If last episode was a zany magical romp bolstered by character movements, then ‘Witch Hunt’ is an emotional character driven deep dive with the magical insanity serving as the support this time. Our dear Legends find themselves heading to Salem, 1692 to deal with a vengeful fairy godmother who sings murderous musical numbers. But that’s only the side dressing for real core of the episode, Zari’s frustrations at being unable to save her family coming to a head as she tries to save a mother accused as witchcraft.
The fairy godmother is bound to Prudence, the daughter of the woman accused of being a witch. Constantine (who shows up on the Waverider this episode despite turning Sara down last time) can’t send the fairy packing off to hell without doing the same to Prudence as long they’re connected. While Constantine searches for a way to separate the two, Zari wants to save the mother. There’s one issue though, historical records show the mom dies with or without the interference of a fairy godmother. Sara can’t let Zari change the timeline by saving her.
Zari still goes to free the mother, despite the woman herself not wanting to be freed. The mother doesn’t want innocents to be blamed for her escape. A failed jailbreak doesn’t discourage Zari from intervening at the trail. She goes full-on Zaheer from Legend of Korra, using her powers to suck the air right out of the lungs of the men. She stops herself before any permanent damage is done, but she’s thrown on the pyre with the mother.
Sara tries to stop the burning, but it’s Prudence and the fairy godmother who stop it, right after Prudence escapes the Waverider by turning Ray and Mick into pigs and taking away Constantine’s mouth.
The Godmother is ready to bring hellfire down the entire town, but Zari reaches out to Prudence reminding her of her mother’s forgiveness. She can’t say the world gets better with time, there will always be people who hate what they don’t understand. Yet reacting to their hate in kind isn’t going to make anything better. Zari’s words move Prudence enough to make her release her godmother and Constantine, with mouth intact, captures the fairy.
Before he banishes the fairy, he offers her a deal. He’ll bind himself to her if she’ll help him with his demon problem. Fairy godmother knows whatever is after the warlock, she’ll prefer hell over dealing with ‘him’.
Meanwhile, Zari’s back on the Waverider, expecting a lecture from her captain. But Sara Lance has lost enough of her friends and family to know exactly what Zari is going through. She comes with compassion and a willing ear. Zari doesn’t know how to channel her anger beyond sarcasm but Sara’s there to help her.
While the Legends were dealing with the discount Disney godmother, in 2018 Nate has been trying (and failing) to reconnect with his father. He’s also been squatting at the Time Bureau because being a superhero doesn’t come with a salary. Which, sidenote, last episode Ray mentioned the Legends being Time Bureau employees now, but apparently they’re not on the payroll? Are they listed as consultants who the Bureau doesn’t pay? Am I thinking too much about this? Probably.
Since Nate is already at the Bureau he offers to help Ava with a presentation to secure funding for the agency. They’re fully prepared for their presentation, with the three C’s, confidence, charisma and…crap, one of the guys they need to present to is Nate’s dad. He can’t face his father so the presentation is left up to Ava and Gary. This leads to Gary recapping the Beebo vs Mallus fight and showing off his chest, now minus one nipple thanks to a unicorn.
It’s a disaster and the Time Bureau loses its funding. A pep talk from Ava convinces Nate to speak to his dad, but Hank still needs proof of magic before he’s willing to allocate any money to the Bureau. Nate hops off to the Waverider were he finds Pig-Ray. He asks Ray for help convincing his father and yes, Nate understands his best bud even as a pig.
At the Bureau, Pig-Ray turns into Naked-Ray in Nate’s arms as Nate steels up in front of his father. It’s more than enough to convince Hank who gives Ava whatever she asks for. Ava offers Nate a place at the Time Bureau which he takes, meaning he’ll be hanging around in 2018 a bit longer.
Legends has never pretended they’re going for historical accuracy. Time travel has always been a vehicle to tell an entertaining story, but when the moment calls for it, they don’t shy away from using history as a lens either. That’s what do they here, with Zari. She sees in Salem the same society that will one day turn her and her family into criminals. She sees people willing to hate because they don’t understand. Is history worth protecting when so much of it is defined by hate? Is it worth doing what they do if they’re leaving somewhere as bad as they met it? It’s not the first time Legends has posed these questions.
This episode falls back on an answer they’ve given before; somethings are more important than history. For Zari, this time, saving one mother was more important. History is dark and filled with wrongs. But so is our present. And the same is probably true for the future. ‘Witch Hunt’ reminds us that in spite of that we can be better. Even after learning this Zari’s anger is still there, but she still chooses to save the priest who wanted to burn her at the stake.
Like the best episodes of Legends ‘Witch Hunt’ balances the dark with the humour. Sometimes evil isn’t so easy to spot. And sometimes it’s cartoonishly apparent as it sings about vicious mutilation. The fairy godmother, like the unicorn before her, was wonderfully over the top. The twist on her being vengeful and full of resent after being used selfishly for years was an inspired decision. It added a layer of reason to something that didn’t need to be anything more than the monster of the week.
Speaking off the monster of the week, that continues to be a tactic that works in Legends favour. There will no doubt be an overarching main villain for the season, as there always is. It may have something to do with whatever is haunting Constantine. But even without that greater threat being clear yet, each episode is a self-contained story that’s fun to watch on its own.
Nate would not have been my first choice for a Legend to interact with Ava. But that doesn’t matter because the characters and actors both play so well of each other you could throw almost anyone together and it will work. Nate’s storyline with his father and now with the Time Bureau is proving to be a strong one for the resident historian.
Plus, more time at the Bureau means more story arcs for Ava outside of Sara. As wonderful as the depiction of their relationship has been it’s great she’s getting to exist outside of being the love interest. It’s also great to see a woman like Ava Sharpe in a leadership position in general. She’s shown to be confident and capable in most aspects of her job. As a field agent and fighter, she’s top notch. She’s a natural leader. But it’s her people skills that aren’t always bursting with charm. Women are usually on one end of the extream ends of confidence. It’s rare for a woman to be depicted knowing her strengths and weaknesses so well, and asking for helping with the latter. I’m looking forward to seeing more of her in her role as director, both with and without Sara.
Only Legends could…
- Our lord and saviour, Beebo has a mobile app called Beebo Blox. Is too soon to say Beebo is the best running gag of all time?
- So many good lines this episode. Constantine’s ‘Tired, hungover and in need of a stiff a one. Dealer’s choice as to what that’s a euphemism for,’ and Sara’s ‘What in the Disney hell is this?’ were both very close to being my favourite lines of the episode.
- But the one that ended up winning was Nate’s, ‘As a Legend your salary is the friendships you make along the way.’
- Earlier in the episode, Sara and Legends decide to call the magical escapees ‘fugitives’ (after ruthlessly shooting down Ray’s suggestion of mytheries). Later Ava uses the same term to describe them. I take this as unspoken proof Sara and Ava text each other throughout the workday.
- Ava secured 4.2 billion dollars of funding because Ray went from being a pig to naked in Nate’s arms. It’s moments like these that convince me there is nothing Legends can do at this point that will break my suspension of disbelieve.
- When Nate and Ray say goodbye, Ray’s borrowed some clothes from the Time Bureau, including a sweatshirt that says, “Time Bureau Softball Team- We do things chronologically.” Here’s my question, how high of a security clearance does someone from another agency need to play softball against the Time Bureau? Or do they just play in a league against other black ops agencies like A.R.G.U.S. and the D.E.O.? (Is anyone else now imagining Ava Sharpe and Alex Danvers leading their teams while Brainy and Gary give equally horrible displays of athleticism on the field? Next year’s crossover. Make it happen CW.)
Images courtesy of the CW
Away In A Manger: Black Lightning 2×09, “Gift of Magi”
Well, my friends, we’re nearing the end of Black Lightning S2, and I think it’s time to declare a sophomore slump. Anyone here with me? Let’s get into this week’s episode and discuss.
Jen and Kahlil are still on the run, but Kahlil was cut with one of Cutter’s Special aka Poison knives, so he’s quickly succumbing. The pair find a barn, where there’s a lot of soft lantern light and Kahlil can curl up in the hay. At first they swap cute-funny stories about when they first met, but soon Kahlil can’t manage talking let alone breathing well, so Jen goes out to steal some antibiotics from a hospital. (They don’t yet know that it’s poison, they assume his wound is infected). Jen is getting really good not only at controlling her powers, but using them for specific tasks, and I’m here for it although I really wish it wasn’t in the context of this storyline.
She manages to get the antibiotics and injects Kahlil with it, but it doesn’t work. She grows increasingly desperate, and as Kahlil’s death seems imminent, she goes outside for some air and a good cry. That’s when she goes back to her brain-salon, where she sees Perenna (her brain-version of Perenna, not the real one) and a twin version of herself. Mind-Perenna tells Jen that she already has everything she needs inside of her; it’s very Inside Out. Together with her brain creations she figures out that Cutter is actually *right there* watching them through binoculars. She manages to capture her and tie her up, tasering her with her hands as a form of torture in order to get her to tell her what she did to Kahlil. It’s not long before she figures out it was a poison knife, and cuts Cutter with it so that she’ll be forced to show Jen where on her person the antidote is. Turns out, it’s in that very obvious vial on her necklace!
Jen goes to a dark place when she’s torturing Cutter, which is kind of hard to watch. Again, I’d be more interested if this whole thing didn’t revolve around Kahlil. Anyway, Jen gives both Kahlil and Cutter the antidote and they’re on their way again. But only after they declare their undying love for each other.
I’m happy to report that no one left Kahlil’s aunt for dead in her house, as Black Lightning, Thunder, and Gambi have set up camp there to help her recover from what turned out to be one of Kahlil’s pain pills and try to figure out how to find Jen. They know Kahlil is hurt so they check hospitals, and end up being in the same hospital as Jen at the same time!
Jefferson and Anissa figure out Jen was there because she left a trail aka scorch mark in her path, but the fact that she keep eluding them is driving Jefferson to be irrational and reckless. Gambi and Anissa manage to keep him under control, but Lynn is losing it too. When she’s not crying in the wreckage of Jen’s room that she destroyed, she’s trying to get Kahlil’s mom, and then his dad, to give her clues as to where they might be.
Of course neither of them can help, but along the way she grabs a gun from the Inner Sanctum aka Gambi’s basement so that’s concerning, considering her emotional state.
In a parallel storyline, Tobias has set his sights on a kid named Todd, an academic prodigy who has just been rejected for a research grant in favor of the white kid whose rich dad just funded a new wing of the university. It’s unclear what Tobias wants Todd to do, and Todd seems dubious at best until Tobias deposits $100,000 into his bank account. Money is the root of all evil, amirite? I mean, capitalism is. But that’s a discussion for another place.
Lastly, this episode ends with a scene in which a mysterious someone murders everyone in a bar in Texas before getting a phone call from his boss telling him that his next job is in Freeland. I feel like we’re about to meet a bigger bad than Tobias, but time will tell! Just someone end this Kahlil-Jen nonsense and give us our family back kthanks.
What do you think is in store for the final episodes? Are you happy with this season so far? Black Lightning is going on hiatus until the end of January, so I’ll be back then to see where we’re at. Enjoy what’s left of the year, friends!
Images courtesy of The CW
Winter Hiatus Blues
Even in December with the broadcast networks hiatus for scripted series starting, and pilot season underway, there’s so much to discuss!
The continuing behind the scenes drama of Les Moonves’ ouster from CBS, ABC’s entertainment president Channing Dungey stepping down, NBC’s Greenblatt moving on, and FOX setting up for its new leadership once the merger goes through…every big 4 network has a lot to deal with between now and the TCAs in early February. The exec panels will sure be a time… Especially if ratings come up at all.
As of this Tuesday, and as always, I’m talking about scripted ratings: FOX is number 1 with a 1.13 average followed by NBC, ABC, and CBS. CW of course is last with .35. Last month, four of the five networks had six shows at or above their overall average.
Now, ABC has eight shows, the CW has five, and the rest have six.
Across the five networks, only a third of new shows are performing above the average on their network. The Connors (considered a new show), FBI, The Neighborhood, Last Man Standing, New Amsterdam, and Manifest. The highest rated new show on The CW, Legacies hovers right below the network’s average.
Interestingly, across the board, long running shows are still high rating performers (or what’s high now) for the networks. The exception to this is SVU at a tenth below the average.
Their “success” indicates that we probably won’t lose any of the longest running shows anytime soon. Still, the network with the largest average season length (including shows yet to premiere) is FOX at 5.3 followed by CBS at 4.5. Removing the shows already cancelled and predicted as canceled doesn’t make an impact because of The Simpsons‘ whopping thirty seasons! (Unrelated but with the announcement for Crisis on Infinite Earths, DCTV isn’t going anywhere either.)
Of course some of this will shift when the rest of the new slate premieres begin in January. I do not envy the folks in charge of scheduling spring shows, especially as more time slots are lost to winter reality or competition shows.
You can put whatever new show after strong shows and still have a dud in the ratings race.
On The CW, ableist In The Dark has had zero promotion beyond the scheduling announcement that it starts after Supernatural. Their other new show Roswell: New Mexico or Roswell: TVD received the coveted post Flash slot plus actual promo. Except for The 100, their other spring shows already received cancellations, so ratings definitely don’t matter.
FOX only has two newbies to premiere, with The Passage starting after The Resident and Proven Innocent taking the 9PM slot after Cool Kids. I don’t know that people watching an hour of comedy will stick around for a procedural, but anything can happen these days.
ABC on Wednesday revealed that in a vote of confidence (or in hopes to increase viewers or to get Whiskey Cavalier onto the schedule earlier) is moving the last bit of A Million Little Things behind Grey’s leaving current slot holder Station 19 off the schedule until March. Considering AMLT hit a .7 last week… The Fix is the only other newbie to get a spring slot, starting in March in The Good Doctor‘s place. Grand Hotel is now a summer show. ABC what are you doing?!
NBC and CBS have yet to fully unveil their new schedules so more on that in January! However, pilot development is in full swing and reboots (and spin-offs) continue to rule the pack.
Predicting what pilots will make it to series this early is silly, but I do think that a chunk of the reboots in development will definitely make it to air. If they’ll get renewed is another question. Even though this year, only Charmed received a back 9 order (Last Man Standing was ordered with 22 episodes). Last year, all the shows that received fewer than 9 episodes in the fall except for Good Doctor were cancelled. So now in May, that trend continues, or the new trend is that any back order indicates a renewal.
Which is why even though I think it’s silly to bank on so many reboots in development, I know that networks are still going to do it. I won’t list all of the shows in development because there are a lot and many will die by January. The CW has three alone! And NBC already has a series order for Law and Order: Hate Crimes or as my friend calls it, “SVU but grittier” making it the seventh L&O series.
By late January, early February, the big entertainment sites will have lists of all the pilots in contention and then we can really get into the details. Until then, what shows are y’all waiting to see for the first time (or again)?
‘Vox Lux’ Goes for Broke Almost to the Breaking Point
Warning: Vox Lux contains scenes depicting a school shooting that could trigger some viewers. It also has many scenes with rapidly flashing lights that may trigger those with photosenstivey disorder.
Vox Lux is a magnificently flawed film of abject fury and empathy. Not since this year’s earlier Sorry To Bother You have I witnessed a movie so consumed with passion and anger. I’m just not sure it’s any good.
It seems to be railing against our current obsession with what I guess you could call “distraction culture.” A culture aware of the horrors and atrocities going on around them but whose own futility at what can be done is usurped by its own need to feel joy. Vox Lux argues there are distractions and then there is ignoring things so you don’t have to think about them.
Yes, it’s healthy to practice self-care and not get too wrapped up in things beyond our control. But at what point is looking away to avoid being overcome by the horror of it all turn into ignoring everything else except for our own obsessive need for gratification. At least I think that’s the main thrust.
To say Vox Lux is about any one thing would be foolhardy. Gun violence, the dehumanization of celebrities, and how women are marketed less for talent and more for their bodies are all fair game. Truthfully I’m not sure exactly what it’s trying to say. It’s hard to tell. For as giddy as I was watching Vox Lux I was also frustrated because I couldn’t quite understand what the film was trying to do. It didn’t help that the ending can be perceived as either irritating or brilliant. The film walks the knife’s edge of artistic brilliance and pretentious nonsense.
Brady Corbet structures Vox Lux as a fable about a young girl named Celeste (Raffey Cassidy) who survives a school shooting. Narrated by Willem Dafoe, his voice lends an air of forthright impenetrable honesty as he regales about the girl’s life. Celeste survives with a permanent spinal injury. At the memorial for the other students, she and her older sister Ellie (Stacy Martin) play a song they wrote. The result is Lady Gaga/Beyonce inspired superstardom.
Vox Lux is one of those movies where I can tell you what happened but it doesn’t do it the justice of sitting there seeing it all unfold. Corbet makes every scene palpable, every frame pulsates with energy. The film feels alive and as such seems untamable as it explodes onto the screen before our eyes. Operatic and feverish, it never lets up no matter how much you may wish it to.
Celeste survives a school shooting, this is true. But Corbet makes us feel the horror and the tension of living through the school shooting. The ubiquitousness of gun violence both in our media and in our day to day lives has perhaps deadened the very real, violent, and disturbing reality of the actual experience. The driving anger of Vox Lux is in our inability to hold onto meaningful experiences and instead, dropping them and moving on to something else.
Natalie Portman plays a grown-up Celeste. A world-famous pop star, she is all but coming apart at the seams. In many ways, Vox Lux looks at how we enshrine celebrities and make them impossible beings. Portman’s Celeste is a pop star on the verge of a nervous breakdown. With her thick Staten Island accent and slicked back hair, Celeste powers through when she should clearly take a breath.
Celeste has a daughter of her own now, Albertine, also played by Cassidy. In an abrasive and uncomfortable scene, the adult Celeste attempts to have a heart to heart with her daughter. But Celeste is so closed off due to her stardom and drug abuse, she seems incapable of basic human connection. Her daughter asks her why she hates Ellie. Celeste responds with a rambling monologue about how nothing we do matters anymore because people just move on to the next thing. “I did a commercial a few years back. That stupid little thing where the rose opened up and I was little fairy inside with a soda can. I thought it’d ruin me. Know what happened? Nothing. Everybody forgot about it.”
It’s an old joke on the internet that the internet never forgets, but it’s only partially true. Yes, the internet is forever but our attention spans are not. Vox Lux isn’t pointing fingers so much as expressing a deep and volatile dissatisfaction with the way things seem to be heading. Art can offer answers but sometimes art can just be a cipher for our volatile and, sometimes, corrosive emotions.
At the same time during this same scene, the manager of the restaurant comes over and asks Celeste if he could take a picture with her. “I’m not going to post it. I just want it for me.” A celebrity’s time is rarely their own. Social media has made fans voracious in their need to be seen with people who “are just like them” but who never get to be treated like normal people.
Portman turns in what is her second best performance this year behind the earlier and still haunting and gorgeous Annihilation. But her work in Vox Lux is jaw-dropping for the kinetic energy she imbues in her Celeste. It is a fearless performance. Portman all but leaps from the screen and into the audience. Her Celeste is larger than life as she struts, dances, throws temper tantrums, all before turning to the screen and smiling. We root for Celeste while acknowledging what an absolute hell it must be living in her sphere.
After getting high, and having sex with Jude Law’s character known only as The Manager, the two stumble out of Celeste’s hotel room. I mention the scene only because Portman does one of the best pratfalls I’ve seen all year. I howled because Vox Lux is a movie that constantly pokes you, daring you to express either frustration or laughter. At the very least it wants you to feel something and tries in earnest to get, at the very least, a rise out of us.
The tightrope act the actors have to walk in the film is how nuanced they are. Law’s Manager character is as flawed and fleshed out as anyone in Mary Queen of Scots. He is at once kind and caring while also being manipulative and brusque. Notice the storm of conflicting emotions on Law’s face, and Portman’s for that matter, when she walks in on him holding Ellie in her arms. For all it’s bravado it’s the quiet moments between the screeching vibrato of its tone is where Vox Lux holds it’s most haunting and galvanizing power.
Much of the film’s power comes from the harsh and ingenious editing of Matthew Hannam. Just as you think we’ve got a bead on its rhythms it switches gears and out of our grasp. Aided by Lol Crowley, the cinematographer, the two create a living pulsating piece of artistry hellbent on making sure their screams into the abyss are heard. Crowley never puts the camera in a boring or wrong place. Even if the angle might be familiar the lens or lighting make it seem fresh and new. It allows us to decide for ourselves how we feel about certain moments and reactions.
I mentioned Portman’s pratfall earlier. While the theater was not packed, it was far from empty, but I was the only one laughing. I tell you this to illustrate how the film works differently for different people. A scene may be darkly comedic to me but to you or someone else, it may play as unbearably tragic.
During the last act of the film, we see Celeste perform her latest album, Vox Lux, to a teeming throng of adoring fans. Magically the concert footage feels like an actual pop concert. The vibrant and inventive energy the film has worked so hard to cultivate never evaporates. I sat in awe as they seamlessly blended realism with the dreamlike imagery of surrealism. Corbet, Crowley, and Hannam have sewn together disparate scenes that would in a lesser director’s hands seem like patchwork.
The ending, as previously stated, is abrupt; almost daringly so. A crucial piece of information is revealed just seconds before Corbet cuts to black. Because of how Vox Lux is presented, many moments seem weird or odd so after a while, we do not think much of them. But Corbet, mere seconds before the end drops a bombshell of a revelation that might be true or not. Dafoe’s narrator, whose voice exudes authority and honesty, delivers the line almost as an afterthought. I don’t know if it makes Vox Lux an inarguable masterpiece or if it pushes the film over the line from operatic to camp trash.
Most movies never know when to quit. Vox Lux quits arguably too soon. When I realized the credits were rolling, it took me a few seconds to realize it was over. Time flew by, though I’m not sure I would call the time spent watching Vox Lux fun. Engaging, certainly but calling it fun seems shallow somehow.
I like movies that are fun but sometimes I think we value the movies that are merely fun over the movies that are not. As if a movie not being fun is somehow an excuse not to engage with it. I’m not arguing that movies that are boring are good. I’m merely saying that, if we are to call movies art, then we should allow for a broader sense of what we demand from them.
Still, when the lights came on and I struggled to catch my breath, I knew some would find it too much. It is not a film for everyone, it never pretends to be. Its brashness and audacity have stayed with me and I get kind of giddy just thinking about it. Vox Lux is an act of untamed cinematic grandiosity that flails about with such brashness you might end up kind of annoyed. I loved every minute of it.