun too.

Oliver decides to question his mother regarding the Undertaking, but she refuses to confess. So, Oliver and Diggle take a more brutal approach. The Hood kidnaps them both and beats the crap out of Oliver until she coughs up the information. It’s always hilarious when this show acts like David Ramsey can fit in Stephen Amell’s suit.

The burgeoning relationship between Oliver and Felicity is very much in its infancy. Oliver is fully in denial about feeling any type of way toward his IT girl. Never is that more apparent then when Oliver and Diggle return from the confrontation with Moira. Diggle gets a few solid whacks in, which I’m sure felt amazing given the absolute jackass Oliver was being the past few episodes.

Felicity has a much harder time concealing her feelings towards Oliver and it’s clear she worries about him. She is always the first to ask if he’s okay, offer a supportive ear to listen or shoulder to cry on. However, Oliver seems to draw a line in this episode when Felicity reaches to touch the bruise on his face. That small step was too much. He physically keeps her at arm’s length because the intimacy of Felicity’s concerned touch is not something Oliver is ready for. There is still a very big wall hiding all that pain, regret and unworthiness.

Source: @lyricalarrow

Admitting he remembers the exact day they met, however, is absolutely no problem. We shall come to discover just how much Oliver remembers about that day in later seasons. I have a lot of male friends and I guarantee you I don’t remember the day we met. However, the day I met my husband is burned into my memory.

The team determines the only way to stop Merlyn from leveling the Glades with a man-made earthquake machine is to find the location of the device. Unfortunately, Felicity is unable to hack Merlyn’s system so she needs direct access to his mainframe inside Merlyn Global Headquarters. LET'S DO CRIMES!

Oliver makes an appointment with Tommy (more on that later) while Felicity continues to up her adorability factor by dressing up as Big Belly Burger employee delivering lunch to a security guard otherwise known as John Diggle.

The burger is laced with benzodiazepine, so it knocks out the other security guard and gives John free reign to control the elevator & cameras. Do we know how Diggle is able to pose as a security guard? No. Do we care? Nope. Let the hijinks commence!

Oliver and Felicity make their way to the elevator, but not until Oliver unloads an unwelcomed dudebro hitting on Felicity.

Jealousy looks so good on him. The way Stephen Amell plays this scene, with his nails-on-a-chalkboard look at the word “sweetie” to robotically knocking the papers out of the elevator, is physical comedy at its best. Something Amell rarely gets to do, but he’s great at it.  

The mainframe is on the twenty fifth floor, but the elevator only goes up to the nineteenth, so Oliver and Felicity have some climbing to do. It seems Felicity is thinking of a certain kind of climbing as well and really who can blame her?

Source: @lyricalarrow

Oliver lifts her WITH ONE ARM out of the elevator, which is so freaking hot I cannot.

Then, very gently, bends down to wrap his arm around Felicity’s waist and loop her arm around his neck. Oliver is moving with the precision of a jungle cat, but it also feels like an incredibly elaborate way to grab hold of someone. It has a very superhero sweep-her-into-my-arms sensuality to it. The mission is giving Oliver plenty of reasons to touch Felicity and he doesn’t seem unhappy about it, particularly when he softly tells her, "Hold onto me tight."

Is it warm in here? Holy Moses, Oliver Queen. Get control. This man is a god to women, so he clearly understands the connotations of, “Hold onto me tight.” There’s a thousand different ways to say that platonically, but nope! Oliver charges headlong into the blinking neon lights of SEXUAL INNNUENDO.

Felicity’s Freudian slip didn’t feel so Freudian either. She knew exactly what she was saying and leveled her full meaning in a single look. I thought the elevator was going to combust from all the heat. If you are looking for the text book definition of undressing someone with your eyes than look no further than these two. They way they hold the gaze. WOW. Can we have all the nakedness now?!!! It’s a sin against science for Oliver and Felicity not to bang regularly BECAUSE THE CHEMISTRY.

THIS IS NOT THE BEHAVIOR OF A MAN MADLY IN LOVE WITH LAUREL LANCE.

This scene has the classic Superman and Lois Lane feel to it.

Source: @olicitygifs

Oliver is doing his vigilante thing, but his partner in crime isn’t the leading lady of Arrow. It’s a supporting character who’s feeling less and less supporting with each episode.

Unfortunately, Felicity is about to be discovered while Oliver is held up by Malcolm Merlyn, Thea and Roy Harper. This is a very popular day to visit Merlyn Global. Oliver’s frustration under his cool and calm exterior builds the tension nicely and we do wonder how Felicity is getting out of this jam. Never fear! It’s John Diggle to the rescue. Top notch comedy from both Rickards and Ramsey.

Source: @olicitygifs

Their first official team mission outside of the bunker is a wild success. Felicity still has to search through all of Merlyn’s data to determine the location of the device. Despite all the heat, hilarity and hijinks on this side of the show, Oliver makes an abrupt decision regarding the other side of the show that makes absolutely no sense.

Lauriver and Merlance

Still feeling warm friends? Well don’t worry. I have a nice bucket of ice cold water to dump on you.

As predicted, Oliver’s love confession messes with Laurel’s mind and obliterates any clear path back to Tommy. He drops this bomb on her and they have not spoken for a WEEK. Of course, this is all Laurel has thought about and she makes a rather elaborate speech admitting she has feelings for Oliver too.

Yeah, none of this is a surprise. Tommy knew Laurel had feelings for Oliver. We knew Laurel had feelings for Oliver. Hell, even Oliver knew. The only one who wasn’t admitting it was Laurel, so at least she’s finally being honest about things. You don’t get a love triangle if the central figure in the love triangle doesn’t have feelings for two people. The issue is who does Laurel love MORE.

Laurel: Maybe Tommy was right. Maybe he and I weren’t meant to be.

She had a clear answer last week. It was Tommy. She absolutely wanted to get back together with him, but Oliver decided honesty was the best policy on this one subject only. This line enrages me because Oliver has distracted Laurel from the man she is truly meant to be with. I will die on this hill, friends. DIE. ON. THIS. MERLANCE. HILL.

Laurel: Tommy’s a good guy. Are you?

Oliver: I didn’t have an agenda. I didn’t mean to make it more difficult to fix things with Tommy.

Oh for fucks sake. Yes, you did Oliver. That’s exactly why you said it. This is just a straight up lie. Oliver absolutely wanted to confuse Laurel. He just doesn’t want to look like the bad guy for doing it. This is some A+ Ollie behavior.

After Laurel makes a wonderfully impassioned and heartfelt speech about her feelings for Oliver, after probably obsessing about it for seven days straight, Oliver dumps her. AGAIN.

Oliver: Nothing’s changed. My life hasn’t changed. I haven’t changed.

I am infuriated on Laurel’s behalf with this flip flopping back and forth. The time to make this speech was last week in the hospital hallway. That was the moment to let her go and put Laurel on the plane with the man she belongs with, but Oliver couldn’t do it because it was too damn hard. It was just cruel and horribly unfair to both Tommy and Laurel because Oliver has absolutely no intention of being with her. But now it’s too late. The information is out there. You can’t put the toothpaste back in the tube, my dude.

Laurel pays her father a visit to basically get his permission to date Oliver again. Yeah, let’s make the man who lost his daughter to Oliver’s selfishness sign off on banging his other daughter again. This show.

Quentin’s speech is equally as empty as any speech Laurel’s made about seeing the change in Oliver because we, the audience, have not been privy to those moments. We’re just supposed to take their word for it even though the last time Quentin saw Oliver Queen he was trying to arrest him for drug trafficking. But sure, Quentin thinks he’s “changed.”

In order to make this storyline work, you have to give proper attention to the Lance family interacting with Oliver and the writers do not seem interested in doing that. All the important emotional growth takes place off screen and we’re supposed to accept it as fact because the characters tell us.

Meanwhile, they are organically growing the relationship Oliver has with Diggle, Felicity, hell even Roy! So we know the writers are capable of SHOWING these moments of character evolution. They just choose not to when it comes to the Lance family. It’s why the show feels so completely disjointed.

Oliver pays Tommy a visit and wants to have a chat.

Source: @queensarrow

So it's safe to say Tommy is still pissed.

Oliver encourages him to work things out with Laurel – kind of?

Oliver: Lord knows, I am guilty of a lot of things between us, but not you are her.

What’s infuriating about this conversation is that Oliver still refuses to accept any kind of responsibility in their break up. Oliver pretends to be a friend to the all feminists and touts Laurel’s independence and free will. She makes her own choices and she chose Tommy.

Tommy’s point is clear, even if it is self pitying; Laurel is not dealing with all the information. If she did have all the information then she would choose Oliver. From Oliver’s standpoint, it doesn’t matter because he can’t be with her.

That’s not reassuring to Tommy nor is it supposed to be. If the elements keeping Oliver and Laurel apart were removed (the Hood) then Oliver wouldn’t think twice about making a move on Laurel. And Tommy knows this. These are not the actions of a best friend, which is why he’s so pissed.

Now, Tommy’s big mistake was throwing in the towel too early. He should have NEVER given Oliver an opening with Laurel, but he did and it set them on this path. No we have to watch it play out.

Oliver: I promised myself that when I crossed all of these names off the list, I’d be done, but taking down these people, it doesn’t honor him. I was just treating the symptoms while the disease festered. I stop the Undertaking… I wipe out the disease.

Diggle: What are you saying Oliver? You would hang up the Hood?

Oliver: Merlyn’s plan is what I returned from the island to stop.

Does anyone else have whiplash? Oliver does a complete about face and determines he can be with Laurel since he only needs to cross one name off the list instead of dozens. He’s just missing one step, gee what could it be? Oh! I know. OLIVER STILL HAS TO CROSS MERLYN’S NAME OFF THE LIST AND STOP THE UNDERTAKING. Talk about counting your chickens before their hatched.

A hero’s journey is a very specific type of story. Joseph Campbell outline seventeen stages in 1949 and Christopher Vogler created an updated version in 2007 for screenwriting. I’m not going through all seventeen steps, but we can skip to the very last one regarding this storyline.

Freedom to Live/Return with the Elixir – meaning the hero has faced their internal and external struggles, has conquered the demons around them and earned the right to live as they choose. From a spiritual sense, the hero lives without fear of death.

It’s similar with Vogler’s elixir stage. From a community perspective, the hero has found the magical way to heal their wounded land. They are bringing hope, life and freedom back to their loved ones. In doing so, it gives the hero a personal victory. They’ve earned the right to experience peace and joy, which can be represented in a wide variety of narratives.

Oliver is hero. Arrow has made his endgame very clear - save Starling City. Has he saved the city? Has he stopped Malcolm Merlyn? NO. So why is his leather clad ass running all the way back to Laurel Lance to enjoy the fruits an elixir he has yet to procure? If Laurel is endgame, this makes absolutely no sense. This is too fast. It’s too abrupt. It doesn’t feel earned because it hasn’t been earned.

Clearly, the initial plan was to put Oliver (Green Arrow) and Laurel (Black Canary) on parallel, if not intersecting, paths. I’m not saying Oliver cannot be with Laurel as they evolve into superheroes together. But this is the first freaking season you guys! He hasn’t done a damn thing yet! Neither has she. And yet, here Oliver is, knocking on Laurel’s door, looking for some fruit.

Oliver: Ever since I’ve been back, we’ve been doing this dance. We come together and then I pull away.  Something pulls me away, but I think finally that something might be over.

Laurel: What are you are trying saying?

Oliver: That you know me better than anyone. And that you are more important to me than anyone. I just hope I didn’t wait too long to say it.

If Laurel has no clue Oliver is the Hood then can he really claim she knows him best? It sounds good to say, and probably what Laurel is dying to hear, but it rings hollow because there’s no evidence of this anywhere on the show. Laurel was wrong about who Oliver is all season. We are just supposed to accept some verbal acknowledgment of change, that she knows him better than anyone, but without any television scenes to back it up. That’s not how storytelling works, Arrow writers.

Sorry to beat a dead horse, but I warned you I wasn’t done with this topic - Oliver is still lying to Laurel. There should be more talking. What are those things pulling you away, Oliver? Why are they over? Are you a hooded, crime fighting, serial killer who has been mysteriously stalking me all year? Those are just some ideas off the top of my head. There is no person on this planet that Oliver needs an honest conversation with more than Laurel Lance, but nope. They jump straight to sex.  

Let’s talk about the sex. This has been built up all season. These two characters belong together. They are bulldozing over Tommy Merlyn to be together because they are this passionate romance that time cannot quell. It should be like the fourth of July in Laurel’s apartment right now.

Source: laurelscanary

Instead, of heat we get frigid. Fish have hotter sex.

I’m willing to acknowledge "Radioactive" was the hit song of 2013 and every show on the CW was using it. It has a very sexy beat and big crescendo. It sounds like a good song to use during a sex scene.

Except for the fact that it’s called RADIOACTIVE with lyrics like, “This is it, the apocalypse.” This is not the romance your Plan A couple usually requires in a scene like this. They had Blake Neely for a composer. Where’s Oliver and Laurel’s love theme? We'll probably get it in the season finale but anything would be better than "Radioactive."

Source: laurelscanary

Next issue. Black socks and jean shorts?  Wardrobe – what were you thinking? Nobody felt the need to tell Katie to take off the sox? Details matter!!

Source: laurelscanary

Stephen Amell and Katie Cassidy kissing are like watching two pieces of flat cardboard trying to hump each other. Can they choose a direction? Are we biting or no biting? Are we using tongue or no tongue? Can Oliver unbutton his shirt or does Laurel need to help? Is Oliver going to drop Laurel while trying to get her sweatshirt off? It was just so awkward from start to finish. ZERO SPARKS.

Source: habibialkaysani

And for the coup de grace, they leave the curtains pulled wide open, so Tommy can see them screwing from the street. The look of utter devastation on his face is heartbreaking and that’s the final image they leave us with as their love scene fades to black. Oliver and Laurel reuniting are not framed as a good thing. It’s framed as a betrayal, because that’s exactly what it is.

Source: @queensarrow

Even worse, Felicity finds the device while Oliver and Laurel are asleep and HE LEAVES. No note. No, honey I have to run out and save the city real quick, but I’ll be back for round two later. Nothing. But please, tell me again how much Ollie has changed.

When I watched this episode live I was horribly disappointed the big reunion with Laurel and Oliver fell flat. This was really my last gasp trying to be a Lauriver shipper. And I use the term “trying” loosely. I was more or less looking for any redeeming qualities in this love story, but after this hypothermic love scene I was officially out. I could not ship these two. I could never forgive them for betraying Tommy. But I feared Arrow would never move on from Oliver and Laurel.  

Of course, their real intention becomes all too clear later. Arrow was trying to blow them up to make way for something infinitely better.

 Theroy

Speaking of flipping back and forth, these two break up every other week. Roy is clearly committed to finding the Vigilante, which leads them to Merlyn Global and a run in with Oliver, the disapproving older brother. Again, Stephen Amell’s acting is superb.

I loved the way he said “What” to Thea and the firm alpha male handshake he gives Roy, warning him to stay away.

Obviously, Roy accomplished his goal. He found the Vigilante. Roy just doesn’t know it. He thinks Oliver Queen is too much of a wimp to ever consider him as the man in the hood. Thea was good and ticked off with that “wimp��� remark. Enough to dump Roy. She will not tolerate any slander of her brother. #QUEENSIBILINGSFOREVER

But this is like the fifth time these two broke up, so it’s losing the impact. This isn’t all about the Hood’s identity and thanking him for saving Roy’s life. He wants to BE the Hood, so Roy can protect the people he loves and never lose anyone again. The question is – who did Roy lose? Unfortunately, Thea storms out before we get an answer, but hopefully one is coming in the season finale. (No I do not remember who).

Long story short, yes I like these two, but the faster the Arrow writers move the characters into the Hood storyline the better. Otherwise they are just marooned on their own show like Laurel Lance Island.

Stray Thoughts

Yao Fei died! It’s so sad and traumatic. I forgot he’s shot in the head. Really didn’t need to see that twice.

Fyers is shooting down a commercial airliner to destabilize the Chinese economy. It’s always about money for these assholes.

Walter wants a divorce and I would say their differences are irreconcilable. Moira is getting what she deserves. You can’t kidnap your husband for six months and then offer him tea and crumpets when he comes home.

"Who the hell is Felicity Smoak?" Uh oh. Quentin has Felicity’s name. That ain’t good.

“Is the other archer working for Merlyn?” Please don’t make Diggle look this dumb again.

Merlyn versus Oliver battle was EPIC! The fight scenes this season are so stellar.

“Psychopaths are color coding themselves. That’s helpful.” HA!

Listen to the Watchover podcast reaction to 1x22!!!

If you’d like to support the blog, please buy me a cup of tea!

Disclaimer: Any gifs on the blog are not mine. If you would like a gif removed from my reviews, please message me!

[obsessedftshit]

Young Justice S2 Ep6

When Bart showed up I literally thought he was Wally but a future version like maybe his child or smth but then it was Barry's grandson.

Also, is Bart actually like Bart? Is he actually Barry's grandson from the future because we kept being shown him in the future with Neutron saying "time to act". So the future is actually destroyed in 40 years and he came back in time to change things but now is stuck. But srsly is he bad or good? Idk.

Nightwing is so big I want him. He can tackle me down any day.

When Roy found the actual Roy I felt so relieved and happy. Like yes he finally won't feel guilty for being Roy himself.

Not the baby saying "dadas" 😭.

Gifs made by moi

[supersolidstatedrive]

My take on a Unity Day cape! I actually have all the fabric for this one already, just have to sew it up and then run through brambles until the hem is sufficiently shredded XD

[the-meme-monarch]

(head in my hands) (mocking myself voice) subjecting yourself to something you know will just upset you is self harm but get this: i have to make sure it will

[pittsburghbeautiful]

Kennywood Park

Exploring the Magic of Kennywood: Pittsburgh’s Amusement Park Imagine a place where nostalgia and thrill blend so perfectly it feels like stepping into another world. This is no mere daydream; it’s Kennywood, Pittsburgh’s premier amusement park and a place of both yesteryear charm and modern excitement. Whether you’re seeking the adrenaline rush of roller coasters or a leisurely stroll down…