Supergirl Season 2 Reviews: Episode 13, “Mr. & Mrs. Mxyzptlk”
The long awaited and anticipated Valentine’s Day episode featuring Sanvers and the sometimes adorably, sometimes dangerously wacky antics of Mr. Mxyzptlk (Mr. Mxy from here on out, or just Mxy). I’m a huge fan of him already and want to see him again at some point. Sadly, Elizabeth can’t join me this time, as her city is currently sliding into the ocean (not really, but it sure sounds like it). So, I am a lonely gem without her fusion; at least I have something fun to talk about!
Mr. Mxy proposes to Kara. Mon El objects and Mxy sends him to the DEO in his undies. J’onn gives an epic side eye, but walks on by without asking questions. Kara rejects Mxy, but he believes she is playing coy and he can woo her with grand gestures of his devotion. At the DEO, J’onn composes a V-Day note to M’gann (Awwwww!). Kara decides in the middle of the DEO that this is a great time and place to have a conversation with Mon El about their relationship. At Chez Danvers, Alex learns Maggie is an epic V-day Hater. Lyra, an alien from Starhaven, saves Winn from bullies at the bar, and they hit it off geeking about her culture. Out on the streets, Kara literally catches a bullet for a thief fleeing Mxy then confronts him about his dangerous behavior. Mon El advises killing Mxy but Kara says no.
Kara comes home to an apartment full of flowers (just like last week, which was totally a platonic gesture) from Mxy. Alex wants to be super cheesy and romantic about V-Day, but she’s worried about Maggie’s resistance. Kara advises re-creating the holiday for just the two of them. ‘Parasyte’ shows up and beats up both Kara and Mon El for a bit before Mxy appears dressed as Superman. Kara realizes Mxy sent ‘Parasyte’ so he could swoop in and save the day. Kara tells Mon El to leave (and he actually listens!). Mxy tells Kara unless she marries him, things will get bad for Earth.
Mon El is mad that Kara is defending herself and tells her she’s not a good judge of what she can handle. Kara is mad that he didn’t tell her how to get rid of Mxy beforehand; Kara tells him he’s jealous and he gets pissy. They have a pretty big (and kind of loud) fight in the middle of the DEO that ends with Kara telling him it was a mistake. Mon El steals a weapon from the DEO. Alex follows Kara’s advice, but Maggie gets upset because she doesn’t feel heard. Alex encourages Maggie to not stuff her feelings. Maggie opens up about how her parents weren’t actually supportive of her being gay. She was forcibly outed by a friend she liked who didn’t like her that way and kicked out of her parents house when she was 14.
At the bar, Winn has set up a fancy date for him and Lyra, but she just wants to have sexy times (what is it with Winn and sexually aggressive women? Ngl it’s pretty hot). Meanwhile, Mxy duels Mon El for Kara’s hand, and goes full Hamilton, complete with costumes and pistols. Mon El uses the weapon to cut off Mxy from the 5th dimension, but Mxy crushes it. Kara shows up just in time to save Mon El from being shot with lead (foreshadowing?). She offers to marry Mxy the next day at noon in the Fortress of Solitude. Mon El apologizes for being a dillweed, but Kara has made up her mind about Mxy. Maggie shows up at the DEO looking for Alex to apologize to (that took guts); Kara tells her how much V-day means to Alex.
Champagne in hand, Mxy waits for Kara at the Fortress, where she shows up drinking orange juice (for some reason?). She rejects him and he brings the ice sculpture of Jor El to life to attack her. After shattering the sculpture, Kara encloses them in the fortress and detonates the core to explode and kill them both. He begs her not to kill herself because the world needs her. She eventually relents and he types in the abort code, which, incidentally, is his name spelled backward. (THAT’S OUR GIRL). He disappears to the 5th dimension without having found love.
Lyra and Winn have a nice second date. Alex comes home to find a box with her name on it from Maggie, who has set up an epic Valentine’s Day prom night for them both. Maggie apologizes for fixating on her wounds instead of on the woman she cares about. They dance; I cry happy tears. Mon El shows up at Kara’s and apologizes for acting like an ass. Kara admits she tricked him about saying they weren’t meant to be together and they make out on her couch.
“On some planets, to write something down is to truly say it.”—J’onn J’onzz
Thoughts & Feelings
No better place to start than Mxy summing up what many in the Supergirl fandom have been saying about Mon El as a romantic interest for Kara (ourselves included)
“The other suitor? I didn’t see you there tall, dark, and blandsome. You’re barely there, let alone my romantic rival. Invisible is a good look on you, let’s play to your strengths.”
In fact, one of the cleverest aspects to the Mr. Mxyzptlk plot this episode was how it seemed very much like a meta commentary on early complaints regarding Mon El specifically and unearned romantic arcs more generally. “You can’t just put me in a wedding dress!” argues Kara as Mxy blithely ignores her protestations that she’s not interested. Mxy is ‘persistent’ in his grand gestures, believing that his very persistence will ‘wear her down’ because she’s ‘confused’ and ‘doesn’t know her own feelings’. He reminds me of Wolf from 10th Kingdom a bit.
The commentary reaches acute levels when Mxy dresses and styles himself as another Superman, just as Mon El did in “We Can Be Heroes”. Like Mon El did with James, Mxy argues Kara needs an equal to her powers. He calls Mon El a thug and claims Kara is ‘slumming it’, which sounds once again like the writers co-opted a fandom complaint. Mxy believes grand gestures, including trying to be a hero (though admittedly in a threatening situation of his own making), and deciding she is fated to be his mate will be enough to convince her to love him, much as Mon El did early in the season.
He’s actually a pretty decent foil for Mon El, if one that’s significantly more powerful, and more destructive when he doesn’t get his way. They both arrogantly believe they know what is best for Kara and refuse to listen to her when she asserts herself. Yet, again, they differ significantly in how they handle rejection. Mon El backed off and tried to date someone new. Mxy threatens to destroy the world. Even Mon El, with all his entitlement, was never that bad. He might be an arrogant dude bro, but Mon El never responded to romantic rejection by trying to physically attack Kara. That’s not to defend Mon El either; it’s more to point out the interesting juxtaposition in what they share as romantic interests and where they differ.
It’s also worth pointing out that the depiction of Mxy’s reaction to rejection in no way read as an endorsement. Supergirl is not trying to say this is an appropriate reaction for men (or anyone) to have when their feelings are not reciprocated. Mxy is 100% in the wrong and Kara makes that clear with how she handles him.
Mxy’s mixture of puckishness, amorality, and arrogant superiority reminds me of one the most interesting antagonists of the Star Trek universe: Q. Like Mr. Mxyzptlk, Q has tremendous power to warp human reality, vast experience in the universe, a high IQ, and a propensity for mischief. They’re both equally capable of practical jokes and destructiveness, and have a playfully antagonistic relationship with their respective heroes. The comparison with Q informs (but does not justify) Mxy’s more problematic character traits, like his willingness to destroy Earth to win Kara. Both Q and Mxy suffer from big egos, near limitless power, and boredom, but they’re less villainous than flippant. It’s the “you walk through the grass without realizing how many insects you step on” phenomenon.
He’s also good fun. The Hamilton scene was A+, especially the longer it went on. These two men really are going to duel with revolutionary era pistols in frilly shirts aren’t they? Yes, yes they are. I loved the ending to the episode as well. So classic Superman in its execution, but with Kara’s own rather chilling twist on outsmarting Mxy instead of out-muscling him. I swear Kara must have had ice in her veins in that scene and not just she destroyed an ice statue of her uncle Jor El. Speaking of Kara outsmarting Mxy, I appreciate how much attention was given to Kara’s agency and intelligence this episode. She’s has a couple of idiot ball moments this season (she really never figured out James was Guardian until 2×10?), so it was nice to see her outwitting a highly intelligent inter-dimensional being all on her own.
I also love Kara standing up for herself with Mon El. She’s done it before (multiple times) when he’s refused to listen to her, or lied to her, or just generally acted like a walnut, but after last week, I was slightly worried that she might be starting to overlook the fact that he hadn’t changed all that much. I’m happy to see Kara setting boundaries around her new relationship in terms of what behavior she will find acceptable from him and what she won’t.
And to be honest, Mon El’s protectiveness is patently absurd at face value. Kara is both stronger than he is and has a wider array of superpowers. Why does he ever feel the need to protect her at all?
Physically, Kara is literally the safest and most well protected person just being herself. Mon El may be acting out or flailing because he doesn’t know how to cope with caring about someone as much as he does Kara, but the “I’m just protecting your honor” bit is already a tired trope for non superheroes. Much less when Kara is literally bulletproof and can shoot lasers from her eyeballs.
There wasn’t nearly as much Sanvers as I expected, but I realized upon further investigation that it was in large part due to overhyping from sources other than the CW. The network never promised a Sanvers-centric episode, but some entertainment outlets did, and that was the narrative that made the rounds on social media sites. Had I not seen those sources, I know I would have felt less initially disappointed. As it is, I’m far less upset now that I know my sources were incorrect, not the show.
What we did get, though, was just lovely. Ever since Maggie Sawyer appeared, she’s had pretty thick walls around certain parts of herself. While she was never glowing about her past, tonight we learned that even some of her positive statements were lies. Her parents were not affirming of her being gay. They kicked her out of the house when she was 14, and she had to live with an aunt for three years (taken largely from Renee Montoya’s backstory, by the way). It’s a gut-wrenching story, and one that’s all too true even in our day and age. Just one more way that Sanvers is one of the realest representations of wlw I’ve ever seen.
And the entire conversation showcased how far Alex has grown and how comfortable they are in their relationship. Alex has grown enough to recognize when Maggie is shutting her down, and is willing to push Maggie to be as honest as she pushed Alex to be. It takes tremendous trust on both sides for this kind of conversation to happen. Maggie being willing to open up instead of further shutting down highlights how much she’s grown in her ability to trust Alex with things she’s probably never talked about with anyone before.
Her instinct after that is to apologize, too, which yet again is a mark of maturity and overall relationship health. Moreover, rather than getting defensive when Kara gently pushes her about Valentine’s Day, Maggie turns thoughtful. She takes Kara’s advice to heart, and does everything she can to make the woman she’s crazy about feel special. When you think about it, there’s tremendous power packed into the terse narrative surrounding Sanvers, and I adored every second of it on my screen.
As Elizabeth and I have said before, one of the best things about Sanvers is its down-to-earth domesticity. Alex making Maggie her favorite breakfast, even though she thinks it’s gross. Her gushing about Maggie to Kara, listing off all of the things Maggie loves as she tries to decide how to make Maggie’s Valentine’s Day special. Alex coming out in lingerie (OMG), as part of Maggie’s special Valentine’s Day. The dancing. They’re happy together and healthy as a couple. They listen to each other, are open, and have a strong communication dynamic that is both supportive and appropriately challenging.
It’s actually jarring to see Maggie and Alex with their open, honest communication juxtaposed with Mon El and Kara yelling. Especially since the latter had more than one loud argument versus Alex and Maggie’s single disagreement that Maggie immediately wanted to apologize for. Additionally, Maggie and Alex steer clear of insulting each other and being accusatory, something Mon El and Kara can’t seem to be able to do. Did Mon El really need to tell Kara she’s full of herself and doesn’t know what she can handle?
There’s also a jarring irony to Kara encouraging Maggie to make changes for Alex when Mon El has not changed some of the things that upset Kara the most about this attitude. He’s apologized, which is a good first step (and one I am frustrated didn’t happen sooner), and I expect actual character growth, not just me being told he’s different. From here on out, I expect to see him listening to Kara and respecting her agency and her ‘no’. I expect less over-protectiveness, less overbearing egotism, and less patronizing arrogance.
It’s funny, because as I write this out, these are precisely the things that James Olsen has been struggling with as well, and yet that relationship fizzled out. Oh wait, the writers did that. I am still bitter about the fact that James was sidelined only to be replaced with a white character with similar personality flaws this season. And now Mon El/Kara have gotten more actual screen development than Kara/James. It’s unintentional I’m sure, but the sidelining of a man of color in favor of a white male love interest squicks me out, big time. Both Elizabeth and I have been saying so since our first review this season. And now that Kara/Mon El is happening, I’m not any less uncomfortable than previously, especially with how weakly Mon El’s character development has been written.
I’m trying to see both sides. On the one hand, Sanvers is beautiful and amazing. On the other, I wish Maggie’s discussion of her forced outing to her parents and her first real crush had been given more narrative space to breathe. At least two of the Kara/Mon El scenes were redundant. And yes, I know Kara is the protagonist. I’m not arguing to make this the Sanvers show instead of the Supergirl show. I’ll be blunt, which will get more narrative oomph for the input: greater exploration of Maggie’s backstory (which audiences have been desperate for), which is a moving, painful, and real story that many young women face. Or, one more scene of Kara and Mon El fighting about how arrogant he is and how he thinks she’s full of herself and needs to accept his protection or advice.
Part of my struggle isn’t so much with Kara and Mon El fighting this episode, though it was discordant given Sanvers’ relationship health. It’s the pattern of this relationship overall. Kara and Mon El don’t just ‘bicker’ or have disagreements that they work out by communicating honestly, like Maggie and Alex do. They dredge up old hurts, re-open old wounds, repeat the same frustrations over and over again. Kara thinks Mon El is overprotective, patronizing, arrogant, and disrespectful of her agency and personhood. Mon El thinks Kara is self-centered, self-important, and doesn’t know what’s good for her. But only one of these perspectives is borne out by the narrative, and it isn’t Mon El’s.
So I’m left with what I think is supposed to be them ‘bickering’ on even footing (“butting heads” because they’re strong personalities), but only one of the characters actually has a valid point about the other’s behavior. And he only now started listening. It’s hard to imagine what Kara finds attractive about a man who repeatedly rejects her agency. It’s clearly something, otherwise she wouldn’t be so ready to make out on her couch, but I’m scratching my head at what it could be.
- Oh tiny bitter Maggie and her “manufactured holiday for patsies” line.
- “Things were a lot easier on Daxam when I objectified women and didn’t care about anyone.”—This better be a cultural marker, because I didn’t find it funny.
- “Once you’ve been adored by the all-powerful Mxy, there’s no going backsy” “Your one true pairing as the kids say.” Mxy had quite a few punny/culturally amusing side jokes. I approve.
- Mxy had champagne, Kara had orange juice, together they’re a mimosa?
- Mon El’s Kryptonite line was kind of weird. 1) He has a “Kryptonite” and it’s lead, and 2) Kryptonite isn’t just a ‘weakness’, it’s an extremely painful, torturous experience for Kara to come in contact with it. I’m pretty sure he didn’t mean “you have the potential to kill me.”
- I caught that Nasty Woman reference. A+
- I dig Lyra/Winn and approve of Winn’s attraction to strong women.
- NGL, Lyra looks like a vampire from Buffy.
- Speaking of Lyra, why is she ‘British’?
- Okay, but like, ALEX WAS WEARING LINGERIE FOR MAGGIE.
- J’ONN SENT M’GANN A SPACE VALENTINE.
- I hope James is doing okay on V-Day all on his lonesome, with no one to check in on him.
- The ongoing saga of Alex’s disgust with Maggie’s eating habits gives me life.
- Shout out to Cat Grant!
- Also a nice shout out to Starhaven.
Overall, this was what I’d like to call a warm blanket episode. Was it emotionally heavy? No, but it was a delightful romp sprinkled with some great character moments. Most of all, Kara got to shine as her strong, powerful, intelligent self. She was seriously channeling the metal as fuck In Ze women (her mom and aunt) in that final scene with Mr. Mxyzptlk. Her feelings about her mother and aunt have been justifiably mixed since Season 1, but’s nice to see that there is some Alura In Ze in Kara deep down. She just needed a mischievous 5th dimensional being to bring it out in her. Just showing up in her supersuit drinking orange juice all casual and then rejecting Mxy before setting of the core’s self-destruct? Hard. Core.
Other characters had great moments as well. I adore how casually J’onn just accepts Mon El in his undies. Either he can read Mon El’s mind (but he can’t read Kara’s) or his bar for Mon El’s behavior is just that low. Also, J’onn writing M’gann intergalactic love notes is everything I ever wanted from my favorite Martians. Space Dad is the best Space Boyfriend #RelationshipGoals.
Speaking of which, Winn with his new girlfriend! I love how eager Winn was to show her off and honestly gave zero fucks about anyone seeing him in a relationship with an alien. Then you have the layers of racial coding onto her experience as an alien. She thought she would just be an exotic ‘experience’, for example. I’m happy for Winn. He deserves it.
Last night’s episode was also the first real moment that Mon El seemed to actually recognize his need to change. And he apologized, more than once. Do I wish it had happened five or six episodes ago? Yes. But I still appreciate it here, even if it does feel misplaced. Now he starts thinking about the consequences of his behavior, and apologizing for being an ass, and actually emoting. But why this late in their relationship? And why only in response to a romantic rival? It would have been nice if he’d figured this out when it was about Kara herself, and not tinged with jealousy over Mxy.
I’m hoping that the show is building up to something with the tiny hints we keep getting from Mon El about what life was like on Daxam. It can’t be a coincidence that both he and M’gann come from societies that did not show affection. He’s mentioned public shaming being common, and slavery was not just normal, but condoned. His objectification of women and entitled attitude stems from his culture. It is entirely possible that the show is leading up to yet another “hero rises from the ashes of trauma and a fucked up culture/home” narrative like we’ve gotten with M’gann and Lena. I won’t judge it until I see it in it’s entirety, of course. But, if this is where his arc is headed, I’m interested in taking a step back once it’s done to see how it hangs together.
And let’s not forget the lovely, genuine wlw romance that is Sanvers happening right before our eyes. There is just so much to it, that even their small scenes sparkle in a way that the main plot can’t outshine. My Sanvers shipping heart is full to overflowing. What a treasure of a love story.
Tune in next week for Danvers Family Conflict, aka Heartbreak. Go ahead and punch me in the face right now, it will probably hurt less.
Images Courtesy of The CW
The Fandomentals 2018 SAG Awards Primer
In the past few months, we’ve seen the opinions of everyone from the Television Academy to the Hollywood Foreign Press to the nation’s biggest critics. But have you ever wondered what actors in Hollywood think of each other? Well the SAG’s, the babiest brother of the major film awards shows, will answer that very question.
The Screen Actors Guild‐American Federation of Television and Radio Artists (you see why we abbreviate) has been putting on their own awards show since the ancient and far-off year of 1995. Despite its youth compared to most other awards shows, the nods it gives (voted on by members of the union) are sometimes the best indicators for success when the Academy Award nominations come up. As such, we at the Fandomentals want to make sure you are kept abreast of the nominations for this year, as well as give our own take on who should, shouldn’t, and will win this year. As with the Golden Globes, the Fandomentals Head Film Critic Jeremiah Sherman will weigh in on the movie end of things, while I will be picking up the slack on the television end. This year will also be the first year that the SAG’s will have a host, the wonderful Kristen Bell.
Outstanding Performance by a Male Actor in a Leading Role
Timothée Chalamet – Call Me by Your Name as Elio Perlman
James Franco – The Disaster Artist as Tommy Wiseau
Daniel Kaluuya – Get Out as Chris Washington
Gary Oldman – Darkest Hour as Winston Churchill
Denzel Washington – Roman J. Israel, Esq. as Roman J. Israel
Who Will Win: Gary Oldman for Darkest Hour. Jeremiah: Oldman all but disappears in his performance of Winston Churchill. It’s not just the makeup it’s the overall fact that when you look at Oldman’s Churchill, you’re hard pressed to find any trace of the Oldman we know. It’s the type of performance actors adore; disappearing into the character.
Dan: He was our preferred pick at the Globes, where he took home the trophy. So far he has swept nearly every award that has this category, and I doubt that this will change for the SAG’s.
Who Should win: Honestly, Oldman should win. Of the actors nominated his performance is actually the best out of all of them. It should be made clear the remarkableness of Oldman’s performance is not just its chameleon-like aspect but in its ability to make us believe it. It’s a stunning piece of craftsmanship that should be rewarded.
Who Got Snubbed: Jeremy Renner for Wind River. I don’t know if I think his Corey Lambert should win, but it is hands down the best performance I’ve ever seen Renner give. The haunted, stoic, and angry character is typical of Renner; but here he fills Lambert with longing, sadness, and confusion. Renner’s Lambert feels like the first real performance he’s ever given. That alone deserves at least a nomination.
Outstanding Performance by a Female in a Lead Role:
Judi Dench – Victoria & Abdul as Queen Victoria
Sally Hawkins – The Shape of Water as Elisa Esposito
Frances McDormand – Three Billboards Outside Ebbing, Missouri as Mildred Hayes
Margot Robbie – I, Tonya as Tonya Harding
Saoirse Ronan – Lady Bird as Christine “Lady Bird” McPherson
Who Will Win:
Frances McDormand for Three Billboards Outside Ebbing, Missouri.
Jeremiah: McDormand gives a gutwrenchingly honest portrayal of a grief-stricken and hell-bent matriarch in a small, fictional Midwestern town. It’s a potent performance and will most likely be lauded by her fellow actors, especially since they adore her. It helps that she’s won a Golden Globe for this role and has been putting in a strong showing on the awards circuit. Rightfully so, as she’s consistently one of the best yet somehow underappreciated actress working today.
Who Should Win: Sally Hawkins for The Shape of Water. One of the more subtly daring performances. With almost no words, outside a lovely musical number, Hawkins conveyed to us a complete and fleshed out character. The relationship between Elisa and the Creature works in large part because of Hawkins’ deft handling of the material.
Who Got Snubbed: I know you’re expecting me to say Kristen Stewart for Personal Shopper and rightfully so. Even though she totally got snubbed, so did Danielle MacDonald for Patti Cake$. Her Patricia Dombrowski was a fierce and optimistic dream chaser. Patti’s obstacles are not end-of-the-world roadblocks, they are, everyday minor setbacks. Through it all, MacDonald gives us a performance that has us clapping our hands and stomping our feet when she takes the stage.
Outstanding Performance by a Male Actor in a Supporting Role
Steve Carell – Battle of the Sexes as Bobby Riggs
Willem Dafoe – The Florida Project as Bobby Hicks
Woody Harrelson – Three Billboards Outside Ebbing, Missouri as Sheriff Bill Willoughby
Richard Jenkins – The Shape of Water as Giles
Sam Rockwell – Three Billboards Outside Ebbing, Missouri as Officer Jason Dixon
Who Will Win: Steve Carell for Battle of the Sexes. It’s not based on anything except Carell’s Bobby Riggs was wonderfully layered. A man beset by his lesser angels while also being, shockingly, one most keen cultural observers, and a seemingly inexhaustible daring self-promoter. Battle of the Sexes was never as good as it should have been but it wasn’t awful, and that’s due in large part to Carell’s Bobby Riggs.
Dan: As much as I loved Carrell, I have a sneaking suspicion that Hollywood’s need to reward shitty white dude characters will help continue Sam Rockwell’s dominance in this category. Even though Woody Harrelson puts in a better performance, Rockwell’s “redemption” arc seems to be resonating with the film world.
Who Should Win: Willem Dafoe’s Bobby from The Florida Project pulled off one of the most infamously difficult aspects of acting: he doesn’t appear to be acting. Of course, he’s acting, but his Bobby is free of any theatrical artifice or mannerisms. Even though there’s no noticeable difference between Bobby or Dafoe, the actor himself is nowhere to be seen.
Who Got Snubbed: Patrick Stewart for Charles Xavier in Logan. Logan was far and away the single best departure from the ho-humness that plagues the superhero genre. Stewart as Professor X gives a blistering and honest performance as a man in the final stages of his life. Unusually for a genre that is normally cavalier in its treatment of death, the tragedy of mental deterioration and death is made uncomfortably real by Stewart’s portrayal.
Outstanding Performance by a Female Actor in a Supporting Role
Mary J. Blige – Mudbound as Florence Jackson
Hong Chau – Downsizing as Ngoc Lan Tran
Holly Hunter – The Big Sick as Beth Gardner
Allison Janney – I, Tonya as LaVona Golden
Laurie Metcalf – Lady Bird as Marion McPherson
Who Will Win: Laurie Metcalf for Ladybird, if for no other reason than because I think the Guild feels a kinship with Metcalf. She’s a working actress getting a second wind in her career. I think the Guild will want to reward her for what is one of the best performances of the year.
Who Should Win: Mary J. Blige for Mudbound. A film that was all but buried by Netflix. It could have died a quiet death if not for Blige’s scathing turn as Florence Jackson. Blige conveys strength and vulnerability even from behind a pair of dark sunglasses. A wife and mother who sees her family fortunes crumble before her only to see them rise from the ashes is a tour de force for any actor. But for a first-time actor? It is astounding.
Who Got Snubbed: Tiffany Haddish in Girls Trip. A comedic force-of-nature, Haddish’s Dina was a vulgar loudmouth who was still more human than caricature. Much has been said about the grapefruit scene, but little is said about the scene after. Dina takes her friends into her room, kneels, and leads them in prayer. An act of simple faith that isn’t part of a larger message. Haddish’s Dina is such an astounding comedic creation because she is a complete creation, with beliefs and ideas, and not just comedic foibles.
Outstanding Performance by a Cast in a Motion Picture
The Big Sick – Adeel Akhtar, Holly Hunter, Zoe Kazan, Anupam Kher, Kumail Nanjiani, Ray Romano and Zenobia Shroff
Get Out – Caleb Landry Jones, Daniel Kaluuya, Catherine Keener, Stephen Root, Lakeith Stanfield, Bradley Whitford and Allison Williams
Lady Bird – Timothée Chalamet, Beanie Feldstein, Lucas Hedges, Tracy Letts, Stephen McKinley Henderson, Laurie Metcalf, Jordan Rodrigues, Saoirse Ronan, Odeya Rush, Marielle Scott and Lois Smith
Mudbound – Jonathan Banks, Mary J. Blige, Jason Clarke, Garrett Hedlund, Jason Mitchell, Rob Morgan and Carey Mulligan
Three Billboards Outside Ebbing, Missouri – Abbie Cornish, Peter Dinklage, Woody Harrelson, John Hawkes, Lucas Hedges, Željko Ivanek, Caleb Landry Jones, Frances McDormand, Clarke Peters, Sam Rockwell and Samara Weaving
Who Will Win: Lord help me I think it may be Three Billboards Outside, Ebbing Missouri. Deeply flawed but incredibly acted, it tries in vain to wrestle with the human complexity and the notion of justice. It’s burdened by the whiteness of its cast, and it’s narrative cowardice when dealing with racial issues. It has four women characters, but only one of them is given anything interesting to do or say. The others are merely decorative assets for their male counterparts. Needless to say, I’m betting SAG will just love all the great performances in this movie and overlook the inherent narrative flaws.
Who Should Win: The Big Sick is a movie I didn’t love, but it is a movie I liked a lot. I will say that it has a fantastic cast and it serves the movie well. Michael Showalter has nothing to say visually, but he is smart enough to stack his cast with heavy hitters. Kumail Nanjiani, Holly Hunter, Ray Romano, Zoe Kazan, Anupam Kher, and Zenobia Shroff make The Big Sick as powerful and poignant as it is. The script by Nanjiani and Emily V. Gordon gives the whole cast grade A meat to sink their teeth into. Heartwarming and touching The Big Sick works as well as it does because of its cast.
Who Got Snubbed: Before you get your pitchforks and torches ready hear me out, Justice League. Justice League is by no means a masterpiece by any definition of the word, nor is it worthy of any actual awards. BUT the cast made that movie work it’s weird, herky-jerky magic. Collectively they made a series of disjointed scenes and overly produced action sequences work because when they were together the movie was actually kind of fun. Whether it was Aquaman sitting on Diana’s lasso of truth or Batman’s look of gushing love when Superman joins in the fight against whatever the bad guy’s name was, they sold the scene. I’m not saying they deserve the award but they sure as hell deserve a nomination more than Three Billboards Outside, Ebbing Missouri.
Outstanding Performance by a Stunt Ensemble in a Motion Picture
Baby Driver, ST-C Robert Nagle
Dunkirk, ST-C Tom Struthers
Logan, ST-C’s Nuo Sun, Gary Hymes, Garret Warren
War for the Planet of the Apes ST-C’s Isaac Hamon, Terry Notary, John Stoneham Jr., Danny Virtue
Wonder Woman ST-C’a Tim Rigby, Marcus Shakesheff, Lee Sheward
Who Will Win: Wonder Woman. While the other films in this category did a great job with their stunts, Wonder Woman not only had a fantastic stunt cast, they also let the stunt actors BE characters. A good chunk of the best stunts in the film were by the Amazons, who were played by an extremely talented and athletic group of women. Rather than let the stunt women stay in the background, Patty Jenkins let them feature in front of the camera and for that, I think the Guild will reward.
Who Should Win: Wonder Woman, again. The beach scene alone is amazing, but it also had some fantastic work during the war scenes as well.
Who Got Snubbed: Star Wars: The Last Jedi. It’s sort of the norm for the SAG’s to snub December release films, but this snub in this category is more surprising. It’s hard to beat Star Wars when it comes to stunts, and Praetorian Guard fight on Snoke’s Ship was as standout a feat of action as any other in 2017.
Outstanding Performance by a Male Actor in a Miniseries or Television Movie
Benedict Cumberbatch – Sherlock: The Lying Detective as Sherlock Holmes
Jeff Daniels – Godless as Frank Griffin
Robert De Niro – The Wizard of Lies as Bernard Madoff
Geoffrey Rush – Genius as Albert Einstein
Alexander Skarsgård – Big Little Lies as Perry Wright
Who Will Win: Alexander Skarsgård. Already a success at multiple shows, and considering the tongue bath that the awards shows have been giving Big Little Lies, this seems like a gimme.
Who Should Win: Sadly, this category isn’t nearly as competitive as most of the others. The closest to Skarsgård in critical acclaim is maybe De Niro, but that’s probably just the built-in bias people have for the man.
Who Got Snubbed: Charlie Cox in The Defenders. A snub that can largely be chalked up to genre bias, Cox had perhaps the strongest storyline in a show stuffed to the brim with them. While Cox wouldn’t win, he’s at least as worthy as Blueberry Pumpkinpatch
Outstanding Performance by a Female Actor in a Miniseries or Television Movie
Laura Dern – Big Little Lies as Renata Klein
Nicole Kidman – Big Little Lies as Celeste Wright
Jessica Lange – Feud: Bette and Joan as Joan Crawford
Susan Sarandon – Feud: Bette and Joan as Bette Davis
Reese Witherspoon – Big Little Lies as Madeline MacKenzie
Who Will Win: The real question is which actress in Big Little Lies will win. Considering there’s no supporting vs. main actress delineation, it could be any of the three. The best bet is Nicole Kidman, who can be counted on to give a flowery speech about female empowerment as she accepts her award.
Who Should Win: Susan Sarandon. While she’s gotten very little love, thanks largely to the sheer dominance of Big Little Lies, I still think Sarandon did a great job in making sure her Bette Davis transcends a simple impression.
Outstanding Performance by a Male Actor in a Drama Series
Jason Bateman – Ozark as Martin “Marty” Byrde
Sterling K. Brown – This Is Us as Randall Pearson
Peter Dinklage – Game of Thrones as Tyrion Lannister
David Harbour – Stranger Things as Jim Hopper
Bob Odenkirk – Better Call Saul as Jimmy McGill/Saul Goodman
Who Will Win: Sterling K. Brown has been killing it at the awards this year, and his performance justifies that success. And in a category largely filled by more ensemble shows, he seems an easy choice for the Guild’s committees.
Who Should Win: David Harbour. It can be hard to stand out in an ensemble cast, especially when that cast is in a genre show. But Harbour has gotten a good deal of well-earned love for his performance. Transitioning from burned out sheriff to surrogate father finding his feet, Harbour helped Hopper maintain his position as the stable rock amidst the chaos around Hawkins.
Outstanding Performance by a Female Actor in a Drama Series
Millie Bobby Brown – Stranger Things as Eleven
Claire Foy – The Crown as Elizabeth II
Laura Linney – Ozark as Wendy Byrde
Elisabeth Moss – The Handmaid’s Tale as June Osborne/Offred
Robin Wright – House of Cards as Claire Underwood
Who Will Win: Elizabeth Moss. Another obvious choice, but this is a great place for the Guild to reward The Handmaid’s Tale for its work and topical importance.
Who Should Win: Claire Foy. She’s been great in both seasons of The Crown, and with the show moving past her it’s now or never to reward her acting.
Outstanding Performance by a Male Actor in a Comedy Series
Anthony Anderson – Black-ish as Andre “Dre” Johnson
Aziz Ansari – Master of None as Dev Shah
Larry David – Curb Your Enthusiasm as Himself
Sean Hayes – Will & Grace as Jack McFarland
William H. Macy – Shameless as Frank Gallagher
Marc Maron – GLOW as Sam Sylvia
Who Will Win: Aziz Ansari. Despite his recent controversies, Aziz has gotten nothing but love for his turn in season 2 of Master of None.
Who Should Win: Anthony Anderson. Not only is he fantastic in his comedic moments, but he also does a good job during Black-ish’s frequent serious discussions of race in America.
Outstanding Performance by a Female Actor in a Comedy Series
Uzo Aduba – Orange Is the New Black as Suzanne “Crazy Eyes” Warren
Alison Brie – GLOW as Ruth “Zoya the Destroya” Wilder
Jane Fonda – Grace and Frankie as Grace Hanson
Julia Louis-Dreyfus – Veep as Selina Meyer
Lily Tomlin – Grace and Frankie as Frankie Bergstein
Who Will Win: Julia Louis-Dreyfus. Thanks to the scary parallels between Veep and some modern-day politics, the character of Selina Meyer has gotten even more accolades than she did in earlier seasons.
Who Should Win: For this category, the inevitable choice is probably the correct one.
Outstanding Performance by an Ensemble in a Drama Series
The Crown – Claire Foy, Victoria Hamilton, Vanessa Kirby, Anton Lesser and Matt Smith
Game of Thrones – Alfie Allen, Jacob Anderson, Pilou Asbæk, Hafþór Júlíus Björnsson, John Bradley West, Jim Broadbent, Gwendoline Christie, Emilia Clarke, Nikolaj Coster-Waldau, Liam Cunningham, Peter Dinklage, Richard Dormer, Nathalie Emmanuel, James Faulkner, Jerome Flynn, Aidan Gillen, Iain Glen, Kit Harington, Lena Headey, Isaac Hempstead Wright, Conleth Hill, Kristofer Hivju, Tom Hopper, Anton Lesser, Rory McCann, Staz Nair, Richard Rycroft, Sophie Turner, Rupert Vansittart and Maisie Williams
The Handmaid’s Tale – Madeline Brewer, Amanda Brugel, Ann Dowd, O. T. Fagbenle, Joseph Fiennes, Tattiawna Jones, Max Minghella, Elisabeth Moss, Yvonne Strahovski and Samira Wiley
Stranger Things – Sean Astin, Millie Bobby Brown, Cara Buono, Joe Chrest, Catherine Curtin, Natalia Dyer, David Harbour, Charlie Heaton, Joe Keery, Gaten Matarazzo, Caleb McLaughlin, Dacre Montgomery, Paul Reiser, Winona Ryder, Noah Schnapp, Sadie Sink and Finn Wolfhard
This Is Us – Eris Baker, Alexandra Breckenridge, Sterling K. Brown, Lonnie Chavis, Justin Hartley, Faithe Herman, Ron Cephas Jones, Chrissy Metz, Mandy Moore, Chris Sullivan, Milo Ventimiglia, Susan Kelechi Watson and Hannah Zeile
Who Will Win: This is the closest thing the SAG’s have to a “Best Series” award, and it’s a tough race. Game of Thrones is always a contender, as are relative newcomers The Crown and This Is Us. But the most likely winner is The Handmaid’s Tale. Picking up the win at the Emmy’s and the Globes is always a good sign, and it’s doubtful that the chord that the series struck with audiences didn’t also reach the acting community.
Who Should Win: Stranger Things. Out of all of the series nominated, Stranger Things is the series that best represents a truly great ensemble. With this past season featuring great work from the adults (Sean Astin, Winona Ryder, and David Harbour) and the kids (Millie Bobby Brown, Finn Wolfhard, et al.), the series deserves a win. Sadly, it’s probably bogged down by the fact that it IS largely a child cast and good old genre snobbery.
Outstanding Performance by an Ensemble in a Comedy Series
Black-ish – Anthony Anderson, Miles Brown, Deon Cole, Laurence Fishburne, Jenifer Lewis, Peter Mackenzie, Marsai Martin, Jeff Meacham, Tracee Ellis Ross, Marcus Scribner and Yara Shahidi
Curb Your Enthusiasm – Ted Danson, Larry David, Susie Essman, Jeff Garlin, Cheryl Hines and J. B. Smoove
GLOW – Britt Baron, Alison Brie, Kimmy Gatewood, Betty Gilpin, Rebekka Johnson, Chris Lowell, Sunita Mani, Marc Maron, Kate Nash, Sydelle Noel, Marianna Palka, Gayle Rankin, Bashir Salahuddin, Rich Sommer, Kia Stevens, Jackie Tohn, Ellen Wong and Britney Young
Orange Is the New Black – Uzo Aduba, Emily Althaus, Danielle Brooks, Rosal Colon, Jackie Cruz, Francesca Curran, Daniella De Jesus, Lea DeLaria, Nick Dillenburg, Asia Kate Dillon, Beth Dover, Kimiko Glenn, Annie Golden, Laura Gómez, Diane Guerrero, Evan Arthur Hall, Michael J. Harney, Brad William Henke, Mike Houston, Vicky Jeudy, Kelly Karbacz, Julie Lake, Selenis Leyva, Natasha Lyonne, Taryn Manning, Adrienne C. Moore, Miriam Morales, Kate Mulgrew, Emma Myles, John Palladino, Matt Peters, Jessica Pimentel, Dascha Polanco, Laura Prepon, Jolene Purdy, Elizabeth Rodriguez, Nick Sandow, Abigail Savage, Taylor Schilling, Constance Shulman, Dale Soules, Yael Stone, Emily Tarver, Michael Torpey and Lin Tucci
Veep – Dan Bakkedahl, Anna Chlumsky, Gary Cole, Margaret Colin, Kevin Dunn, Clea Duvall, Nelson Franklin, Tony Hale, Julia Louis-Dreyfus, Sam Richardson, Paul Scheer, Reid Scott, Timothy Simons, Sarah Sutherland and Matt Walsh
Who Will Win: Veep. Most of my reasoning is mentioned in my justification for Julia-Louise Dreyfus’s win prediction, but there’s no doubt her work wouldn’t be nearly as good without the team surrounding her.
Who Should Win: GLOW. A great show that seemed to fly under some people’s radar, it took a much different approach to the 2017’s theme of female empowerment. Mixing funny and emotional as deftly as any Jenji Kohan program, the show had its ensemble pulling double duty as actors and as wrestlers. Sadly, if there’s one thing with less respect than genre, it’s professional wrestling.
Outstanding Performance by a Stunt Ensemble in a Television Series
Game of Thrones ST-C Rowley Irlam
GLOW ST-CS Shauna Duggins
Homeland ST-C’s Brian Smyj, Mark Fichera
Stranger Things ST-C Lonnie R. Smith Jr.
The Walking Dead ST-C Monty L. Simons
Who Will Win: Game of Thrones cleans up in technical categories, and have won this six years running. With each season getting bigger and sillier, so have the stunts gotten more impressive to match.
Who Should Win: GLOW. While losing best ensemble would be expected, losing Best Stunt Ensemble will be a bigger disappointment. Unlike other shows, GLOW is almost centered around stunts. It did a great job in having the wrestling look as real as real wrestling, while also capturing some of the painful qualities of it. As well, the cast was trained in professional wrestling, and pro wrestlers like Carlito put in some good work throughout the series.
The 24th Annual Screen Actor’s Guild Awards will be hosted by Kristen Bell, and presented on January 21, 2018, on both TNT and TBS, 8:00 p.m. EST / 5:00 p.m. PST
You Have Acquired: The First Key
Content Warning: this review discusses spoilers and themes of suicide as depicted on the show.
First Key of the Seven Keys? Check! Magic? Still a nope.
The pages might be blank, but Quentin seems to have the Tale of the Seven Keys down pat. He starts going on about this daughter of a knight who gets kidnapped by a witch. The only way to set him free? Find the seven keys, which unlock the castle at the end of the world. The first location the daughter travelled to on this quest? A little place called After Island. As in After Fillory, or somewhere at the ass-end of the Fillorian Ocean. But for Quentin and gang to join Eliot and gang, they’d have to hop on over to Fillory. Might be a tough fix, seeing as magic is still caput. But Mayakovsky had some magic batteries, once upon a time. So maybe if they find them, they can get a jump start. With a little Googling, they find he was last seen at a Hedge Witch bar getting turned into a bear? Yeah, sure.
Eliot’s got his court hard at work scrambling up a ship to sail out to After Island, but the Fairy Queen isn’t too fond of the idea of magic being back. That would make them equals again, no? Eilot gets a tour of his new ship, the Muntjac, which in true Fillory fashion is semi-sentient. In the interest of keeping things under tight control, the Fairy Queen commands Eliot to bring Fen and one of her courtiers along: none other than Frey, Eliot and Fen’s now full-grown child. Time sure does fly when you’ve been kidnapped from birth and forced to grow up in a different dimension.
Meanwhile, Alice is on Lamprey Watch. The vampire from last episode suggested getting a kitten. Apparently they have a sixth sense for the thing. It better work, because the Lamprey’s already gotten hold of a human skinbag to play host for it.
Q and Julia need Kady to get into the Hedge bar, and warily, Kady plays along. A chat with the barkeep reveals that Mayakovsky was with his Brakebills sweetheart, Emily Greenstreet, when the whole bear thing happened. Q pays her a visit, but seeing as she’s been drunk for a week, Emily isn’t exactly forthcoming. All she can confirm is that Mayakovsky was talking with a woman, “someone he owed,” right before he hulked out.
Eliot sets sail for After Island with a tearful goodbye to Margot, who’s staying behind to make sure Fillory doesn’t fall to pieces. Shortly after landing on After Island, Eliot locates the first key. Someone slap a Staples button. But wait, a catch. It’s hanging around the neck of the island’s priest. Said priest and key are the only thing that has been keeping at bay a vicious shadow bat that’s been preying on the villagers. Psych. Turns out it’s just Illusion magic and the priest’s a huge bag of dicks. Once Eliot pieces it together, with some help from maybe-daughter Fen, he turns the dickwad over to the justice of the people. Way to go King Eliot.
Turns out the big magic didn’t stop with Mayakovsky’s shapeshifting bar trick. Weird spells have been popping up all over New York City—a dinosaur at a children’s hospital, sex magic in Central Park—and wherever the whacky crops up, the same woman is always close by. The gang splits up to check it out. At Central Park, Q bumps into Alice and her new cat. Turns out she heard about the magic spikes too, and is searching for the same person. They catch word of the lady in question. Apparently, before she lit out of the park, she talked about finding the nearest tall building to fling herself off of. Yikes. Quentin and gang hightail it to the place in question to find Professor Lipton clinging to the roof. Q tries to talk her down. Turns out she swiped the battery from Mayakovsky. Q pulls her back to safety, but not before she drops the battery.
But hey, turns out there was another battery after all. And Emily had it. Before the gang can get to her, Kady swoops in and steals it for herself. Distrustful of the gang’s motivations, she’s ready to cure Penny first, save magic later. At the hospital the gang checks Lipton into, the Lamprey makes a sudden appearance. Except, the Lamprey is actually invisible, so how do we know this? Because Alice’s cat gets hissy and subsequently explodes of course. Poor cat. You shall be missed. Alice makes a break for it, but that won’t last long. Now it’s Quentin’s turn to get possessed. Hey, it wouldn’t be a season if Q didn’t get possessed at least once, right?
We’re back in step this episode of The Magicians, but honestly, I’m a little conflicted. The show writing has grown into the habit of leaning into cliches, and justifying this by calling them out forthright. As humorous as it is, it does come across as a little lazy. Eliot and Fen’s changeling kid suddenly coming back a full-grown adult? Mayakovsky’s batteries? Being self-aware doesn’t necessarily negate the sin of being overly convenient.
As ever, I have never been married to the source material. But the show has strayed so far from the books’ beaten path that this attempt at getting back to it feels like we’re fighting through thickets with a weedwacker. The problem-solving is quick, it’s messy, and it calls attention to itself.
Still, I’m looking forward to getting to the part where we get the gang back together. I just hope that the majority of the quest takes place on the Muntjac. Quentin’s comment at the very opening of the episode, regarding the fact that the first key is “in Fillory” could possibly hint that the other keys could not be. To be frank, Brakebills and Fillory as locations are what make The Magicians unique. Considering Brakebills is bust with magic, it would seem in due process to focus a little more on Fillory this season.
Like Q and the gang, I’m kind of missing the magic. Half the charm of The Magicians has always been the theme of childlike magic. A return to nostalgia. The power of both the books and the first season lies in the material’s abilities to let us live vicariously through its characters’ sense of wonder. We, the geeks of many fandoms alike, have always dreamt of turning a corner and finding that magic was real. That there’s a place out there were fiction comes to life. This far in, the magic all feels a little jaded.
I’m ready to feel the wonder again. And what better way than by taking us far, far away from the convoluted events of the past season?
Let’s go on an adventure.
Images courtesy of SyFy
The Flash’s Innocence Is On Trial
To quote Abed Nadir, “And we’re back!”. After that mixed cliffhanger, it’s finally the time to see what happened to Barry Allen in The Flash.
We pick back up with Barry being processed and pleading innocence to the captain of the CCPD. He gets out on bail and explains the issue to Team Flash. Iris makes a Chekhovian remark as she reminds everyone, audience included, that when Barry returned from the speedforce, he was talking about being innocent of a murder and this will most likely play a role later on. Barry states that, if convicted, he will not use his powers to escape and become a fugitive. Meanwhile, Joe recruits Ralph’s P.I. expertise and Clifford, in Dominic’s body, tries to convince Marlise that they are still on a journey together even with the recent “changes”.
The trial begins and the prosecutor starts making his case against Barry, painting him in a bad light and arguing that Barry murdered DeVoe in cold blood. Somewhere else, at a local bank, the B plot begins with a man whose face turns greenish and, seemingly unbeknownst to him, knocks people out as he exits the bank. At the courthouse, the prosecutors present the forensic evidence against Barry, such as the wedding knife/murder weapon and DNA under DeVoe’s nails. Joe and Cisco are called to the bank to investigate and Cisco gets a trace of dark matter from the metahuman.
During Captain Singh’s deposition, Cecille’s question is about why Singh hired Barry in the first place, to which he replies that Barry was eager to help the victims of crimes. The prosecutor then asks Singh about the numerous times Barry was late and about his “sabbatical,” implying that the captain could have covered for Barry’s second life as a criminal mastermind. This apparently leaves everyone considering this as a possibility.
Staking out the DeVoe’s residence, Ralph takes pictures of Marlise kissing DeVoe/Dominic. During a recess, Cecille tells the West-Allens that Barry could either make a deal or claim insanity, which Barry won’t accept because they aren’t true. Plus, Barry won’t testify and defend himself either because he doesn’t want to perjure himself. He doesn’t want to tell the people he is The Flash either, despite this being his best option.
Caitlin comes back to STAR Labs with the news that it was radiation poisoning that caused all the people at the bank to collapse, but since things tend to escalate around Central City, the radiation levels could lead to an atomic-bomb-esque explosion, wiping out the entire city.
Marlise is called to testify and gives a show in melodrama with tears galore, moving the jury members. Ralph arrives with the recently taken pictures, but upon presented with the evidence, Marlise conjures up a story about how she was in a lowkey relationship with Dominic and that Clifford knew and approved of it because he couldn’t provide certain physical pleasures. Even after that, Barry won’t out himself.
Iris decides to talk to Marlise and it doesn’t lead to anything but Mrs. DeVoe baiting Iris into telling the court that Barry is the Flash. As Iris tries to make her move, Barry speeds up to her and creates a sort of a bubble in time in which both of them can talk normally while everything else is stopped. Barry tells her not to do it because it would put everyone that has stood by them in the previous years at risk. In the end, Iris decides not to out The Flash, practically sealing his conviction.
Joe asks Ralph to use his powers to break into the DeVoe’s house, but he refuses when he realizes Joe is planning on planting some fibers from the West-Allen apartment there in order to frame Marlise for the murder — I guess this could be considered a re-framejob? I mean, we know that it was either Marlise or DeVoe who stabbed the corpse. Actually, what Ralph did was less of a “refusal” and more of a “speech on ethics and morality” that managed to convince Joe not to do as he planned.
The metahuman Fallout continues to obliviously make people collapse, but after a while, Barry finally catches on to it. The defense rests her case and proceeds to the closing arguments, but those get interrupted as Barry leaves the courtroom to tend to the metahuman near the point of blowing the city. Cisco and Wells trigger Killer Frost to appear so she can try cooling down Fallout, but she ends up receiving a power blast and passes out. The Flash creates a vacuum around the meta right in time so Cisco can breach the radiation to Earth-15, a place Wells claims to be deserted and abandoned. The plan works, but Barry gets burned, which doesn’t really mean anything since he has healing abilities.
The jury declares its verdict, finding the defendant guilty of murder in the first degree. As Barry goes back to the courthouse, he has a moment alone with Dominic DeVoe who continues on with his smug-ass super calculated plan that he won’t reveal. We have no idea what the fuck is going on which, frankly my dear, it’s far more frustrating that compelling.
Barry declares his innocence once again, but the sentencing is at hand. In a nicely done montage, the creative team juxtaposes the judges calling Barry “inhumane, unmoved, and with such a lack of regard for human life” with Captain Singh awarding the Flash with a medal of valor. The judge, in the end, sentences Barry to life in prison without the chance of parole.
Capping the episode, we see Barry arriving at his prison cell that, due to a phrase written on the wall, we know is the same cell that held Henry Allen at Iron Heights.
Images Courtesy of the CW
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Batwoman Isn’t Built For One-Shots Or Fill-Ins
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