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The Flash (2014) s06e09 – Crisis on Infinite Earths: Part Three

Crisis: Part Three is a scant handful of okay moments surrounded by truly godawful dialogue, sometimes so bad it’s impressive the actors are keeping it together—points to Grant Gustin, Elizabeth Tulloch, Cress Williams, and Candice Patton—one inventive plotting point, a couple big nostalgia deep-dives (they really felt the need to validate “Birds of Prey” fans, which I’m not sure I believe is a thing), and a lot of nonsense. Along with plot points from other DC Comics crossover events, including one of the silliest ones.

There are a lot of obvious budgetary shortcuts, like how Brandon Routh’s Superman returned never gets a shot actually going through the teleportation effect because apparently there’s only so much CGI budget. But also the lack of exterior shots (they don’t even recycle footage from the last time they showed Crisis hitting Earth on “The Flash,” which might threaten some kind of extended cut?).

The three big plots this episode—almost called it issue, but no, if it were an issue of Crisis it’d look better, George Perez and all (seriously, how they didn’t get a uniform good score for the crossover instead of just dropping in the old superhero themes…)—anyway, it’s Gustin, Carlos Valdes, and Danielle Panabaker trying to save the world from the speed cannon, which is an utterly crappy sequence. Especially compared to the comic, but even compared to when Gustin disintegrated in his nightmares earlier this season. Like they spent more money on that effects shot from a regular episode than the money shot in this one. It’s a bummer. Even if it’s got a good nostalgia hook but also an exceptional missed opportunity. The crossover asks for a whole bunch of slack and doesn’t deserve any of it.

Oh, wait, there are four big plots. I forgot about Matt Ryan leading David Ramsey (whose acting has gotten worse the longer he’s been on “Arrow,” and not just because he has a very forced Malcolm X quote to show he’s a Black man, which might be the most questionable creative decision in a series of very questionable creative decisions), Stephen Amell, and Katherine McNamara on a cameo-filled field trip through the Arrowverse purgatory. Even though it’s unclear how the infinite Earths work with purgatory, because it seems to be unified between realities but… whatever. Anyway, it’s just for cameos and to give Ramsey some crossover time. McNamara’s got almost nothing to do so she’s nowhere near as bad as last episode.

Then Ruby Rose and Melissa Benoist are bickering about Benoist wanting to use the Book of Destiny or whatever it’s called to save the lost universes and acting like they’re in a Frank Miller rip-off until they get girl power. Rose is bad, Benoist’s not good but also not bad; it’s neither of their faults. It’s the script, it’s the direction. Their plot’s a pointless, terribly written one.

Finally, Patton is tasked with introducing Osric Chau to the Arrowverse. I’m sure he’ll have a job after the crossover as Atom II. He’s actually okay, even though the scenes are atrociously written. Because of course they are.

The big cliffhanger—it’s five weeks until the last two entries—lacks in grandeur and execution, also not a surprise. It’s almost like they don’t have the budget for the guest stars and special effects and so went with the former. Or maybe it really is just a terribly produced crossover. It’s not like the last one was any good either.

There is a pleasant surprise at the finish, but only because it promises to amuse when they get back. Amusement would help. This episode’s not amusing. Or entertaining. And Audrey Marie Anderson and LaMonica Garrett are still terrible. Oh, and they managed to get an even worse performance out of Tom Cavanagh than he’s been giving the rest of the season (he should quit after this disservice to his filmography, just for the godawful costuming alone).

Is it as bad as the first episode of Crisis? No. Is it as middling as the second one? Nope. But whatever’s coming in five weeks, it’s pretty clear even if it’s entertaining or amusing or manages some decent moments from the actors… it’s not going to be good. And it’ll probably be bad. It’ll definitely be tedious. The cliffhanger would have been the end of the first installment if this Crisis were any good.

Batwoman (2019) s01e09 – Crisis on Infinite Earths: Part Two

So “Batwoman”’s Crisis crossover is rather instructional, at least in understanding what’s going to go wrong with it (the crossover). The writing. “Batwoman”’s script is all right. Not great, but leaps and bounds over the previous one. Even if the performances get a little shaky and they’re trying too hard to foreshadow, but Don Whitehead and Holly Henderson’s script does something “Supergirl” couldn’t manage. They make a decent “hour” of superhero adventure TV.

Albeit an hour with absolutely nothing to do with the regular “Batwoman” stuff, including having Ruby Rose play second-fiddle to pretty much everyone and then have this weird “straight-coding” moment with Melissa Benoist, which is a pointless Bechdel fail. How is it possible the Arrowverse shows can’t find a writer capable of not screwing up at least one of the characterizations. It’s not like comics got to have writers’ rooms or paid assistants so you’d think there’d be someone checking on this stuff, but whatever. It’s a short scene and soon gives way to the simultaneously successful and not successful Kevin Conroy cameo.

How does “Batwoman” get away with never having Batman on the show? Go to the future on an alternate Earth during the Crisis and introduce old man Batman Kevin Conroy (who voiced the “Animated Series” cartoon for years along with a bunch of other cartoon features and video games). Shame Conroy’s really bad at acting. Though director Laura Belsey gets major props for trying to hide it. Most of Rose and Conroy’s scenes together consist of Rose standing and listening to Conroy speak, close-up on Rose, maybe an over the shoulder from Conroy every once and a while because that way Conroy’s speaking but not having to emote. It’d be more impressive if the Conroy cameo added up to anything, but not really.

Meanwhile, there’s the Jon Cryer’s Lex Luthor hopping universes to kill Superman over and over again, leading to a shockingly good Tom Welling cameo. I’ve never seen “Smallville” but Welling seemed like he’d impress as an actor but he’s good here. Is able to play off Cryer without much setup. Good stuff.

Then there’s Brandon Routh getting to put on the Kingdom Come Superman outfit and do a Superman Returns sequel, with plenty of references… then a sad Joker one. And it turns out… Routh really was a lot better at playing Clark Kent than Superman. Maybe he’d have grown into the part if Returns had gotten its Man of Steel but… also maybe not. Though he’s in old age makeup and CG-buffed or something to play old man Superman here so who knows.

Oh, right, then there’s Grant Gustin and Caity Lotz (the best performance in “Supergirl,” decidedly not feeling it here; she seems exhausted) going on a secret mission with Green Arrow fille (Katherine McNamara, who’s not good) and exhausted too but still lovable Matt Ryan. Dominic Purcell shows up for some comic relief, along with an actual nice surprise cameo.

Candice Patton’s also around, participating in the continuing Tyler Hoechlin and Elizabeth Tulloch “Superman Family” backdoor pilot. It’s still cute enough, more so here just because the episode’s a lot better television than the “Supergirl.”

Shame the Arrowverse producers didn’t care about consistent writing… with this crew on the whole crossover, Crisis might have had a chance. But hopefully it won’t ever be as bad as “Supergirl”’s entry again.

Got to be fair and point out there’s less LaMonica Garrett in this episode than the “Supergirl,” which means less absurdly godawful acting and just regular tepid TV performances and not even many of those… it’s a very professionally executed episode.

Supergirl (2015) s05e09 – Crisis on Infinite Earths: Part One

With the Crisis on Infinite Earths crossover, the CW Arrowverse achieves one of those DC Comics’s successes—they promise they understand, they promise they get it, they promise they’ll do it right, then it’s terrible. Not just regular terrible but also profoundly inept in some manner. See, you know, DC Comics’s comics for the last… twenty years? Twenty-five? Depends on if you want to see “Zero Hour” as the last chapter of the old or first chapter of the new. And Warner’s even done it with the movies–Batman & Robin and Justice League being the most obvious examples. They say they know what they’ve got, then they show they don’t. The fail the project’s potential.

Like, I hoped it would be better than the regular production values on “Supergirl.” It’s worse. Melissa Benoist gets to play second fiddle to Tyler Hoechlin and Elizabeth Tulloch’s “Superman Family” backdoor pilot, which is fine because Hoechlin and Tulloch are a hell of a lot less obnoxious than the regular cast this episode. Even though it’s a regular “Supergirl” director (Jesse Warn), somehow Jesse Rath’s totally different. Like no one’s on the same page with the character, actor, writers, director, and it makes his every expository deliver simultaneously exasperating and enraging; the show doesn’t have to be so bad, why aren’t they trying to at least not make it its worst. They ought to be showcasing their strengths.

The show’s shockingly inept at introducing the other heroes, which kind of makes sense since you’ve got to spend time with the regular cast since you’re not paying them all to crossover… but maybe mix it up a bit. Ruby Rose and Katie McGrath doing something has a lot more potential entertainment value than McGrath and Chyler Leigh sniping at each other over McGrath’s supervillain potential. Brandon Routh and David Harewood doing something would beat Routh playing second fiddle to Caity Lotz (who gives the episode’s best performance) and Harewood still having his stupid wisdom lines.

Nicole Maines and Azie Tesfai only show up to herd people out of the waterfront area, which has become the show’s biggest and stupidest action trope now. Is it a Vancouver fun run or something, shooting “run from the huge waterfront in the Kansas City stand-in city” every week?

Basically no one gets anything good. Hoechlin and Tulloch excepted. Hoechlin even gets to be sad about Benoist’s long-lost mom dying because guest star Audrey Marie Anderson (who’s terrible and going to be in all of the crossover episodes, which is really bad) didn’t have enough energy in the Dilithium crystals to save her. It’s a poorly plotted episode. Like, I get there needs to be a bunch for Stephen Amell because it’s his last crossover but they pad they heck out of his scenes. He and future daughter Katherine McNamara have the same conversation at least twice, maybe more, and when it gets time for Amell and “Flash” Grant Gustin to have their big crossover moment they don’t get one because there’s not time, there’s already the “Superman Family” pilot in session.

Worse, it’s cheap. They fight the “shadow demons,” which were the “Crisis” comic disposable baddies but they’re like medieval-ish ghosts… like, cheap CGI model ones. All the action sequences with them are terrible, even worse than the “meet Batwoman” action sequence the show goes with. Warn’s never been a good director but they really should’ve gotten someone else.

They also should’ve hired a good composer special for the crossover. The music is truly horrific.

The CW’s Crisis on Infinite Earths is off to its most inevitable start… it’s a shitty DC event crossover.

And while the opening cameos with Robert Wuhl (from Batman 1989) and Burt Ward (from “Batman: The TV Show), along with the clip from “Titans?” They set up a false expectation of competency. Maybe not technical prowess, as the green screen shots are terrible, but they at least suggest the crossover gets its entertainment potential.

Then it fails. Over and over.

Outside convincing me to maybe try “Superman Family” and to reassure me I’m not missing anything on “Arrow,” the show’s greatest success is providing a solid jumping off point.

Supergirl (2015) s05e08 – The Wrath of Rama Khan

The episode opens with Supergirl flying to Lena’s secret base to try to reason with her but Lena ignores her because Lena’s already got the bestest friend she could ever have in Andrea Brooks, who used to be Ms. Teschmacher but is now the AI Lena created to keep her company when she planned on beating up former best friend Supergirl. Brooks was an Easter egg turned into a plot device drug out, which is kind of a metaphor for most of “Supergirl” at this point.

For a bit it seems like it’s going to be Superman III with Katie McGrath and Brooks shooting rockets at Melissa Benoist, but no, Benoist quickly heads back to the DEO to check in with sister Chyler Leigh and start their butting heads subplot. Benoist doesn’t want to give up on McGrath, Leigh wants to nuke the entire site from orbit.

McGrath’s plan doesn’t really matter, suffice to say it’ll involve David Harewood bringing in formerly genocidal brother Phil LaMarr to help. LaMarr’s astoundingly bad. Harewood’s lost most of his goodwill too, mostly because all of his dialogue makes him sound like the writers get his deep thoughts off an online fake inspirational quote generator. There’s even a whole “do better” thing where LaMarr maybe was responsible for getting millions of Martians killed but he’s grown since then, so you obviously can forgive your (formerly) racist uncle? But there’s still a limit. Notice Dean Cain’s heinous ass has gone missing and forgotten from the show.

Anyway, there’s really nothing to the McGrath and Benoist stuff because there’s no scene between the two of them. “Supergirl” cops out before the Crisis crossover, which finally gets introduced in the last few scenes during the terrible (and long) song montage.

But then there’s the whole other subplot about millions years old alien Mitch Pileggi, who’s still chomping the hell out of the scenery, trying to eradicate humanity only to get foiled, natch, by Supergirl and friends.

Besides being incredibly silly, the Pileggi plot line is totally disconnected from the main cast except truly godawful new cast member Julie Gonzalo, who’s probably the worst actor ever on the show, which is something. Especially since they moved to Canada in season two.

Basically it’s “what if the Cylons got here earlier and just liked messing with humans as they evolve because the Cylons are board.” Or something. Doesn’t matter. It’s shit.

The possibly worst part of the ending is it resets almost everything the show’s done this season. Sure, McGrath still hates Benoist, but she gets a do-over as far as being a planetary menace. The hurt friendship storyline seems more appropriate for “Muppet Tweens” than “Supergirl,” but really bad, really cowardly writing doesn’t help things.

I think it’s finally safe not to come back after Crisis. Leigh’s obnoxious with the new girlfriend, Benoist’s got nothing to do, McGrath ought to get out of her contract, Harewood’s a random quote generator, and on and on. It’s been hard to give up on the show because when it used to hit heights, it hit them hard. But… this season’s been hopeless.

The Flash (2014) s06e08 – The Last Temptation of Barry Allen, Pt. 2

So unlike previous seasons, the CW “Arrowverse” showrunners—at least on “Flash,” “Supergirl,” and to some extent “Batwoman”—are doing a pre-Crisis arc and a post-Crisis arc, which might end up making a lot of sense depending on how Crisis goes… so this episode is the big finale to the comically godawful Sendhil Ramamurthy arc. He gets to turn into a big skull-faced Venom CG monster at the end, but the monster still has his voice so even if the CG is bad, Ramamurthy is able to make it even worse with his performance.

Also with the end of the arc thing there are big action set pieces, except they’re not big. They’re fake big. There’s a zombie apocalypse as Ramamurthy infects people in Central City with brainwashed “Dark Flash”’s help. We don’t get to see the apocalypse because budget; instead it’s Candice Patton and Carlos Valdes arguing about what to do next. As Grant Gustin left Valdes in charge (for after Gustin dies in Crisis), Valdes thinks he’s got the best plan. Meanwhile Patton has a different plan, one where Gustin’s not acceptable collateral damage.

Both plans are stupid because the script’s stupid but Valdes’s performance is so lousy, it’s impossible to side with him. He and Danielle Panabaker desperately need to get off this show, both for the show and for themselves. Panabaker at least has some okay moments as (don’t call me Killer anymore) Frost, but when she reverts back to regular Caitlin she’s bad. Not sure why. It’s obvious why she doesn’t use her powers against the zombies when she and Jesse L. Martin go out to the street to fight them. Because budget. But why’s Panabaker so thin playing her regular role? Maybe because she’s so bored with it they had to make her a different character to keep her on the show?

As for Gustin, who last episode went over to the dark side, possibly willingly, he doesn’t get anything to do until the end of the episode when they’re all sitting around moping about Crisis. It’s a terrible scene, though possibly better than the previous episode where he frets about his mortality. I foolishly thought the show might have some good “Road to Crisis” stuff but it’s all crap. It’s not exactly disappointing but it’s surprisingly poorly executed.

The one technically good thing in the episode is when Cecile (Danielle Nicolet, who’s all the show’s got going on anymore) and Victoria Park have to escape from a building overrun with zombies. Nicolet uses her psychic abilities to sneak them out in a long “continuous” shot sequence, which is technically proficient but still bad.

Because budget.

It’s probably not a good idea the show set its whole season up as a jumping off point for after the crossover, but unless they clean house on the cast and get some better writing, “The Flash” has run out of steam.

Tom Cavanagh sucking the season certainly doesn’t help things.

The Flash (2014) s06e07 – The Last Temptation of Barry Allen, Pt. 1

“The Flash” seems to be in a race—no pun intended—to see how bad it can get before the Crisis crossover. This episode gives Grant Gustin his first showcase all season and instead of giving him scenes opposite the regular cast, like his wife, dad, friends, sticks him in a battle of the wills. On one side is Sendhil Ramamurthy, who—against all odds—is actually worse than usual. He’s Ultimate Venom. On the other side is Michelle Harrison, who sometimes plays Gustin’s dead mom, sometimes the Speed Force. Harrison’s always been a weak casting choice. She did a little better in the stunt as Earth-Three not-Barry’s mom earlier this season and it’s hard to fault her with anything this episode. The personified Speed Force is a really stupid idea. Not Harrison’s fault.

So while Ramamurthy tries to convince Gustin to embrace the Venom so Gustin doesn’t have to die in Crisis, Harrison tries to convince Gustin he needs to sacrifice himself because he’s Jesus.

Only he’s not Jesus. When “The Flash” introduced the idea of Gustin disappearing in the Crisis first season, it was an Easter egg. The way they’ve turned it into a plot point this season has been godawful but not surprisingly so. The “Arrowverse” Crisis for Gustin doesn’t have the traditional gravitas from the actual comic. It’s got the “Flash” gravitas, which is pretty slim stuff.

The episode opens with a lousy cliffhanger resolve—Ralph (Hartley Sawyer) versus Ramamurthy, but really just an excuse to get Sawyer out of the episode to… film crossover scenes? Because dramatically it’s crap. Though everything related to Ultimate Venom is crap.

Meanwhile, Candice Patton gets a big reporter arc. But not really. She’s just avoiding writing her obit of The Flash, which is that season one Crisis Easter egg, which makes sense because she has no idea how he’s going to die. Dumb.

Though Kayla Compton is working out all right, despite being somewhat pointless except to prod Patton into various actions.

It’d be nice if it were at least a good performance from Gustin, but Gustin’s either in dream sequences or possessed by Venom. It’s all so pointless, protracted, cheap, melodramatic, silly, and dumb, it really doesn’t work out.

Kind of like the show at this point. I keep catching myself thinking Crisis might fix the show’s problems but unless they’re replacing the writers are the crossover, I can’t see how it could.

The Flash (2014) s06e06 – License to Elongate

So Ralph (Hartley Sawyer) gets his own episode and it’s, for some reason, a James Bond send-up. He and Grant Gustin are in tuxedos trying to stop Bond villain wannabe (literally, the guy wants to be a Bond villain, it’s part of the narrative) Carlo Rota from selling a doomsday laser to some one percenters. It’s really dumb, but slightly charming just because Sawyer’s charming. Gustin can be charming too but not here. He just wants to Flash-up and take out the villains but after six seasons of fighting superpowered adversaries, he can’t take on a bunch of Eurotrash. It’s kind of humiliating, actually.

Meanwhile, Tom Cavanagh has a subplot about convincing Kayla Compton to use her superpowers to prevent the upcoming Crisis and maybe give the regular cast time to film their Crisis crossover appearances. It’s a lousy subplot mostly because it meanders and seems pointless. No one was missing Compton since her last appearance and Cavanagh’s “Nash Wells” adventurer character somehow manages to be even slighter than his Quebecois trash Sherlock Holmes riff last season.

Then Danielle Nicolet gets a subplot with Brandon McKnight about him waking up from a black hole-induced coma and trying to ask out the barista he likes. It’s not well-written—nothing in the episode is well-written—but Nicolet’s good and McKnight’s fine. Nicolet’s psychic powers are off because she feels lost in her career or something—doesn’t matter—but it works out thanks to the actors.

In fact, the episode ends on solid enough ground if it weren’t for big bad and terrible actor Sendhil Ramamurthy showing up to set up the cliffhanger, it might even be a success. Or as close as season six “Flash” is going to get to a successful episode. It’s really too bad for Sawyer, who props up the show quite a bit these days. Maybe he’s a big James Bond fan?

McKnight’s a whole lot less annoying than regular cast member Carlos Valdes these days… maybe the show’s prepping for Valdes and Danielle Panabaker (who directed the episode and does a fine job) to depart.

Fingers crossed anyway.

Batwoman (2019) s01e08 – A Mad Tea-Party

This episode has Sam Littlefield’s character—just the character, not Littlefield himself, which is great because Littlefield’s awful—but Littlefield’s character is impersonating Dougray Scott, who’s also terrible. Only when Scott’s pretending to be Littlefield pretending to be Scott, Scott’s almost all right. Scott has some regular scenes too. Big weepy scenes where a better actor would be able to get a lot of mileage out of the emotion but Scott’s just terrible. Some of it’s the writing of course; Scott’s a brutal mercenary the show wants us to “like.” Similarly his wife Elizabeth Anweis is an arms manufacturer—one of the subplots involves Anweis making chemical weapons—so it’s difficult to find the characters sympathetic. Without realizing it (because the show, a true CW show, is all about gaping at ostentatious displays of wealth), the only humanizing thing in the show is Nicole Kang.

Kang’s great this episode, even though there’s plenty of nonsense for her to act through. While she’s got drama with “dad” Scott and mom Anweis, Ruby Rose is busying trying to contain psychotic villain and her twin sister Alice (Rachel Skarsten, who’s still good but not as good as usual). The way things shake out Rose doesn’t just play second or third fiddle, she ends up fifth—behind Kang, Skarsten, Meagan Tandy (who doesn’t do much this episode but is in it a lot because she and husband Greyston Holt need to fight about Tandy’s relationship with Rose), and then Rose’s fight double. There’s a great Batwoman action sequence where it’s very obviously not Rose. But great Batwoman action. Pretty much makes the episode.

Then there’s some tragedy and protracted final dramatics, along with a bad scene between Scott and Rose. Some of the writing—from Nancy Kiu—is really strong, but then most of it’s not. And the plotting is silly and manipulative, especially the cliffhanger. Of course, then there’s the added cliffhanger setting up Crisis, which takes over the show next episode at the worst time. This episode irrevocably changes the ground situation, next week’s a crossover, then it’s basically on hiatus for a month.

Also weird is how last episode established a new normal for Rose and the supporting players and this episode flips that switch in a third direction.

But, hey, the Batwoman action sequence was awesome.

Supergirl (2015) s05e07 – Tremors

In an incredible turn of events Mitch Pileggi as the big bad—Leviathan—is actually kind of fun. Pileggi’s a millions of years old alien (he was around to see the dinosaurs get it) who for some reason has hung out on Earth and run a secret society. It’s not clear why. It’s also not clear why his army of regular people followers include humans who can’t outsmart Lena Luthor (Katie McGrath). Lena’s smart and all, but shouldn’t a millions of years old secret society have better tech than her?

So, Leviathan. Doesn’t exactly pay off and Pileggi doesn’t look quite Rock-like in his Black Adam-esque outfit (and he reminds a lot of Vandal Savage on “Legends”), but it’s actually all right.

Shame the rest of the episode digs deeper into the established pit.

Lena’s also on Team Supergirl for a scene; just enough to remind how good McGrath is with the rest of the cast. She and Jesse Rath’s two or three line banter is more personality than the show’s had in ages. But then her arc is all about her telling Supergirl (Melissa Benoist) they’re now sworn enemies. It’s an awful scene, hinging entirely on Lena having iced Lex for her friends and then it turns out the friends all lied to her. How the show has ruined Lena is one of its many significant faults (ditto not just having McGrath and Benoist get together romantically instead of queer-baiting for, what, three seasons now). It’s not like McGrath is good in the villain reveal (because she’s not exactly a villain, just a pissed off gal pal). Benoist’s a little better but not very concerned why Lena wants a weapon capable of killing everyone on the planet.

If the writing were better, who knows, it might be a good scene.

Speaking of bad scenes, Alex (Chyler Leigh) blathering on to girlfriend Azie Tesfai in an unending declaration of devotion ought to, really, get someone a pink slip. It’s so bad. So bad. Leigh’s not strong enough to carry the scenes and Tesfai isn’t ready for such a big role. Though, again, might just be the terrible writing.

Meanwhile J’onn (David Harewood) has a ludicrous scene with Ghost Dad Carl Lumbly, who I’m glad is getting a check and all, but the Martian family trouble subplot is, well, the pits. It’s perplexing why anyone thinks the scenes are a) a good idea or b) effective. It’s terrible stuff.

Though I guess Phil LaMarr is a little better as Harewood’s brother this episode, though it’s not a high bar.

I figured this episode would be bad but it’s even worse than imagined. The Lena payoff is a complete fail for the show, the characters, and McGrath.

Batwoman (2019) s01e07 – Tell Me the Truth

Oh, good, just what “Batwoman” needs, a whole episode dedicated to the acting stylings of Meagan Tandy.

Sadly, I’m being facetious.

This episode gets into Tandy’s knowledge of Batwoman’s identity and her not entirely forthcoming marriage to Greyston Holt (she neglected to every tell him she had a three year romantic relationship with a woman). As a sniper takes out the creators of a gun able to kill Batman (or Batwoman), Ruby Rose tries to deal with the Tandy knowing her secret identity thing while Tandy finally decides to tell Holt what’s up.

But there’s still one more secret from Tandy, whose relationship with Dougray Scott is a little more complicated than previously revealed. In fact, when away on a mission Scott leaves a message for his “kid,” you can’t believe he’s talking so warmly or openly to Rose. Though maybe it’s Nicole Kang. Even though Kang and Scott haven’t had many (any?) scenes together, she’s broken up about the impending family dissolution. Scott’s divorcing Kang’s mom, Elizabeth Anweis, because Anweis lied to him about his daughter being dead so he’d stop looking and marry her, something Rose and King never discuss in the episode because addressing big family problems isn’t “Batwoman”’s thing.

The sniper stuff gets resolved too quick—without any solid Batwoman action scenes either—but guest star Christina Wolfe brings some life to it as Alfred the butler’s secret agent daughter. She’s got a history with both Camrus Johnson (they’re pals) and Rose (back when Rose got drummed out of military school for coming out of the closet, Batman sent Wolfe to keep tabs on Rose; Wolfe ended up seducing her, then telling her she was a babysitter).

Rose’s getting better, but every time she’s got a scene with Tandy it throws the progress back. But at least the end of the episode implies they’ve got an idea of where to take Rose without that tedious subplot. Unless it’s yet another two episode arc for her, like the last girlfriend.

Rachel Skarsten has a few scenes and she’s good as always. Sam Littlefield shows up in at least one of them. He’s bad as always.

Seven episodes in and “Batwoman” still feels way too unsure.

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