The 100 Review Season 4, Episode 6 “We Will Rise”
*sigh* I was hopeful after last week. The pacing and tension had ratcheted up due to the destruction of Arkadia. Jaha and Jasper had disappeared into the background. Much to my delight given that I want to scream at them to shut up whenever they start talking.
Absurd as it was, a game of idiot ball and telepathy annoyed me more than they angered me. This week, The 100 dropped the idiot ball but picked up the implication grenades. And boy do they have an arsenal.
Content Warning: This review discusses physical beating and previous major character death, as depicted on the show.
This episode makes up for the dearth of Jaha and Jasper last week by opening up with a scene where both survey the wreckage of Arkadia. Jasper thinks Jaha needs to cheer up and embrace his nihilistic ways instead of being hopeful for humanity’s survival. Jasper quotes Dr. Seuss (yes, that Dr. Seuss) to prove his point. Ilian is in hiding (good choice, dude), but a mob of angry Skaikru rush in to beat him to death. Kane saves Ilian with his righteous rage. And a gun (oh, Kane, never change).
In Becca’s Lab, Raven runs simulations for getting the rocket to space while Murphy weighs in with snark since she keeps failing the mission. She has another headache, but refuses Murphy’s offer to get Abby. Apparently more of Arkadia survived the ginormous explosion than expected, because Clarke has a room with her drawings of Lexa on the wall that she can stare at (awww). Behind her Niylah lays in her (their?) bed. She tells Clarke she needs to rest, but also that Lexa would be proud of her. Clarke asks Niylah to stay in Arkadia to ensure she gets the nightblood cure; Niylah agrees. They kiss, followed by:
Clarke: (ʘ‿ʘ)ノ✿ “I need to save the world; hold my flower.”
Niylah: ✿＼(｡-_-｡) “Kick ass, baby, I got yo flower.”
Clarke & Co plan to transport the remaining hydrazine to the island to fuel Raven’s rocket. Kane wants to go, but Clarke tells him he needs to stay and lead Arkadia. Octavia wakes up in the medical ward, and she’s back to being mad at Bellamy about Lincoln. In the yard, Monty expounds upon how volatile hydrazine is to reinforce the danger of their mission. (But it still doesn’t explain how the hydrazine survived Arkadia blowing up…)
Back at Becca’s lab, Raven takes her frustration with the failed simulations out on Murphy with her fists. Luna steps in and calms Raven with deep breathing and a soothing mantra. Sick of Raven’s temper, Murphy dubs Luna the new “Raven-sitter”.
On the Hydrazine Trail, Clarke reaches out to Bellamy about Octavia needing more time to forgive him. He doesn’t feel like talking. They come upon a group of Trikru refugees, and Clarke stops to help. Because she’s Clarke and that’s why I love her. Unfortunately, a wandering Trikru child spots Azgeda in the back of the truck, so Clarke, Bellamy, & Co have to make a getaway, only to be stymied by a river that Murphy failed to tell them about (uh, sure, because that makes sense). Bellamy and Roan take the rover to find a ford while Clarke stays behind to guard the cargo with Roan’s personal guard.
Back at Becca’s lab, Luna interrupts Murphy…practicing dirty Grounder pick up lines? She gets philosophical with Murphy about his self hatred, opening up about being a natblida and killing her own brother. She believes he can find peace like she did. He’s as dismissive as we expect from Murphy. In Arkadia, Niylah helps Octavia with physical therapy, then goes to find Ilian’s guards, leaving Octavia to threaten Ilian.
On the Hydrazine Trail, Roan and Bellamy can’t get in touch with Clarke. They head back to find a dead Azgeda guard and the truck missing. Thankfully, Roan has Plot Advancing Telepathy powers this episode so he knows that Trikru stole it to get to Polis.
Back in Arkadia, Niylah gets Monty’s help to protect Ilian while Jasper drinks and some Arkadian rando talks about Ilian committing ‘hate crimes’ against the Arkadians. Jaha joins Jasper in drinking. Monty urges him to intervene, since the people listen to him (WHY? HE’S A WAR CRIMINAL), and throws shade about how Wells would be disappointed in him. He then goes to get Kane. Good job, Monty.
Back to the lab again, where Raven can’t figure out how to land the rocket in the simulation. Luna and Murphy inspire her to control crash into the water.
Roan and Bellamy get ambushed by Trikru on the Hydrazine Trail, because Bellamy refuses to listen to Roan. Roan realized his previous Plot Advancing Telepathy was wrong, and has a new vision that tells him his men took the truck. Kane and Monty lock down the medical bay in Arkadia to protect Ilian. Embracing her darkness, Octavia lets the mob in and they drag Ilian away.
Roan and Bellamy happen upon the truck carrying the hydrazine in a conveniently placed large meadow. Turns out his men betrayed him to take the hydrazine for themselves and took Clarke hostage. Roan and one of his men have a battle on top of highly volatile rocket fuel barrels without blowing them up. Somehow… ¯\_(ツ)_/¯. Clarke just manages to stop the truck from running into the rover. Whew.
Octavia leads the mob out into the yard at Arkadia to kill Ilian. An alarm sounds for black rain, and Kane talks her down by graphically describing Lincoln’s death and comparing Octavia to Pike, while we have to rewatch Lincoln’s death in the background (fuck you). Octavia leaves in tears; Jaha cuts Ilian loose and tells him to run, leading to the weirdest non-sequitur ever as Jaha says the name of the episode (“From the ashes we will rise”).
Back on the Hydrazine Trail, Clarke builds up Roan’s self esteem as king of Azgeda, then encourages Bellamy about his sister. Do either of them ask Clarke how she’s doing leading everyone through all of this or how she might be feeling? Nope. Of course not. Because Clarke exists to make the menz feel better about their lives and take shit from them if they’re feeling upset. Anyway, they reach the ocean only for Roan to discover that one of the barrels of highly volatile rocket fuel was hit with a Trikru arrow and leaked out all over the road (and presumably the truck) but without blowing up.
Back in Becca’s lab, Raven finally succeeds in the simulation (even though it tells her she failed with only 15% damage…okay), but only by using every drop of rocket fuel. Her high is soon dampened when Murphy arrives with the news that Clarke and Co. lost a barrel on the way. Raven has a seizure.
Let’s get the easy things out of the way. Arkadia is a mess and not just because it blew up last episode. Actually, it’s the fact that we watched it blow up that’s the problem. Arkadia was a literal inferno last week. Fire pouring out of the main doors, smoke everywhere. We watched part of the ring crash into the main building, ffs. Opening the episode with Ilian in Arkadia, then Clarke in her bedroom was jarring, to say the least. There’s so little interruption (and zero explanation at first), that it’s almost as if the raging inferno that lasted two on-screen minutes last week never happened.
Scratch that. Monty does explain that water, heat, and lights are either out or limited. But basically the giant explosion Octavia said would ‘blow up Arkadia’ actually only caused minor damage. Just enough damage, in fact, for it not to be a viable shelter from the apocalypse. But not enough to actually inconvenience the living situation or set design. Go figure.
It’s still less absurd than hydrazine’s property of Plot Convenient Volatility. This substance is so volatile you can’t jostle without it blowing up in your face (as Raven has reminded us almost every week since 4×02). Yet somehow, 10 barrels of the stuff survived the massive Arkadian explosion.
Monty’s monologue about the dangers of Clarke and Bellamy’s mission to get the fuel to Raven may heighten the tension of the episode, but sound absurd when viewed with the Arkadian explosion in the background. That inferno last week really must have been mostly light and smoke, because the show would like us to believe that a fuel so explosive that a minor bump in a moving truck would cause it to go boom survived an explosion big enough to take out a significant chunk of Arkadia (though it didn’t actually…). Wouldn’t such an explosion shake the ground significantly more than a pot hole?
That’s not to mention how inconsistently the hydrazine was treated during the transportation process. Again, Monty tells Clarke that hitting too large of a rock could cause the barrels to explode. Yet Roan and a guard have a knife fight on top of them with zero problems. At the end of the episode, Roan finds an arrow sticking out of one of the barrels. How did it not explode when the arrow hit it?
How the hydrazine leaked at all is a quandary all its own. The arrow shaft is still sticking out of the barrel, meaning it’s jammed in there pretty tight. The hydrazine ought not to be able to leak out at all, much less at a fast enough rate to empty the entire barrel. And that’s assuming it can leak upward because that arrow was several inches above the bottom of the barrel. It should not have been entirely empty. Much less empty enough for Roan to chuck it around without it going boom. And if this leaked all over the truck and ground, why did it not explode at some point?
Hydrazine must be magical, because it’s ability to be both volatile and stable when necessary for the plot is astounding.
Frustratingly, were it not for how inconsistently the Magical McGuffin were treated, this wouldn’t be a bad plot. The pacing is really good. In fact, the pacing of the last three episodes has been right up there with some of the best episodes in S2-3. Yes, it relied a bit too much upon plot convenience and Roan’s ever-changing telepathy, but at least it wasn’t idiot ball. Bellamy was a bit of a num-nuts, but not in a way that was inconsistent with his character. He’s not always the sharpest knife in the drawer where Grounders are concerned (to put it mildly).
Anyway, I will say that I appreciate the woman loving woman vibes this episode. They haven’t completely deleted Lexa from the show, which was a concern of mine entering this season. It doesn’t make up for or erase the terrible choices made last year, but it is a good deal better than the writers pretending that Clexa never happened, as they kind of did with 3B. We actually get to see Clarke grieving her lover while still trying to save the day! Good job. Extra points for Clarke saving the picture she drew and pinning it on the wall.
Niylarke was a delightful surprise. Too much so, in my opinion. I’m going to say something that some people may not like, which is that I don’t think the show set up the renewal of this relationship at all. Last week, we had a single scene of awkward tension. Clarke seemed to want to speak to Niylah, but couldn’t bring herself to. This week, they’ve clearly just had sex. Where is the build up? Are we supposed to assume they’ve been fucking this whole time? So why was Clarke so hesitant last episode, like she had a nervous crush and not a girlfriend? And if they just renewed their relationship, why did we not get to see the build? Did the writers not think it was important to give us a scene of them deciding to renew their relationship?
That being said, I do appreciate Niylah being supportive and honoring Clarke’s love for Lexa. She’s not needy, nor does she have any illusions about where Clarke is right now. Niylah recognizes Clarke’s grief and has no expectations of her. It’s great to see Clarke’s love for Lexa being honored even as the show makes space for Clarke to find comfort (and maybe something more, eventually) with someone else she already had an established relationship with.
I can’t help but feel a level of pandering, so I’m reserving judgment. But still, it was handled well for what we got even if it came way out of the blue based on their interactions last episode. At least it’s a supportive, known, seemingly healthy relationship for where Clarke is now. Also, Niylah is one of the few characters who doesn’t consistently yell at Clarke.
Nevertheless, the lack of buildup for Niylarke reinforces my impression from last week about how all over the place the writing is this season. What seems to make sense on the surface gives way with the slightest pressure. Characters assert things, events happen, but in hindsight, you can’t quite decipher how the show got from point A to point B other than it happened off screen. Or, in the case of character motivations and behavior, we have to assume explanations not in evidence.
Worse, the plot of most of the first five episodes is basically moot at this point. I’m scratching my head trying to figure out what 2×01-2×05 added to the plot other than spacing out the season (filler), and propping up Bellamy. The past 4 episodes could have been condensed to 10 minutes of screen time to establish the nightblood cure and nothing would have changed at all. Ilian’s plot serves only to destroy Arkadia as a viable shelter and push Octavia over the edge. Neither of which would have been necessary at the start of this season given where S3 ended. Cut Ilian’s entire plot and skip straight from S3 to this episode and you lose nothing.
Bellamy’s field trips and the rotating game of ‘let’s blame Clarke’ were likewise useless other than to continue the gendered implications inherent in how the show treats male and female leaders. The only plot worth telling thus far is the nightblood one, and it could have been done in less than half of an episode. Even Octavia’s ‘assassin arc’ amounted to little more than gratuitous fanservice. And an absurd display of plot armor. Other than some ‘cool’ murders and the nightblood cure arc, what would this season have missed if it had started with this episode? Very little, I think.
In fact, Octavia’s characterization suffers because of the Polis and Arkadia arcs this season. At the end of S3, she killed Pike out of revenge and was all set to rampage on out of Polis. It’s what I expected given the tease of her ‘dark arc’ this past summer. Only when this season opened, we instead get a cool, collected, and detached Octavia acting as Roan’s fixer. All her rage, her bitterness, her barely contained control over her violent impulses against Bellamy for participating in Lincoln’s death? Gone. She literally never even says Lincoln’s name. Instead, she kills random dudes to help Roan stay on the throne, as cool as a cucumber.
She’s dark yes, but chillingly so. She was detached, rational, and deadly efficient rather than the borderline berserker we saw in the S3 finale. She could have noped right on out of Polis in her grief and rage, but she chooses to stay and keep Roan in charge? Other than the plot, Octavia has little reason to stay in Polis in the premiere.
Hell, she even talked and worked with Bellamy in Polis without all the cold shoulder and barely concealed bitterness. Whence, then, this sudden renewal of her anger about Lincoln? Don’t get me wrong, I think it actually makes more sense than her cold, assassin arc. But why now? Where was this for 5 episodes? Her cold shoulder to Bellamy in the medical bay is what I expected in the premiere, not 5 episodes later after she’s demonstrated a much more level-headed and non-grief focused arc.
The most I can say is that losing Arkadia as a chance to survive after almost dying to save people made her snap. But I have to read between the lines to see that. And it doesn’t fully explain her sudden return to being fixated on her grief over Lincoln, at least not fully. Especially after her lover’s death was all but buried beneath her “Badass Skairipa Assassin arc”.
If the show had kept an element of grief as an undertone to her assassin arc, I would be more able to accept her behavior now as still connected to the near bloodlust from last season. But the assassin arc really doesn’t fit tonally given that Lincoln hasn’t been a focus of her psychology at all this season. Thus, the time gap actually diminishes the emotive power of her grief and darkness. Her behavior makes no sense after 5 episodes without Lincoln being mentioned. We have to assume reasons behind her behavior in Polis that aren’t fully explicated on screen.
And Kane comparing Octavia to Pike? Fuck that shit. Shut up Kane. His speech made yet another false equivalency between a female character and a male villain. Pike was a grown ass man, a war criminal, and a bigoted, colonialist assshole. Octavia is a grieving teenage girl who lost the love of her life in a gruesome way and then found out she, and every one else, probably won’t survive the apocalypse. One of these things is not like the other.
First Clarke/Jaha, now Octavia/Pike. What’s worse is that Kane is equating Octavia with the man who literally murdered the love of her life (who, again, is a war criminal). AND DID WE REALLY NEED TO REWATCH LINCOLN’S DEATH. Come on. That was a triggering death for a lot of people. Even if they decided to make the ridiculous correlation between Octavia and Pike, they could have done it without replaying Lincoln’s death in the background. Killing off a submissive black male character with a gun to the head as he kneeled, in chains, in the mud was gratuitous last season. Replaying it in the background while Kane compares a grieving teenage girl to a bigoted mass murderer? Fuck you.
Speaking of fuck you: Raven. Not fuck Raven, fuck the show for how it treats her. She’s having the same arc for the third time (or is it the fourth?). I’m disgusted with how the show reduces this powerful, intelligent, strong woman of color to physical suffering and taking her anger out on others. This is bullshit. Dear The 100 writers, your drama cannot be built on the backs of women and people of color like Lincoln and Raven. In a single episode they exploited an already problematic death of a person of color (Lincoln) and submitted a woman of color to yet more physical suffering. They also made her physically violent. I’m sick of it.
I’m also sick of jackhole Murphy (who I admittedly kind of love for his honest selfishness and snark) being the white boy victim of choice for violent/villanous people of color (Raven, Pike, Jaha) and characters like the Grounders who are coded as indigenous peoples. The implications are gross, especially since it’s a pattern.
It doesn’t have to be this way! This is a show that makes a decent attempt at diversity, and has since its inception. But, it fails to understand how their diverse characters’ arcs and interactions play out in the culture of the audience. A woman of color facing repeated physical suffering and turning violent has implications. As does the gruesome death of a man of color and the exploitation of that death to turn his grieving lover into the equivalent of a villain who slaughtered hundreds of people.
I’m not saying that characters from marginalized groups cannot suffer, die, or face hardships. But ffs, at least think about the racist and sexist implications for a character like Raven suffering even more physical pain and then beating up a white male character who has already been the victim of violence from another character of color. She could have screamed at him instead, or screamed and broken something. Or, I don’t know, just gotten angry without becoming violent?
That’s not the end of the problematic gendered implications for Raven either. Raven’s arc is also really infantilizing. Murphy’s snide “Raven-sitter” remark diminishes her to her violent emotional outbursts. Though probably unintentional, such an attitude toward a female character plays into gendered tropes about the irrationality of emotional women. It’s as bad in it’s own way as Eliza Taylor begging Rothenberg not to have her take her clothes off, only to have her once again half naked on our screens. Albeit brief, the scene still violates what were Taylor’s express wishes last summer. This show really doesn’t know how to treat it’s female characters with respect despite it’s loud proclamations of how ‘strong’ they are.
One final implication grenade; I hope they cool it with the hate crime language. Having a white male talking about a character played by a person of color (Chai Hanson, who plays Ilian, is mixed race Thai/Australian) also coded as indigenous, while using the term ‘hate crime’ is…icky. Please never show an angry mob of white people trying to kill a character of color for a ‘hate crime’ he supposedly committed that wasn’t a hate crime at all. Shows don’t exist in a vacuum, even if they do occur in space.
Tonight’s Pseudo-Profound Assertion: “I don’t think she hates you for that as much as you hate yourself”.—Sorry, Luna, I’m pretty sure Raven hates Murphy more than he hates himself.
Bits & Bobs
- Lexa count: 1 (+ pictures)
- Lincoln count: 2 (+ gratuitous use of death scene)
- Death count: 2 Grounders, one played by a POC
- “If you never did you should, these things are fun and fun is good.”– Thanks for making Dr. Seuss Grimdark, Jasper. How TF does Jasper even know Dr. Seuss? And why did Dr. Seuss need to be dragged into this mess?
- Why didn’t Raven apologize to Murphy?
- Niylarke! (called it)
- Wanheda seems to be a term of endearment now? That’s cool.
- The Desert of No Survivors from S2 is still missing. At least they’re consistent?
- I’m starting to think that Raven can only have two handlers at once. Last week was Abby/Jackson (I accidentally called him Sinclair at first…my brain was tired), this week was Murphy/Luna.
- Wait…where is Emori? And Echo?
- Luna x Raven …I ship it. #SeaMechanic
Could Be Cool: Sea Mechanic. Man, Raven is clearly my fandom bicycle for this show.
Wouldn’t Surprise Me: Raven is totally going to die, you guys.
Total Crack: Raven gets a happy ending with someone she loves and never has physical pain or suffering ever again. She dies at a ripe old age of natural causes.
Have more theories? Head on over to the forum!
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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Unrighteous Retribution Unfolds in Saga
The Fandomentals 2018 SAG Awards Primer
You Have Acquired: The First Key
Batwoman Isn’t Built For One-Shots Or Fill-Ins
The Last Jedi Gabfest on The Fandomentalist
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Supergirl Returns With a Little Help From a Legion
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Teaser and Release Date for Altered Carbon on Netflix
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