Tag Archive | Bruce Wayne

Gotham S1:E7 – Penguin’s Umbrella (held in Gotham against my will…)

Nov5

Open on Oswald walking down the street with a couple of large thug bodyguards. Cut immediately to a LOL-worthy Fish Mooney temper tantrum, bitching about Oswald being alive and demanding his head. Throw it to Jim who is telling Barb over the phone from the GCPD locker room to get out now. Once he hangs up, Harvey is there to punch him directly in the jaw and hold him at gunpoint, stating that he’ll have to “take (Jim’s) body back to Falcone and beg – BEG – for mercy.”

Oh no. I am so very afraid for Jim Gordon’s life. Y’know, not knowing any of his future story.

Bullock gets distracted, Jim gets his gun, tells Harvey he has a plan. Harvey tells him that he hopes he doesn’t see him again. Jim storms out.

Barb’s phone vibrates on the dining room table as a Falcone thug (with partner) tells her she has a very nice place (still too nice for a police detective, if you ask me). They’re holding her until her fiance comes home. Just as the thug starts talking all rapey (we get it, they’re bad guys) Jim rounds the corner, gun drawn. A Mexican standoff turns into Jim getting the upper hand (knocking out the talky-rapey one and shooting the gun-haver). Jim and Barb make it to the bus station and Jim sends Barb away telling her to never come back to Gotham, since we’ve seen how well that line has worked in the past. She tearfully boards the bus like a good Stepford woman and the title card hits.

Gordon returns to the noisy police station and silences the place with his very presence, asking for “blank warrants that Judge Bam Bam (?) signed. He gets them and walks out.

Falcone is tending to chickens (WTF?!?) while Fish and her Nico Bellic clone (fellow crime boss) bitch that Gordon and Oswald should both be taken out immediately. He tells them that he knows what he’s doing and brushes off their request. We find out from Fish that the Lorde Girl she hired to seduce Falcone is holed up in Falcone’s house cooking and cleaning. He, according to Fish, likes to watch her do chores which, as stated, is weird but seems to be a lightly misogynistic and pretty much harmless fetish if true.

Back at the GCPD, Gordon is typing up those pre-signed warrants when Capt (not) Sarah shows up and asks what he’s doing. He reveals to her that he’s written up arrest warrants for the Mayor, Carmine Falcone, and his close associates on the charge of perversion of justice in the Wayne murders. Kinda out of left field, but whatever. The Captain predictably tells him he’s completely effing crazy and makes him realize that the city is too corrupt to prosecute and imprison their major figures. The Captain tells him to get out of town but Jim, staunchly and in the most noble fashion, Jim says, “No, this is my town, blah blah justice blah.”

At the same time, in the bullpen of the GCPD, a bald Billy Corgan looking dude and a couple of dominatrixes (dominatricees? dominatrixis?) walk in and start acting like they’re in charge. None of the cops seem to want to lift a finger to this as Billy Corgan climbs onto a desk and announces himself as Victor Zsasz (pretty awesome, honestly) and tells the congregation of blue shirts that he was sent by Carmine Falcone personally and is looking for one Jim Gordon. Predictably, everyone points out exactly where Gordon is because he has made absolutely no friends here. Zsasz was apparently told to bring Gordon in alive. Jim tells him, “There are fifty cops in here. Try something.” Zsasz tells all the cops to go away and they do without a second thought. Things devolve into a gunfight between Jim, Zsasz, and his fetish models. Jim quickly runs out of ammo and, while attempting the old throw-the-garbage-can-at-the-gunman trick, catches a bullet to the lower abdomen while making good his escape through the back door and into the motor pool. The bad guys give chase and there’s the typical tense “hide and seek” moment as the injured Jim is taunted by Zsasz.

They use every trope in the book for the last moments of the standoff as, Just when Zsasz is about to find Jim, a rookie looking officer strolls in (apparently having missed the memo from upstairs) and tells Zsasz to freeze or hold it or some other thing. While Zsasz is busy shooting that woman in the kneecaps, Jim tries to sprint away and catches another bullet in his back for the trouble. As Zsasz closes in for the coup de grace, Montoya and Allen, our favorite MCU detectives, ride to Gordon’s rescue! Oh, wow! They’re able to fend of Zsasz and the Leather Girls long enough for Jim to get in the car and escape! Miracle of miracles! Sigh.

Best part about this scene: Zsasz finishes off the poor young female officer with a shot to the heart (and he’s to blame), promptly produces a box cutter, and slashes another hash mark into his arm, proclaiming her “twenty-eight”. Ok, that was pretty cool.

After commercial, Jim wakes up in a university dissection lab. The doctor says she’s a friend of Montoya and Allen. She pulled out the bullets and, amazingly, none of his organs were damaged. She calls out to detective Allen by his first name, Crispus, when Gordon gets out of bed.

It’s here I pause the show. Renee Montoya’s partner is Crispus F***ING Allen?!? How did I not make this connection? It’s right there in the comics. I feel shame. More on this later in the post.

Fish is taking a meeting with Maroni over Oswald. Blah blah threats blah. Maroni calls out Penguin and there’s a pretty funny scene in which Maroni makes Penguin apologize to Fish who then calls Oswald a scaly-faced bitch before slapping him and leaving. Really, the whole exchange plays off as a comedy.

Meanwhile, Falcone’s rapey thug from earlier rolls up on a group of nuns while in the back of a molester van. He kidnaps them, chains them together, and puts them in the middle of the street in front of a Maroni Moving and Storage truck. The truck stops (lucky day to be a nun) and rapey thug tells the drivers that Falcone won’t let any Maroni trucks through until they get Penguin. He kindly offers the men a choice between a beating and a bullet because a serious message must be sent. The scene is actually pretty darkly funny including the part where he puts holes in both of their shins.

Maroni won’t give up Penguin, vows revenge, Penguin tells him that he knows exactly where to hit them, blah blah gangster blah.

Montoya apologizes to Jim for being a dick while they sit outside Wayne Manor. Alfred catches Allen around the perimeter and holds him at knife point until realizing he’s with Gordon. We go to stately Wayne Study (still the only room in the biggest house in Gotham), Bruce does his whole “one day I’ll be Batman” schtick while Gordon tells him that everything is connected to his parents’ murder. Jim vows to Bruce that, should he die, Montoya and Allen will take over the investigation in his place. Gordon does the whole “now I have to go it alone” bit and offers a handshake to Bruce who hugs him instead. How unexpected and heartwarming.

Penguin leads a group of Maroni thugs to destroy a Falcone drug lab. They kill everyone inside including Nico. Maroni’s main thug, after all the murderation, punches Penguin and calls him out on being nothing more than a snitch. He threatens to kill Oswald and blame it on one of Nico’s men just to get Penguin out of his boss’ hair. Oswald calls the thug a cheapskate and it’s revealed that Penguin has bought off the other thugs who hold the guy down while Penguin knifes him in the stomach. His psychopathic and eloquent monologue proves that Oswald is the best thing on this show.

Maroni and Falcone meet (Penguin and Fish on their respective sides). Maroni bargains a piece of land (according to Fish, a “toxic waste dump on an Indian burial ground) in Arkham for Penguin’s life. Everyone walks away happy.

Jim is back at his apartment and looks to be gearing up for war when Bullock happens to show up, drunk with a prostitute on his arm. Bullock says he’s “doomed anyhow, so he’s going to join the good guys”. Jim tells Bullock his plan about arresting everyone everywhere in the city in any way involved with the framing of Mario Pepper and the Wayne murders. Bullock proceeds to bang a prostitute in Jim’s bed without much real objection from Jim. Gross.

They pin the mayor down in his limo in a funny-yet-stereotypical buddy cop maneuver and arrest him. They kidnap him to the Falcone estate and use the mayor to get inside. Without any effort whatsoever, they make it into Falcone’s inner sanctum with rifles and shotguns because when you’re dealing with a mob boss, there’s never any real security right? They serve a warrant, Falcone says Zsasz has Barb and pretty much LOLs in Gordon’s face. Falcone won’t prove this but dares Jim to bring him in if he thinks Falcone is lying.

We’re treated to Lorde girl in the kitchen making muffins with Zsasz as we see Barb sitting at the kitchen counter, hostage. Zsasz gets a phone call, looks at Barb and says, “What a shame…” Of course, it’s because Barb isn’t going to die. They release Barb to Jim. Falcone lets them go citing that there might still be hope for Jim. Zsasz is disappoint because he doesn’t get another hash-mark. Falcone does a lot of lecturing before they leave, blah blah foreshadowing.

Barb and Jim go home and kiss. Yay.

Lorde-girl is happy as Falcone is pleased with her muffins (and apparently not with her muffin itself) and goes to tend his chickens (again, WTF). Oswald appears, looking like he’s got a murder on, and calls Don Falcone by name. Falcone embraces Oswald and we get a flashback to the night before Gordon “killed” him.

All of a sudden, in a huge holy shit twist moment, we find out that Penguin and Falcone engineered EVERYTHING THAT HAPPENED IN THE MAFIA PART OF THE SHOW SO FAR. Penguin made a death-row deal with Falcone to have Gordon be the one to kill him, knowing Jim wouldn’t do it. He promised to come back to Gotham, embed himself with Maroni, and then snitch to Falcone about everything Maroni was up to. This before Oswald dropped the big bomb that Fish and Nico were out to off Falcone himself. We also find out that Jim only lives because Oswald asked Falcone not to kill him as a favor.

Wow, that twist actually made this show a lot better. I have to admit, while it is still very cheesy in parts and some of the bits are grossly inaccurate, this show is growing on me.

About Crispus Allen… yeah, totally forgot that he was Renee’s partner in the comics. In the books, he is unjustly murdered by another colleague and winds up becoming the third incarnation of The Spectre – God’s own holy vengeful wrath. We probably won’t see that on this show but it’s nice to know they at least got Montoya’s partner right. We also probably won’t see Vic Sage and Montoya’s progression into becoming The Question but that’s ok too.

No real complaints again this week. All the stupid Fish Mooney crap almost feels vindicated knowing that Oswald has the upper hand in this whole scenario. We’ll see what happens next. This show is officially coming into its own. I might not have to write any more of these unless some larger inconsistencies crop up.

Bidula’s Last Word – 6/10, if only for the twist.

Keep fighting the good fight.

Oh, and, I’m running a Gofundme to help take Unlucky Seven to Con. You should check it out. There’s rewards and stuff.

—end transmission—

Gotham S1:E6 – Spirit of the Goat (I’m getting tired of going to Gotham…)

Oct29

We open this week on a LOL-worthy flashback showing Bullock as a Gordon-esque rookie detective with a heavy drinking partner named, appropriately, Dix. This proves that Harvey learned how to be one from someone who was actually named for his attitude.

They’re chasing a killer who calls himself “The Spirit of the Goat”, a shoddily-disguised Batman-looking criminal. Bullock’s partner falls through a trap door (released by The Goat) and falls about ten feet to career ending injury. Bullock opens fire and kills The Goat.

Cut to now, Bullock is “on the clock before the boy scout” as Gordon isn’t yet at their crime scene. A woman, rather ritualistically strung up on a small boat with spent candles lining the rail of the bridge. Harvey is freaked because this is the exact sort of murder The Goat perpetrated back in the day. Apparently, the goat preys on well-to-do first-born daughters. This one was a 21-year-old socialite.

We soon find out why Gordon didn’t make it in to work on time. Barb is chewing his ear off about keeping secrets. He says he’ll tell her the truth (everything he can, dun dun daaa) before storming out of their posh apartment to do his job.

He meets Bullock at the scene where we get another few playful glimpses at Ed Nigma, Bullock shows how freaked out he is by being nervous and standoffish (read: no different than usual). They leave the scene for the old, uber-rich parents of the murdered woman and the father claims he’s been having “strange dreams” while exhibiting either mild Parkinsons or alien hand syndrome. Bullock hides his fear behind dickishness when the family psychiatrist starts getting inquisitive.

Meanwhile, Nygma is investigating the old files. We prove that he’s a total creeper as he sniffs at the young female file clerk as she walks by then dissects her name (Kristen Kringle) and criticizes her filing system while attempting to hit on her in the most ineffective manner possible. I notice that they both have the same type of glasses which, in the Gotham universe, must be a flag for “really smart people”. Also, the file clerk dresses like a 50’s librarian so you know she has to be bookish. The stereotypes in this show just keep on coming.

Back to our intrepid team of dicks who are trying to figure out how the killer absconded with his victim from her locked home (another mansion bigger and better than what we’ve seen of the interior of Wayne Manor, by the way). Bullock remarks some more freaked-out history about the case and continues to hide behind his dick-shield. They figure that, like with the previous Goat, the killer may have some sort of janitorial or maintenance type access, granting him keys (as there was no sign of a forced break-in).

Oswald finally goes home to his crazy foreign mother. Mrs. Kapelput was worried that her son “was tangled up in some hussie’s demon purse” in what is clearly the best line of this show’s run to date. He explains to her that he’s been through hell and back. She blindly encourages him. The scene is hilarious.

Cut to the autopsy table with the dicks watching. Bullock suggests that they look under the scalp to find an incision at the base of the neck. It’s there, stitched shut, with a foreign object inside. Bullock calls that it will be a penny, and it is! He’s now committed to the idea that the original Goat is back from the dead! WOO SPOOKY!

Bullock explains, back at the main office, that it’s a specific kind of penny that was used by the original. They intentionally left this detail out of the file and the media so as not to inspire copycats. Chief Sarah Essen (God, that still bothers me…) forces Bullock to go talk to his old partner, Dix, as he was the only one besides Harvey who knew this detail and is still alive.

Cut to stately Wayne study where Bruce is watching coverage of the Goat murder. Alfred suggests that Bruce, as a first-born son of Gotham’s most powerful family, get out of town until the whole Goat thing blows over. Bruce, predictably, refuses siting that he “has work to do” and gets back to digging into his parents’ murder.

Back to Nygma, who is now rearranging Ms. Kringle’s entire file room. She’s predictably freaked out. You get that he likes her, she kinda likes him, he did what he did to try to help/impress her… blah blah, awkward flirting.

The dicks go to visit Dix in what looks like he shoddiest nursing home ever. Dix is in a wheelchair playing solitaire in a dimly lit room in case you thought he wasn’t lonely and sad enough. He lectures the dicks about Gotham’s “Golden Rule”: NO HEROES. Dix suggests a conspiracy of people rather than the one guy they killed so many years ago. Harvey doesn’t believe it and storms out. Dix tells Jim to watch out for Harvey because he’s a “real white-knight” type. Jim is obviously taken aback by this statement. We find out that Bullock has been paying Dix’s nursing home bill and ordering him dirty magazine subscriptions because, maybe, Bullock isn’t such a bad guy after all.

We then go to yet another place statelier than Wayne Manor and see a young woman preparing to go out and be The Goat’s next victim because she is stereotypically young, rich, and blonde. We’re shown that she leaves her cell phone on a table because why put it in your pocket, right? Her Latina maid gets taken down by the Goat right before the girl (SURPRISE!) gets snatched herself! We saw this exact scene on the horizon from about five-hundred miles away.

The dicks are still chasing people who would “have keys”. Bullock suggest bringing Nygma in on the case because he’s “freaky good with puzzles”.

Barb and Renee have an ex-girlfriend fight over Jim and Barb’s safety with him. Renee says she’s putting out a warrant for Gordon tonight and suggests that Babs leave town until shit goes down. Blah blah Barbara takes Jim’s side like a good little Stepford wife with a bisexual past.

Back at the station, Nygma comes up with another lead for the dicks (while showcasing the fact that he has a question mark coffee mug OMG FORESHADOWING) and the guys wind up at the giant empty house (still bigger than what we’ve seen of Wayne Manor) in which Dix was crippled during Bullock’s first encounter with the Goat ten years ago. The goat is prepping his victim when the dicks arrive, preparing her for the “sacrifice”. The Goat reveals himself in a very Batman way. Bullock goes to chase him down while Jim tends to the victim. Bullock and the Goat fight it out on a large sweeping stairway. The Goat keeps on about how he can’t be stopped and will always come back. Harvey gets his ass beat and Jim jumps in with the fists to take the Goat down, placing him under arrest.

After commercial, Selena breaks into Wayne Manor (through the window of the SAME STUDY! Does this house have ANY other rooms?) while Bruce sleeps on the couch (IN THE STUDY). She swipes something from Bruce’s desk, noting the massive conspiracy wall that Bruce has been accumulating. She beats it out of there as we hear Alfred tromping down the hall.

Oswald, at home, is being bathed by his mother which is NOT CREEPY AT ALL. She tells him that he can trust no one but his mother. He says he’s found someone else to trust. A policeman. A real friend.

At the station, we get some background on the Goat. He’s a maintenance man, with keys, something something criminal of the week behind bars but probably not really. Bullock thinks that, due to the similar circumstances, something “changed” the people who became the Goat. He’s noticeably shaken again and lets Gordon go home before the criminal seemingly wakes up from being The Goat, clenching his fist, to which Bullock responds “holy ghost on a bicycle”.

Barb warns Jim about Renee’s warrant claiming MCU now has a witness to the Cobblepot murder. Barb implores Jim to run (“Barb, I can’t run…”) just as there’s a knock on the door and Montoya and partner lead Jim away in cuffs.

Bullock goes back to the first victim’s house, interrupting a hypno-therapy session with the psychiatrist. He comes to the conclusion, in a roundabout way, that this hypno-therapist is initiating the Goat problem through her “public outreach” to the less-fortunate. She, as the real bad guy, claims to be doing Gotham a service by killing the children of it’s richest and most greedy. She pretty much confesses everything to Bullock for no good reason, apparently thinking she can get away with it. Bullock attempts to arrest her before using a hypnotic cue to send the old rich guy after Bullock as she calmly walks out. Bullock breaks free and shoots her in the leg and brings her in.

He’s explaining himself to the Captain when Montoya and partner bring in a very loudly protesting Jim Gordon who now openly admits to not killing Cobblepot. When Bullock rises to his defense, MCU takes him into custody as an accomplice. There is a bunch of fighting between GCPD and the MCU when suddenly… OSWALD WALkS IN! DUN DUN DAAAAAAAH! Cut to black.

I have to say, this week’s episode was the best so far. Only slightly cheesy, not too inaccurate, and much more of what I really want to see from this show.

The main good point: NO FISH MOONEY IN THIS EPISODE! Probably why it was the best one yet.

I’m not going to complain this time. This one was solid. Still not great, but MUCH improved over past weeks.

I continue to LOVE Oswald’s character. Nygma isn’t so bad either.

The only big problem I still have is that every structure in Gotham is more posh and expansive than Wayne Manor and that Jim Gordon lives in an impossible apartment.

Bidula’s Last Word: 5/10

Watchable this week. Hoping the show stays in this direction and, as long as it stays away from Fish Mooney, I have a feeling it’ll keep getting better. It probably won’t, because Jada Pinkett-Smith was already talking about the filming of future episodes in interviews. Maybe the writers will wise up by the end of the season and kill her off.

Keep fighting the good fight.

—end transmission—

Gotham S1:E5 – Viper (another f***ing night in Gotham…)

Oct22

The main problem of the week is the titular Viper; a drug which gives the user super strength and “delusions of ultimate power” with the sad side-effect of rapidly depleting the body’s calcium resulting in not-so-subtle fast-acting brittle bone disease. When it wears off, the user goes all Stretch Armstrong in the most ridiculous way before collapsing into a heap of human jello and suffocating.

The creator of the drug passes out tons of free samples to Gotham’s lower class (read: MOST of Gotham) and chaos ensues. Most notable uses are a drug-addled guitarist who uses it to single-handedly rip an ATM out of a wall and an old walker-using philosophy professor, a good friend of the drug’s creator who while being questioned by our favorite pair of dicks, inhales a vial of Viper and bends his walker into a mess before throwing Jim into the hallway through a wooden door and nearly choking him out.

We find out during the pre-old-man-Bane sequence that Viper was the first version of Venom – the drug used by Bane (that is, the REAL COMIC BOOK Bane, not the Tom Hardy born-in-the-darkness Bane) to give him the backbreaking strength he uses to take Bruce Wayne out of commission in the comics. I have to admit, I called the Venom thing at the beginning of the episode. I was pleasantly surprised to know they didn’t rename the actual drug for the sake of a television audience.

Needless to say, this was a horribly acted interrogation scene. I really want to blame the directors of these episodes for the horror. I feel I need to start blaming the actors just as much.

We also glean from the philosophy professor (again, in the most poorly acted way possible) that the creator of the drug, working for a subsidiary of Wayne Enterprises, blames his employers for the lives he took and is using the exposure of the drug to gain what he thinks is justice. He infiltrates a Wayne charity function (attended by Bruce and Alfred just for that extra “oh shit” angle that NONE OF US COULD EVER SEE COMING, AMIRITE?) and pulls a “somebody poisoned the waterhole” by letting his inhalant into the ventilation system.

This plan fails miserably after he delivers his missive to the assembled “middle management” and child-billionaire-in-chief. Bullock clears the ballroom quickly and Jim corners the perp on the roof, shooting the gas canister and giving him a huge dose of his own medicine before the perp turns and leaps to his death (body not seen, but the detectives don’t seem to care to investigate any further or clear that one up themselves). Just before he jumps, he tells our dicks to check out warehouse 39. Again, all of this using the poorest acting skills available.

They check this warehouse and find it empty. A Wayne rep (seen in a scene with Bruce, which we’ll get to) ominously warns a person on the opposite end of a cell phone that “we’ll deal with them if they get close”. End to the main story.

This week in subplots:

OMG SELENA KYLE SHOWS UP FOR LIKE A SPLIT SECOND I ALMOST FORGOT SHE WAS THERE THANKS FOR REMINDING ME!

Fish, now the proud owner of some pouty-lipped Lorde wannabe, is “training” her girl to become the weapon she is supposed to be by forcing her to learn to sing and appreciate opera. This, after a few more scenes foreshadowing the rather transparent plans she has in store for Don Falcone, culminates in the last 30 seconds of the episode where Lorde-girl shows up in a white dress with a new blonde doo humming an aria while Falcone sits on some park steps feeding the pigeons.

He goes to her in such a magnetic and insincere fashion that it almost looks like he’s faking it, like he knows what’s up. I kept waiting for him to shoot her while referencing Fish’s now-discovered and possibly thwarted takeover plans. Instead, fade to black. The acting was SO BAD by Falcone that for a minute I thought it was done on purpose!

Oswald comes clean with Maroni about his history. Jim gets called in to verify to Maroni that he, indeed, was told to kill Oswald for ratting but didn’t. Oswald helps Maroni rob Falcone’s casino. Boom done.

Bruce, from his one-room Wayne Manor, decides to continue investigating improprieties in the Arkham deal, wanting to talk to the board of directors regarding why the biggest crime families in Gotham got the biggest pieces of the deal. This leads to the aforementioned discussion with the Wayne rep who claims to be “just middle management”. Bruce, continuing to be made out as a child WELL beyond his years, gets continuously patronized by everyone including his own trusty butler because he’s just a kid. He freaks when the perp delivers his missive about the misdoings of Wayne Enterprises and is about to ask a few shocked questions aloud before Alfred covers his face with a suit jacket and ushers him out of the room to avoid the green smoke of Viper that infected no one.

This week in problems:

Stereotypical characters are stereotypical. This show leans heavily on this. Italian mobsters are overly Italian. Russian/Balkan mobsters are overly Eastern European. Old people are old people and like to feed pigeons. Young aspiring singers are really just sluts that will do whatever it takes to better themselves including luring known mafiosi into their ultimate demise with a display of tits and ass. Above all, EVERYONE IN GOTHAM IS BAD!!!

Stereotypes make this show horrible. They make it predictable. They make it look poorly acted. Wise up and throw us a curveball. I know the writers tried (TRIED) to do this with Fish, by making a “strong” black woman a capo of a major Italian crime family, but they just wound up giving us Eartha Kitt minus the purple spandex.

I continue to be disappointed.

OH! And, news out of the Gotham camp is that they have cast an actress as Dr. Leslie Thompson – one of the most trusted friends of the Wayne family and one of the few who knows Bruce is Batman – for a recurring role starting in early 2015. I would say this is cool but it only means that Gotham will be around UNTIL EARLY 2015. This may become a shame.

Bidula’s Last Word – 3.5/10

Keep fighting the good fight.

—end transmission—

Gotham S1:E4 – Arkham (Too Many Nights in Gotham)

Oct15

When we last left intrepid Detective James Gordon, Oswald Cobblepot had shown up at his doorstep with a tuxedo and a smile.

Jim off-sets the presence of Oswald (introducing himself as Peter to Barbara) by saying that he’s a “work friend”. We get through the awkward stuff and Jim gets Oswald out of his posh clock-tower penthouse apartment (which we found out last week is actually Barb’s) and onto the street. In his best Christian Bale Batman voice, Jim interrogates Oswald asking why he came back to Gotham when Jim told him not to making us painfully aware that Jim has never seen any movies ever because telling someone never to come back usually assures that they will be sooner rather than later. Jim threatens, saying he should have killed Oswald, Oswald knows Jim would never do it even offering Jima free shot with a broken bottle. Oswald offers to be Gordon’s inside man with the crime world (citing Jim as the “last good man in Gotham” to no surprise) and pulls the old ninja disappearance (with a terrible limp) in the middle of a city street.

We then get a scene with a city councilman and his assistant in a dark parking lot. A random man shows up and wants to show the councilman something. Rather than just walk away, the moron assistant takes a device from the man and holds it up to his eye when he is instructed to do so. SURPRISE!!! Knife to the eye! Are there no movies in this universe? Does no one see these tricks coming?

The councilman runs, is pursued, and gets murdered by the stranger. Cue titles.

Captain (not) Sarah Essen gives the double homicide case to Jim and Harvey as Bullock predictably bitches about it. Turns out the councilman had something to do with the Arkham plan.

Cut to the Mayor giving a speech about the redevelopment plan for “Arkham City”, the shanty-town district in the exact middle of the city (comprising most of its volume, actually) and the revitalization of its aging mental asylum. According to the Mayor, the Wayne plan called for demo-ing the entire area and putting up new, affordable housing for the city’s less fortunate as well as building a state-of-the-art mental health facility (otherwise known as another ASYLUM) and the opposing plan which would involve putting a giant waste treatment facility in A CENTRAL PARK SIZED AREA IN THE MIDDLE OF THE GOD DAMNED CITY. Is this real or just a bad game of SimCity?

We cut to the same killer now taking out another councilman who is for the waste treatment facility plan. We find out through some gallows exposition that the Falcone family supports the Wayne plan while the Maroni family is backing the waste treatment bit. The killer burns the councilman alive.

Jim and Bullock show up at the scene in the morning (inside the gates of the old Arkham Asylum) and we’re treated to a bit of Ed Nygma who explains to our favorite dicks that the hit man killed both a Falcone supporter and a Maroni supporter (and that’s called a paradox!). The boys are stumped. They get a bit of info from a current inmate and freelance hitter that the guy they’re looking for has a reputation for using a metal spike to do his killing.

The clue leads the pair to an office where the killer purportedly works, he disappears from his desk and Jim goes to investigate the back. Hitter is hiding behind a shelf, holding his tube of spiky death, waiting to ice the cops hot on his trail, when Harvey calls Jim back to the main office area to let him know that he found news clippings about both deaths in the hitter’s desk because that was much more important than actually tracking the guy down.

Cut to Oswald who, earlier in the episode, witnesses a large bag full of what we assume is money come into the Maroni run restaurant where he washes dishes. A bunch of masked men come in to rob the backroom of the payroll, plugging the restaurant manager in the gut with a shotgun blast prompting Oswald to go on the move. Maroni’s men get to the scene, find all their fellow gangsters dead, and follow a bunch of bloody footprints to the freezer where Oswald is currently hiding with half of the payroll. Boss Maroni appreciates Oswald’s efforts enough to promote him to restaurant manager.

Jim stays at the police station while Harvey goes to ask our favorite Eartha Kitt clone, Fish, about the word on the street, which is really just an expositional jaunt into Fish’s subplot (which we’ll get to later) rather than any clear lead in the investigation. Jim, meanwhile, gets a call from Oswald who, in his new position but not yet out of his dishwasher clothes, has another clue which connects to a previous clue leading Jim to realize the next hit is the Mayor.

Jim runs to the Mayor after leaving a message for Bullock, the hitter shows up at the mayor’s mansion, and we immediately see that the Mayor’s mansion is much larger than the one-room study of stately Wayne Manor including a concert hall with chairs where Jim and the hitter have a prolonged showdown. Just when the hitter gets the upper hand, Bullock shows and the two wind up taking the hitman down.

After the day is saved, the Mayor announces that he’s merging the Wayne/Falcone plan and the Maroni plan for Arkham by doing low-cost housing, a new asylum, and a waste disposal site. Bruce, who was consulted earlier by Gordon on the whole Arkham thing, is shown in his “mansion” (read: only room they ever show) disgusted as the mayor says the Waynes would be proud of this idea.

This week in sideplots:

Fish Mooney is auditioning vampy/gothy singers for a job that isn’t, apparently, being a vampy/gothy singer for her club. After the first audition, with a girl who has some decent pipes and looks like Eva Green, she asks the girl to try to seduce her. Fish is unimpressed with the girl’s skills (she gives her a shoulder rub. 1.5/10.) and sends her away revealing that she’s not looking for a singer, she’s looking for “a weapon”. When Bullock mosies in during the main plot, Fish is auditioning a girl who looks kinda like Lorde (not the Stan Marsh version, ya ya ya) but sings like Lana Del Ray got stabbed in the throat. When asked to seduce, there’s a girl-girl kiss. Fish then brings the two prospective “singers” to a seedy river dock area and makes them fight it out. Lorde girl wins after bashing Eva Green’s head on the pavement a few times. At the end of the episode, Fish is icing down Lorde’s bruises while saying that she got her “just in time”.

Barb starts asking Jim “who is Oswald Cobblepot” after Detective Montoya spilled the beans to her about Jim’s supposed killing of the Penguin in last week’s episode. Barb finally comes clean to Jim about the romantic nature of her and Renee’s relationship, much to Jim’s dismay. Before the end of the episode, Barb comes to the police station with a lot of relationship angst and I’m sorrys but still presses Jim on the Cobblepot issue. Jim says “it’s work and I don’t want to talk about it” which Barb whines about. Jim justifies himself by referencing the fact that the last time he told Barb about work, she called the newspaper to give an anonymous tip on the child snatchers in ep. 2. She walks away in the most dramatic fashion possible after telling Jim to make a choice about honesty blah blah romantic tension blah.

Bruce wants to start trying to connect the murder of his parents to the Arkham deal and the councilman slayings, proving yet again that he’s going to be Batman eventually even if his mansion is only one room.

Oswald, as it turns out, orchestrated the robbery and the murder of his boss. We get a scene where the thieves are counting the loot from that job in an empty apartment and are joined by Oswald. It’s all smiles and laughs and, hey, Oswald even brought them a nice pink box of cannoli from the restaurant! Do I need to go on after mentioning that Oswald didn’t eat a cannoli after his friends scarfed theirs down? Yep. Poison. Room full of dead robbers and Oswald walks out as the end title card hits.

This week in anger:

Arkham Asylum, though placed in the inner city by Christopher Nolan in Batman Begins, was never in Gotham proper. It was always outside of Gotham. In the comics, it’s depicted as a large facility in the middle of the woods, up on a hill, much like Wayne Manor. Arkham City was not a thing unless you count the recent video games but, even then, Arkham City was Mayor Sharpe’s idea to put a giant prison in a more run-down district of Gotham. In that universe, Arkham is on an island. Arkham is not and was not ever a district in Gotham City proper.

They didn’t really get much more into the mythos this week and Fish’s parts were mostly tolerable. I would have to say that this is the best episode of Gotham yet and is honestly more of what I was looking for from the start. The writing is still crap and plays out the cops to be bumbling idiots. Most of the acting is still shit and any time Gordon is with a perp he launches into the Christian-Bale-Needs-A-Cough-Drop voice but, other than that, this is more of what the show should be – a crime drama that just happens to be set in Batman’s future city.

A shinier turd than the rest, still not very good. I remain confident that they will give

Bidula’s Last Word – 5/10

Keep fighting the good fight.

—end transmission—

Gotham S1:E3 – The Balloonman (Three Nights in Gotham)

Oct9

When we last left intrepid white-knight Detective James Gordon, he was sitting on a bench next to young Selena Kyle at GCPD headquarters. Right before cutting to black, she says, “I know who really killed the Waynes.”

After a sequence where Oswald returns to Gotham (which amounted to a supercut of every conceivable street crime happening at once within the same city block and a sequence where a lowlife financeer gets vigilant-ed the hell out of by the titular Balloonman (wearing a pig mask, so there went the Professor Pyg idea) hand-cuffing him to a weather balloon and leaving him to the mercy of the four winds while a large crowd of reports simply watch him drift away into the air, we finally catch up with our favorite Dicks, Gordon and Bullock, on the scene of another case entirely.

In what dimension should our first encounter with Jim Gordon in this episode NOT be extracting the exact information Selena Kyle teased at the end of last episode? How is he not doing everything but beating the identity of the real Wayne killers out of her right on that spot? Either this is truly shoddy detective work or this show really thinks we’re dumb enough to believe that the best (morally) detective on the force would say, “Ok, well, you have a lead on this closed case in which I know I killed an innocent man. Stop back whenever and I’ll take that info. Thanks, street urchin. Go ahead back to the streets where people just snatched you away and I’ll see you later.”

Nope. Jim and Bullock are now hot on the tail of “The Balloonman”, the afforementioned vigilante. Bullock continues to prove that his character was written as the laziest most BS detective on the force by saying that the financeer “got what he deserved”, case closed. Of course, Bullock is pissed that his partner is dragging him into another investigation because he has to be the absolute counterpoint to Gordon. Let the crime-of-the-week begin!

We get a quick glimpse of Fish Mooney as she speaks with Detectives Montoya and Allen from Major Crimes about the Oswald Cobblepot “murder”. Continuing with her best Eartha Kitt in the most vomitous fashion, Fish coughs up Jim Gordon as the shooter with Falcone (mispronounced) giving the order. Predictably, the two Dicks from the MCU confront Gordon about it but not before we get back to a bit of Selena Kyle.

Selena leads Jim to the alleyway after Jim called her back into the office (rather than, y’know, getting that over with immediately like a good detective) and does nothing more than set herself at the scene by referencing the stolen wallet she ditched in the sewer back in episode one. Jim handcuffs her to a fire escape before going into the sewer which turns out to be predictably laughable as she picks the cuffs and promptly ditches him while he’s ankle-deep in human filth.

We also get introduced to another mega-corrupt cop who winds up being red-shirted as the Balloonman’s next victim. See, Jim found out that there were four weather balloons stolen from a supplier (through some easy dicking around) which means there are two more victims yet to come.

They track down the guy who originally stole and sold the balloons and it’s not until this point that two police detectives – people who are paid to figure things out, mind you – need to have a skeezy stoner guy tell them exactly how balloons work and make them realize what goes up must come down. Frozen. And fast. We then get treated to the corrupt cop plummeting dead onto an innocent woman walking her dog. The coroner’s office promptly shows up with giant shovels to scrape them off the street because apparently victims of horrible accidents are routinely considered comic relief in Gotham City.

Key evidence is found on the body of the cop which has Jim Gordon’s name on it (GASP!). We find out that it’s the child services request Gordon made to have Selena brought to him. Apparently, orphaned children are as easy to order up as Chinese food. The bad cop JUST SO HAPPENED to swipe the orphan receipt from the Balloonman’s jacket just before he was sent to hypoxyia heaven.

Long story short, the next turns out to be a Cardinal who molested children (topical as well as borderline controversial, So Brash! So Bold! So Fox!). They use the orphan order slip and figure it’s (WOW!) the guy from child services! They track him to his place, have a bunch of overly long-winded pointed gun discussions, Bullock winds up cuffing him to his last balloon. Jim jumps to save him, tells Bullock to shoot the balloon. Bullock hesitates, thinking to his lazy self that if the Balloonman is killed, it will save him the work part of police work. He eventually shoots the balloon and Gordon and the Balloonman fall onto the roof of a conveniently parked van so as not to hit the ground from at least two stories up.

That’s the main plot, let’s get to the sub-plots.

Oswald comes back to town (as referenced) and is recognized by a Falcone thug. He pretends to be Dimitri from Odessa but the thug knows better. The thug drags him into a garage where he tells Oswald that he’ll be turned in to Fish Mooney for a bounty because Fish believes Oswald to be dead. Oswald begs for his freedom and, when nothing comes of it, he murders the thug with a pocket knife, steals a benji from the guy, and buys a tuna sandwich at the food truck across the street while the corpse bleeds out all over the garage floor.

Oswald then gets a job washing dishes in an Italian restaurant (not associated with his former, oft mispronounced, crime family) after first being denied and then straight up murdering the guy he wants to replace (after hours, of course). A smile comes over his face when Sal Maroni walks into the place and makes nice with the owner. Maroni being the main competition for the unpronounceable Falcone family.

Eventually, Oswald, now posing as Paolo (Italian on his mother’s side rather than crazy on his mother’s side) overhears a conversation between Maroni and the restaurant owner that involves a lot of names, including (as they directly point out) Falcone and Arkham. He gives “Paolo” a couple hunskys for claiming he heard nothing. They have a rather jovial exchange (including a VERY stereotypical Catholic Italian mobster moment) and it seems like Oswald is well on his way to starting into a new crime family. I’m sure he’ll quickly rise through the ranks, giving the inside dish to Maroni on Fish Mooney’s operation.

Speaking of Fish, there are a few extra-creamy limburger moments where she purrs at her lover, Laslow, the one who last week got the crap kicked out of him by Falcone’s goons as Fish’s “punishment”. She tells her head muscly guy that Laslow has lost his spine. She orders a retaliation against Falcone’s current lover (Natalia, for the record) and also tells muscly guy to “take care of poor Laslow as well”. Look, I know she’s supposed to be cold, but seriously? Straight-up killing her lover because he’s nervous after getting the shit beat out of him by serious gangsters is a bit too over-the-line-crazy which is, apparently, how they would rather characterize Fish Mooney. They’d rather use the “bitches be crazy” stereotype than the “cold, calculating, cunning businesswoman” type which, in my opinion, devalues the character. I guess shows like this that tout strong female leads only like them when they’re sex kittens or crazy. Or tiny teenage pickpockets. More on that in a minute.

Falcone and Fish have an exchange later in the show where Falcone stops by Fish’s club for seemingly no good reason other than to tell her that Natalia was mugged and he’s going to kill anyone responsible once he finds them. Blah blah foreshadowing blah. The exchanges between these two are supposed to look like a well-organized chess game and instead it looks like two rednecks playing checkers on a pickle barrel. Thankfully, there wasn’t much Fish Mooney in this episode which actually lent to this episode being marginally better overall.

Also in this episode, we get a little more about Barbara. Though not the worst character on the show by far, Barb seems to be the most sexualized. Every time we see her, she’s dressed in a sexy manner. In this episode, we see her in one of Jim’s dress shirts and nothing else, just as she gets out of the shower, and in sexy evening apparel. Yes, we get it. Jim’s fiancée is hot. Yes, their penthouse apartment (with awesome and incredibly uncommon clock tower window) is opulent, so she must also be well-to-do and have a decent job even though we haven’t yet had a hint of what that might be aside from her saying that “she has a meeting” later that day.

We find out, after Detective Montoya breaks in to expand on their sexy side plot, that said meeting may have been AA. After hinting at their shared past back in episode one, Renee comes back to warn Barb about the strong rumor that Jim shot Oswald on Falcone’s orders. This is the scene where Barb has just got out of the shower and is wearing a short hooded robe because she can’t wear normal clothing that doesn’t show the max amount of leg while on screen. Barb pulls out a joint (lolwut?) and sits down to smoke it in front of her police detective ex-girlfriend (yeah, they openly admitted it finally). Renee shows some concern and wonders if Barb is back on drugs because blah blah Renee’s been clean for a year since Barb left blah blah romantic tension blah blah Barb less-than-threes Jim blah blah. Renee, in typical romantic fashion, questions the safety and health of her ex-lover and goes in for the unwanted kiss at which point Barb asks her to leave. Yay, pan-sexual love triangle! At least Detective Montoya has the good sense to put some freaking pants on. Then again, they’re not selling her as the bombshell hot chick, they’re selling her as the discarded lesbian, so pants it is!

Lastly, we get to see young Master Bruce. First, practicing fencing with Alfred using a pair of wooden canes, dancing around the same study we’ve seen in every episode of this show so far. Stately Wayne Manor has been reduced to a single room, probably due to the show’s budget constraints. From the looks of things, tiny grieving Bruce is becoming tiny Howard Hughes and not leaving this damn room for anything. Also, he’s the heir to the freaking Wayne fortune. Can’t he afford legit fencing gear rather than likely antique wooden walking sticks? Couldn’t they clear out one of their likely vast dining rooms or even a ballroom and practice there? Nope. Wayne Manor only exists in this tiny study.

During the ruckus, Alfred uncovers the fact that Bruce has been looking at the police file of his parents’ murder. When asked by Alfred how he got the file, Bruce simply says: “It wasn’t hard.”

Time-out. You mean to tell me that Bruce Wayne, without adult supervision or guidance, left Wayne Manor on his own and talked to some likely seedy characters in order to gain access to a restricted, confidential police file. And that it “wasn’t hard”. Look, I know he’s supposed to be Batman someday, but he sure as hell isn’t anywhere close yet. Practically everything he does would go through Alfred (as his legal guardian). Don’t tell me Alfred leaves him be with like a thousand bucks in bribe money for him to sneak off to the police station and get one of any hundreds of corrupt cops to give him the file on the most prestigious homicide case to ever befall Gotham City. And, don’t tell me for a minute that even a corrupt cop would question giving that file to a child, let alone a famous child and recognizable face like Bruce Wayne. I shake my head in pain at you, writers. I shake my head.

Anyway, the rest of Bruce’s portion of the episode involve him not eating (claiming lack of hunger) and reading headlines/watching newscasts involving the Balloonman. Bruce seems inspired by the antics (big shock) but tells Alfred that the Balloonman was wrong because he killed, and killing made him just another bad guy. So yeah, Batman-ing it up already. They are going to rush this kid into a costume.

No real complaints this week about misused characters or dropped names. The only thing that disappoints me is that they used a pig mask for the Balloonman in his first scene and squished it without context into the sizzle reel, making every Bat-fan worth their salt think that Professor Pyg was on the horizon. Shame on you for abusing nerds like that, Fox.

There have been rumors floating that Gotham may already be facing the axe. I am not surprised. As much as I would love this shit and cheese show to continue, if only because it gives me fodder for blog entries, the earlier this disgrace to the Bat-franchise can be laid low, the better. Though this episode was a slight improvement over last week’s, I will continue to rail against it based on principal. As always, we’ll see what kind of slop they throw in front of us hogs next week and evaluate it then.

Bidula’s Last Word – Gotham S1:E3 – 4/10

Keep fighting the good fight.

—end transmission—

Gotham S1:E2 – Selena Kyle (Two Nights in Gotham)

Oct2

I’ve decided to make this an ongoing recap/review series because, as the biggest Bat-Fan in my particular region, I feel it necessary to provide an ongoing progress report of Bat-Culture, for better or worse.

In this case, it got much, much worse.

Gotham S1:E2, for all the promise shown by the “this season on…” sizzle reel currently circulating the internet, was horrible.

Start with some homeless teenagers who looked as though they could still afford massive amounts of hair-product and had regular access to showering facilities. A truck approaches with overly-sweet, 1950’s-dressed, little-over-middle-aged, white guilt poster people step out offering sandwiches and snacks to the “poor, hungry orphans” who looked like they skipped out on their family vacation to their lake house because their parents didn’t understand them (ie, probably not that bad off at a glance).

Of course, the caring, as it often does on television, plays far more sinister. Sinister to the point where you wonder how actually stupid these kids would be to attempt to take a sandwich from these people who were obviously just going to drug them and throw them into the back of their large truck. Then, the stupid kids get drugged and thrown into the back of their large truck.

The creepy couple stabs the kids with a long pin (which everyone in the episode continues to incorrectly identify as a “pen” either by miscommunication between props and writing or due to some as-yet-unheard Gothamite accent’s poor pronunciation) providing the movie-appropriate immediate knockout except for one of the hardier “street kids” who leads the male member of the duo on a chase, eventually breaking a restaurant-front window while people are eating. As long as we’re doing tropes, we might as well do them all, right?

Of course, our friend Cat (aka, young Selena Kyle) is nearly a party to these shenanigans but smartly makes a getaway just as the stabby-stabby bits begin. An older homeless man the kids call Soldier attempts to interfere and takes a bullet to the chest for his trouble in a very unsurprising death.

Cut to Gordon and Bullock in the street staring at Soldier’s body. Gordon, being the ex-soldier himself, finds the dead guy’s dog tags buried under his bloody shirt and has that stereotypical uber-patriot moment of extra sad at which point Bullock shows up and basically flips him the middle finger by announcing, coffee in hand, that he got Jim a cup of coffee but he “dropped it”. I don’t know if you could pick it up by this point in the show, but these guys don’t really like each other. Subtle hints. Very subtle.

Gordon berates a beat cop because he wasn’t there preserving the crime scene which leads to a lot of “You killed the Penguin, I thought you were ‘with the program’” talk regarding Jim’s continuing to be a White Knight in a sea of corruption. Banter, banter, fight with the fat lazy cop stereotype, Bullock drops his coffee, irony ensues.

The Dicks (yeah, I’m going to keep using that double-entendre until it doesn’t apply anymore) do a bad-cop/saccharine-sweet cop on the sturdy street kid who fell through that plate glass window earlier. This is the first time that the PIN is misidentified as a PEN. Repeatedly.

Bullock goes over-the-top stereotype on the kid and then lashes out at Jim. The acting by Bullock here is absolutely atrocious as there doesn’t seem to be any reason that he could be as upset as he plays. Not to mention Bullock is berating his partner in an open area of the police station where all of their peers can see. He punches a guy for being in his way as a surrogate for Gordon and storms off.

Cut to a highway where we conveniently find that it is approximately nine miles to Gotham City. The newly gimped and still shabby Oswald Cobblepot is trying to hitch a ride back to town. A couple of (again) overly-stereotypical frat boys stop to pick him up, doing the old “reach for the handle, drive away” on him a few times before legitimately picking him up and proceeding to bully him for the first few seconds before handing him a beer and trying to make nice (still laughing at him). You can feel the tension building as Oswald continues to be very polite and proper.

He, of course, loses it when the passenger-seat boy tells him that he “walks like a penguin”, breaks a beer bottle he’d been given, and goes for the kid’s neck to the horror of douche-y boy #2 driving the car.

Meanwhile, Fish Mooney is continuing to be portrayed by Jada Pinkett-Smith with levels of cheese potentially exceeding Adam West Batman. She is channeling Eartha Kitt in all the wrong ways and even a severe sit down with Don Falcone – regarding information of her attempted coup cited in last week’s episode – into a bad caricature of the way elderly people think organized crime operates. He decides to beat up the waiter she confesses she uses for “exercise” (wink wink, nudge nudge) as a warning and leaves, prompting Fish to scream to her operating nightclub full of people to “GET OUT!!”

This leads to a quick aside. Based on this scene and Fish’s not-so-subtle request for everyone to scram from the main room of her club: does this mean that Fish’s place isn’t really a nightclub but more of a honeycomb hideout for her many minions, or is Fish just a very bad club owner who would clear a packed room of paying customers due to an overly emotional (and unprofessional, even for presumably a Capo in the local mob) outburst? If it’s the latter, she lost out on quite a bit of money, in which case Falcone should look into shutting her down for real. Threats or no.

She then sits at the bar and proclaims in her most cheese-ball line yet that, “I’m gonna kill that old man with my bare hands… and my TEETH.”

Bitch, please.

By the way, writers/actors: IT’S STILL F***ING falCON-ee NO MATTER HOW MANY TIMES YOU SAY falCONE. I know my Batman, don’t fight me on this.

We are then treated to a scene with Detective Montoya and Partner at Casa de Cobblepot where we meat Oswald’s insane immigrant mother who, of course, insists the cops use the correct old world pronunciation: Kapelput. This is the one bright moment in the show as Mrs. Kapelput is played by Carol King – always the awesome eccentric (see Princess Bride and Scrooged at least for more details). She does crazy good and proper and plays herself as a doting mother to Oswald’s well-dressed and well-behaved demeanor. Showing the eccentricity of his mother only serves to add to the cold sociopathic nature of Oswald and cements him as my favorite character in this show so far. This scene only serves as exposition for Oswald and has really nothing else to do with the episode as a whole.

I’m going to be a bit more brief with the rest of the episode.

The homeless kid snatchers become a serious threat. Jim and Bullock chase down a lead based on Ed Nygma telling them the kind of drugs they found in the hearty orphan’s blood, making them lean on the pharmacies that have it in their inventory. We find out that one pharmacy is holding the kids in an overly-dungeony basement with a brick-lined bottomless pit to nowhere in the middle used for “evidence disposal” as implied by the typically fat-and-greasy corrupt pharmacy owner.

Jim, being the supercop that he is and Barbara, being the oft-trodden voice of reason that she is, discuss Jim’s latest case likely in some kind of violation of HIPAA laws or something similar. She does exactly what the Mayor, the Captain, and Bullock told Jim not to do and calls the Gotham Gazette to tip them off about the missing kids in an attempt to spark public outrage. The Mayor, the Captain, and Bullock are all shocked when the story suddenly hits the front page and berate Jim, calling him out for supposedly being “with the program”.

We do get a shout out from the kid-snatching duo that they work for the Dollmaker (a more recent addition to Batman’s coterie of villains in the comics) just before Jim and Bullock bust in to try to find the well-groomed homeless kids and do so after a bit of trickery.

The Mayor (not given an official name in this episode but, depressingly, not Mayor Hill) applauds the two detectives publicly and vows to get all the homeless kids off the street, telling Gordon, Bullock, and the Captain (who I’ll get to later) over an on-the-job glass of whiskey that it’s “foster homes for the ‘cute ones’, upstate for the rest”. Gordon, predictably, is outraged that the mayor is using the abductions as an excuse to move these poor homeless kids to juvenile detention, blah blah, moral argument, Jim is a good guy, we get it.

Also, the writers continue to hint at the insane amount of corruption in Gotham by referencing the fact that Jim’s “murder” of Oswald puts him “with the program” and implies that his White Knight code should go immediately out the window, making him as bad as the rest of everyone else (according to a brief interlude with Fish Mooney in her continuing efforts to bog the gears of the show down with immense amounts of congealed dairy product).

Suddenly, faced with “going upstate” we see that Selena Kyle wants to speak with Gordon (and Gordon only) and gets a quick brush-off as she’s getting on the bus for her trip up north. In a “surprise twist” the bus driver and attendant turn out to be the kid snatchers and aren’t taking them to Juvie but rather to a cargo container to be shipped off to the Dollmaker in the most conspicuous act of human trafficking ever attempted. They throw awake and alert teenage kids into a cargo container and expect them to be quiet for the entire trip via pounding on the container from the outside and yelling threats at them.

Of course, the kid snatchers realize they’re short one Selena Kyle (who insists on being called Cat for no good reason aside from, possibly, street cred). They search for her and find that, even at 13, she is extremely good at hiding and avoiding detection. Off screen, she claws a guard’s eyes out, prompting a hide-and-seek sequence with the female kid snatcher who, just as she gets Selena in her clutches, Jim Gordon bops on the head with a pistol whip knockout. Bullock enters the scene with the male kid snatcher at gunpoint and we’re left with a happy ending to that plotline.

Laced throughout the episode, we get glimpses of young emo Bruce Wayne burning his hand over a candle while “testing himself” and drawing gory pictures while listening to thrash metal. We’re left to believe that this is his way of acting on PTSD in a very sad attempt at a troubled-kid trope. Eventually Alfred asks Jim over for tea to talk about Bruce’s development because, y’know, you barely know this guy from Adam and there were apparently no close friends of the most famous philanthropists in Gotham to talk to. Alfred throws out some BS about Thomas Wayne telling him that, in the event of his death, Bruce should be left to “find his own way” in the world because reasons and because f*** parenting, right? Alfred expresses to the childless rookie police detective with no qualifications that he doesn’t know what to do with Master Bruce at which point the worst actor to ever play the character enters. He’s written as a child well beyond his years in speech and attitude (aside from the fact that he immediately goes for the biscuits on the tea tray) and plays it like a block of wood. Rich or not, no kid speaks that properly. I don’t care if he will grow up to be Batman someday, he’s still a kid and should be written as more of a kid whether or not he has a brooding dark side.

By the end of the episode, we get Selena and Jim on the same bench in the police station together. She tells him that she can identify the murderer in the Wayne case right before we cut to black.

Some additional points I would like to address:

GCPD Captain Sarah Essen. First thing you should know is that, in the comics, Sarah Essen was not a police captain. Sarah Essen was indeed a GCPD officer, specifically one who became romantically involved with one James Gordon long after Barbara was out of the picture (by death or divorce depending on continuity). She died at the hands of the Joker during the No Man’s Land event. Gordon shot the Joker in the leg and apprehended him (in a moment where he could have outright murdered the Joker) and, upon the reformation of Gotham, retired from the force as a broken man. After the DCnU continuity came into play, Sarah was ultimately written out of the story and Gordon remains Commissioner. In my opinion, this is an incredible disrespect to the original Sarah Essen and seems to be a way for Fox to continue shoe-horning familiar names into a show with absolutely no context or respect to the source material.
Aside from that point, the writing and directing on this show is bargain basement. I know this is a show based on a comic book, but we don’t have to ramp up the cheese factor just because it is. It feels like they’re taking their cues from Batman and Robin rather than the Nolanverse, which is extremely upsetting.

The sizzle reel makes Victor Zsasz look very exciting in this incarnation, however, I almost feel this is going to continue being a villain-of-the-week show involving the lower or less-recognizable caste of the rogue’s gallery. Zsasz is a stretch for most and Professor Pyg (presumably, also glimpsed in the sizzle reel) is an extremely recent and unknown villain to the uninitiated. We did see what looks like Scarecrow as well, which should prove interesting.

Before the season is over, I predict Calendar Man or Holiday (from The Long Halloween). Holiday would make more sense because of the show’s involvement of the falCON-ee mafia but, without Batman and the other supporting cast as grownups, it would be tricky to pull off. Knowing this writing staff, if they tried it, they would absolutely butcher it.

I’ve resolved to be here for you, my friends, as a source of everything that is wrong with Gotham. I will keep watching and keep pointing out everything I find good or bad with it because, for people unfamiliar with the canon, you’ve got to know how bad they’re destroying the mythos so that you don’t get the wrong idea about the universe surrounding the World’s Greatest Detective.

Bidula’s Last Word on Gotham S1:E2 – 4/10

Keep fighting the good fight.

—end transmission—

One Night in Gotham (Bidula’s Last Word Review)

Sep25

A few months ago when I heard about Gotham, I was both intrigued and sort of nauseous.

Though I’m not a Superman fan, I remember having the same sort of reaction when Smallville first aired. I remember watching that pilot (and maybe the second or third episode) and giving up. I realize that it blossomed into a culty fan favorite but something about another reboot of a famous origin story, concentrating only on the origin years, didn’t appeal to me.

A big part of this was probably because it was a Superman show, I won’t lie.

So, now they come to give Batman the same sort of treatment with Gotham. I know, it’s not supposed to be about Batman per-se but, as of the pilot anyway, it’s more about the origin of Batman’s amazing cast of supporting characters as well as his rogues gallery. Face it, he’s got some of the best in all of comics to the point where they spin-off into their own books and even their own TV shows (hands up if you remember Birds of Prey).

The story opens with the Wayne murders. (note – No, I’m not posting spoiler alert. If you’ve got a heartbeat, you know that Thomas and Martha Wayne were shot in a mugging that left Bruce Wayne a screaming orphan in the street.) This is lead into after a sequence in which we see a young Selina Kyle, somehow already a parkour-expert pickpocket, steal a half-gallon of milk from a poor old lady and pulling a businessman’s wallet but nearly getting caught. Of course, she winds up with a prime viewing angle on the infamous superhero-creating double homicide.

After the Waynes are shot, we see what, in my opinion, might be the only actor worse than George Clooney (or Val Kilmer) to play Bruce Wayne – a child with enough smarts in his head to know what just happened – try in vain to rouse his parents who he apparently thinks are sleeping… with inch-wide bleeding holes in the center of their chest. Once it’s through his thick skull what happened, he drops to his knees and lets out the worst sort of pre-pubescent scream imaginable – like a fake temper tantrum scream – before we cut to the main titles.

We get quickly introduced to Jim Gordon in an expository sequence involving a crazy man wanting his pills and taking another cop hostage INSIDE THE POLICE STATION (just in case you thought pre-Batman Gotham was some kind of crime-free utopia). We’re left to know that Jim is a rookie detective in homicide and is partnered with an older and more seasoned Harvey Bullock who is immediately forced on the audience as a cynical man who has a borderline hatred for his job (or at least the action surrounding it). I can’t complain too much about Bullock, they seem to be doing him right and the actor playing him was the funny bearded ginger who got his arm cut off twice by Blade. He is troped as the “walk the line and sometimes step over it” character, though. A bit too much at times.

Gordon and Bullock, naturally, get put on the Wayne murder investigation. They show up in crime alley, blah blah blah, Jim endears himself to Bruce somewhat, enter Alfred (who seems to be going the “Beware the Batman” route with a much rougher London-street accent and attitude), rain rain rain, sad sad sad, Selina Kyle is still watching from the shadows for whatever reason, moving on.

Through the investigation we get introduced to a myriad of Mafiosi including Fish Mooney, the woman who “runs the theater district” for the Falcone mob. The murders took place on her turf and we’re shown that Bullock has a very close personal relationship with her. She’s played by Jada Pinkett Smith who seems to be doing a pretty good job of it though she channels a bit of Eartha Kitt style cheese with a fancy for a bit of the old ultra-violence.

Fish’s right-hand (more like slave), one Oswald Cobblepot, is introduced. A pale fellow with piercing blue eyes and a rather beaky nose (to no one’s surprise). Seriously, before you even knew the guy’s name, he’s standing there with an umbrella practically screaming “I’M THE PENGUIN! WATCH ME BECAUSE I’M GOING TO EVOLVE HEAVILY OVER THE COURSE OF T HIS SHOW!!!”

Oh, and it should be known here that there is much reference to the Falcone crime family, prounounced fal-KOHN, when in every other spoken Batman story, it is pronounced fal-KOHN-e. This bothered me to the point where every time a character said “fal-KOHN” I was correcting them out loud by shouting “fal-KOHN-e!” at the screen. Even when Carmine Falcone introduced himself as Carmine fal-KOHN. Drives me nuts. Anyway…

Eventually, we get introduced to Barbara Kean, Jim’s fiancée, and her ridiculously lavish yet appropriately gothy apartment in which they will eventually (sez her) co-habitate once they get married. They never let on what she does for a living in this version, but there’s no way she’s not in the upper-set with an apartment (and clothing, and fashion sense) like that. Probably another good plot in to the “Jim runs into Bruce” stuff.

Bullock being a dirty cop runs him into a lead on the Wayne killer which brings them to the house of one Mario Pepper whose daughter, Ivy, answers the door when Jim and Harvey arrive. I have to take a bit of an aside here because in the promo workup for Gotham they were promoting this little Ivy Pepper as Poison Ivy which absolutely kills me more than anything else so far. They’re leaving every name intact and they couldn’t have made the pre-pubescent Poison Ivy have her real name? Pamela Isley is Poison Ivy, promo art be damned. If they wind up really turning this little ginger nut into Poison Ivy without at least first changing her name to what it properly should be… well… it won’t matter, I guess, but at least get the damn name right.

The pair of dicks (meaning detectives, come on you pervs) wind up shooting Mario Pepper down at the end of a chase. They find Martha Wayne’s string of pearls among his loot stash, and it’s case closed. That is, until Oswald informs two competing detectives from the Major Crimes Unit (including Renee Montoya, one of my favorite characters from the DCU) that Pepper was framed by Fish Mooney to cover up for the real killer of the Waynes, likely a hired hitter.

This, interestingly, leads Montoya to the door of Barbara Kean. Montoya hints at a past with Barbara (likely a romantic relationship considering Montoya’s orientation in the comic books) and tells her that her husband-to-be must be on the take because he participated in the frame-up of Mario Pepper. This meeting had no real purpose other than to give Barb a reason to doubt Jim’s super-honest-good-guyness (as contrasted by Bullock’s overly-dickish and, to use the show’s term, lackadaisical attitude) and hint at a rather interesting history between her and Renee. I actually kinda like this twist. Barb Kean-Gordon wasn’t ever really expanded on in the DCU and this might be her chance to get a bit of semi-important story time other than being Batgirl’s mom/namesake (depending on which continuity you’re talking about). Ten bucks says we’ll see Batgirl born before this series is over.

Jim finds out about the frame-up after Barb predictably questions his honesty and goes to Fish Mooney without saying a word to anyone at which point she also predictably bashes him over the head and has him taken to “Butch” who, as it turns out, is a butcher who will likely mutilate Jim’s carcass in a number of unrecoverable ways.

Bullock finds out that Jim is missing and immediately calls to question Fish. Fish lets it slip that Jim has gone to Butch, Bullock tries to talk Fish down from killing him, makes the typical cop threats to his long-time friend, and she makes the decision to string Bullock up along with Jim because her good friend – an inside source in the POLICE DEPARTMENT – made an idle threat against her that he would never back up due to his mostly cowardly character flaws. The writers really just wanted Fish to look intimidating and they really made her look crazy.

Oh, AND, Bullock inadvertently tipped off Fish to Oswald’s betrayal so, of course, she uses a chair leg to brutally bash Oswald’s lower extremities until he can’t walk properly anymore (he sorta limp-waddles now… big surprise).

The pair of dicks (pervs…) wind up getting saved by direct intervention from Deus Ex Carmine Falcone (it’s fal-KOHN-e, dammit…) who happens to arrive at the butcher shop just as Butch himself (a mask-wearing, cleaver-wielding, super-minion in training) is about to do the deed. Falcone then reveals in a private discussion that he knew Jim’s father well. “The best DA this city ever had,” said Falcone. He wants Jim to realize the balance of power in the city blah blah blah, the mob controls Gotham and Jim needs to get with the program instead of being a mega-Boy Scout.

To prove this, Falcone sends Bullock and Jim home with a little Penguin in their trunk and gives Bullock instructions to have Jim off Bird-Boy by shooting him at the end of a pier and dropping him into Gotham harbor. After the requisite mafia-style threats to Jim’s fiancée, Jim takes Oswald to the end of the pier and, predictably, does not shoot him (because you can’t kill the Penguin before he’s the Penguin) but makes it look like he does, pushing Oswald into the water after whispering, “Never come back to Gotham” in his best Batman voice.

Jim goes to Wayne Manor (where Bruce is seen balancing on the rooftop in some extremely un-subtle foreshadowing) to tell Bruce that the case really isn’t closed. They have a moment where the worst actor to play Bruce Wayne ever agrees that Jim Gordon should go out there and keep fighting crime, blah blah, Jim’s faith in the system is renewed. As he leaves, Selina Kyle (the ever silent teenaged thief) watches, perched atop the gates of Wayne Manor, probably casing the joint.

Oh, and Penguin pops out of the water and murders an innocent fisherman for his sandwich.

End of episode.

I can’t say I’m sure what to make of this from the first episode. It included a few good references, a few bad references (Ivy Pepper?! I’m still mad about that…), some very predictable circumstances, and enough little bits of cheese to remind you that DC still doesn’t know how to properly transmute things to screen. Gotham was supposed to be this gritty new show, a la Chris Nolan, but winds up looking like a run-of-the-mill crime drama with a very familiar over-plot. If you removed the Batman element from it, it would probably be replaced mid-season.

I’ll keep watching it if only because I’m a huge Batman fan and I want to nitpick the details.

Oh, bonus round, they also introduced Ed Nygma as a slightly-too-crazy police analyst (a tactic used in the Arkham video games) as well as an overly nervous stand-up comic being auditioned by Fish Mooney in this week’s Joker possibility. The producers of the show mentioned that every episode will have at least one suspect who could wind up being the Clown Prince of Crime, presumably in season two if this show makes it that far.

Bidula’s Last Word – 5/10. I will continue watching for novelty and novelty alone, (very) cautiously optimistic that this show will improve with time.

Keep fighting the good fight.

—end transmission—

52 Pickup: Crisis of Infinite Negation

Oct4

The Great DC Reboot is currently underway.

Don’t tell them it’s a reboot, though. They like to call it a “soft restart” because, according to the original press, “only some things are changing to give the characters a fresher start, but most of the DC Canon will remain unchanged.”

I know this whole “New 52” thing started at the beginning of September, but I had to really read into it before I reacted. I didn’t want to be one of those knee-jerkers who said that this was going to ruin everything before it even hit the newsstands. I wanted to have at least a semi-educated opinion based as little on speculation as possible.

In retrospect, my knee-jerk would have been the correct reaction. Maybe not reaction enough.

DC, for all its iconic majesty, has been largely on the wrong track for far too long.

For decades, their writers have employed what I believe to be the absolute worst technique in storytelling – the unreasonable retcon.
If you’re not up-to-date on your fictional terminology, retcon is short for retroactive continuity. This is basically a deus ex machina used by lazy writers to change the history of a given character and even sometimes an entire fictional universe. We’re not talking about a simple flashback here, we’re talking erasures of anything from one paragraph to books and books worth of material in order to fit an existing character into a different mold.

Retcons are nothing new to the comic book or sci-fi community. They happen nearly all the time in some of our favorite media, however, comic books have always shown the strongest example of the technique.

In the past, DC has retconned some of the most integral things from their universe in order to simplify the current continuity and bring in new readers. Their theory is that, through this simplification, they will attract new readers who have been fans of the movies and cartoons based on their characters. A new reader could pick up an issue of something as convoluted as Superman and the book would now seem much more approachable because the entire history of the book has simply been discounted and erased.

This, my friends, is the Mother of All Retcons. In the war against continuity, this is a pure scorched earth tactic.

Dan DiDio, one of the main architects of the New 52, has dropped official word that all Crisis events in the DC Universe have been abolished from the canon. This throws sand in the face of the last thirty years of the continuity and, given the shady and nebulous nature of the universe’s past as it stands, takes away the only static points left in the timeline.

Some of you may not speak Comic Book Geek. Allow me to translate by using another self-cannibalistic visionary who seems to enjoy rewriting his work and “fixing” stuff like it ain’t no thang: George Lucas.

Say Lucas really went off the deep end. Say Lucas suddenly said that all the events of The Empire Strike Back were null and void.
Let that marinate for a minute and think about how confusing things would be if you just jumped from A New Hope right on over to Return of the Jedi with nothing in between. No Vader reveal. No clue as to why Han is in Carbonite. No way of knowing who the hell Lando Calrissian or Boba Fett are. No Jedi training by Yoda on Dagobah. None of it. None of it was canon, none of it actually happened, but somehow we still arrived at Return of the Jedi. How mindboggling would that be?

That’s where we are without Crises in the DC Universe.

Without the Crises to explain things, there are people who are alive that should be dead. There are people who are dead that should be alive. There are people who were paralyzed that can suddenly walk again completely removing the main tragic and interesting element from their backstory and thereby negating the point of one of the greatest Batman/Joker stories of all time (I’m looking at you, Barbara Gordon). Suddenly, the DCU is an infinitely more confusing place than it had been to begin with.

A good 50% of all the DCU’s game-changing events have Crisis somewhere in the title. Crisis on Infinite Earths, Identity Crisis, Final Crisis, Infinite Crisis… the list goes on. There were also “countdown” build-ups to these crises as well as aftermath books detailing what happened in the wake of the crisis, most notably 52 after Infinite Crisis. 52 was one of the most defining moments for the large second-tier of heroes as the “Big Three” of Batman, Superman, and Wonder Woman took (essentially) a year-long sabbatical leaving a huge vacuum which was filled in some of the most interesting ways (such as Harvey Dent and the Riddler going straight and helping to take over for Batman and Lex Luthor granting superpowers to the entirety of Metropolis, himself included, to “cover” for Superman).

Also, as a Bat-Fan, I have to express this: The Batman comics have been the best they’ve been in a long time. Dick Grayson assumed the Mantle of the Bat with Damian Wayne, the psychotic 12-year-old son of Talia al’Ghul and Bruce Wayne as trained by the League of Assassins, serving as Robin. These books were absolutely stunning and it was great to see a different take on the Dark Knight without having to mess with the continuity of things.

Of course, both of these instances would not be possible if not for two separate crises.

Damian spins from a comic that wasn’t originally part of canon (Batman: Son of the Demon, originally thought to be an Elseworlds {alternate reality} story). This was rectified by Infinite Crisis in the most ridiculous way imaginable. Superboy-Prime (look him up, I don’t have space to explain) punching the walls of reality. The shockwaves caused things to suddenly become canon, albeit with a slightly tweaked origin.

Dick’s assuming of the mantle truly comes from the ending of Final Crisis, in which Darkseid removes Batman from the timestream via the Omega Sanction. Of course, Bruce eventually came back, but until the reboot, he was going to allow Dick to continue to operate as Batman in Gotham while Bruce put together an international initiative called Batman, Inc. which would put “Batmen” in all the major metro regions of the world.

This incredible storyline was, of course, rearranged by the New 52 as it was revealed that Bruce would return to the Bat-Mantle and Dick would go back to being Nightwing with Damian staying on as Robin under his father. Now, if none of the crises happened, that means Dick was never Batman and Damian shouldn’t even exist. Way to retcon yourself into a corner, DC.

If you negate the crises, you negate the precedent for many other events, characters, and character developments. Without some of the backstory laid down in both the crises and their supplemental titles, it pulls the entire spine out of the DCU and expects it to still walk on its own.

I wouldn’t have as much a problem with all of this if they would have called it what it should be: a straight reboot. The problem is that they’re trying to pick and choose the story elements they want to save and which they want to abolish.

If a reboot were to be done, it should have been done with a clean slate. The issue from what I can see was in the timing. DC just completed a few huge storyarcs which took the better part of a decade to complete and now they want to just wipe the slate clean and start from scratch.

I say again, it is the worst type of writing and the worst type of gamesmanship that necessitates an overhaul of this magnitude. DC takes too much advantage of geekdom. They know that most of their true devotees will not stop buying even though they’ve shredded thirty years of character history into a now unreadable mess. Geeks will keep buying and the “soft” reboot may help new readers get on board. DC saw the dollar signs and went for it. In a world where print is slowly dying, you can imagine the desire to cash in.

But, at what cost?

I’ll say this: Unless they retract this statement and put things back the way they were, I am through. I have lost what little respect I had left for the DC writing staff and editors.

Marvel may kill characters and bring them back to life, but at least they had the decency to reboot their universe in an entirely separate continuity. They didn’t piss on what they knew was working in order to get new readers. They just drummed up the Ultimate Marvel Universe as an aside and let both continuities survive. They did it the smart way by not driving a stake through the heart of their readers.

Until next time. Make Mine Marvel.

Excelsior!

—end transmission—

True Believers Don’t Fear the Reaper

Jan28

The first time it drew any attention in the media was with a black polybag.

Emblazoned on said bag was the familiar red S logo, dripping with blood.

Inside, the grand conclusion to a comic book event which shattered records: The Death of Superman.

It was the first title-character death to be covered by the national media. It became as much an event as the death of any other celebrity. There were obits on the national news describing the life, career, and cause of death, profiles of his family and friends, and a rudimentary analysis of his killer.

I purchased a copy, but not the black polybagged version (I refused to line up all day for anything Superman related). I wanted to see the Man of Steel beaten to a pulp at the hands of Doomsday. I have the iconic final splash page of Lois Lane cradling the Supercorpse as she wept openly, his tattered cape, torn from his costume and attached to some random debris, flying like a flag in the background.

I was overjoyed. Superman; as much my own arch-nemesis as he is to Lex Luthor or Braniac, was dead. My problem with Superman was, at least temporarily, cured.
My hatred wasn’t just quelled because he had shuffled off this mortal coil to much fanfare. It wasn’t only healed by attempting to lick the tasty tears of anguish from the page as Lois cried a true love’s mourning. Those things both helped. But the root of the anger and issue I had with Superman was almost immediately repaired upon his demise.

Some may ask, why would anyone have a problem with Superman? I mean, he saves the day. He’s the ultimate white knight of comics. How could anyone argue with something as wholesome and all-American as Superman?

My response can be summed up in three words: Superman. Is. Boring. My reasoning for this is lengthy and logical and certainly for another rant at another time. I’m already going to keep you a while as it is, you don’t need me prattling on about why Superman’s books have sucked since before time began.

His death served to stem my bleeding rage, healing me as he crept closer to that inevitable scene alluded to by the black polybag.
Finally, something beat the absolute living shit out of Superman. The bony protrusions and relentless attacks of Doomsday cut him, forcing him to see his own blood in who knows how long. He gave Supes a puffy black eye, broken bones, and gashes through his invulnerable skin. By the time Lois cradled his head in her distress, he was like a Snickers bar left out in the sun; a bunch of lumpy mush loosely contained within a wrapper.
The race was quickly on to replace him, bringing Superboy back into the fray on a more hardcore level, and introducing Steel, Hank Henshaw (the Cyborg Superman), and the Eradicator. Great plot lines unraveled as the ripple of Superman’s death stretched to the farthest reaches of the DCU. It made the book relevant. What would the DCU be like without Superman around to save the day? We were on the verge of truly finding out.
Then, of course, within a year, they turn around and bring him back, putting an end to anything interesting that might have happened had the Corpse of Steel remained six-feet under. Welcome back to the doldrums.

The reason I’m waxing nostalgic about the Death of Superman storyline is that Marvel recently announced a similar event which reached the national media (if you count USA Today as a viable source, that is).

The Fantastic Four will soon become the Fantastic Three.

Shaking up the status quo of a comic which has been running since what seems like the beginning of time by killing off the cast isn’t really something groundbreaking. Even eliminating a main character is becoming passé. Without revealing any spoilers from the article, the fated character dies, essentially splitting up the team to make them free to do other things and pretty much ending the 500+ issue publication. The cover alone caught my attention, as it vaguely resembles the infamous black polybag; it is a simple black cover with the team’s logo front and center, using a 3 instead 4. Simple, ominous, and effective.
I was a fringe fan of the Fantastic Four, usually only coming back to the story when Doom was involved, but I still find it enthralling that one of them will bite it as well as the fact that Marvel has its plans in motion for the survivors. If things go well, this one may stay dead, which would be a truly ballsy coup and would have a lasting effect on Marvel’s First Family.
They were already blown apart once when their opinions were split on the Superhero Registration Act during Civil War, now the giant wedge of death may permanently cleave them apart. It will be interesting to see how things develop, especially since the remaining three have other things to keep them busy. Will they ever be a family again? Will there be resentment or buried rage over the death? To me, the emotional nuance of superhero comics has always been fascinating. Marvel usually does this better than DC.

Death in comics is usually taken about as seriously as death in soap operas. Characters will always find a way back into the plot. No character, no matter how brutally or poignantly they may have perished, is ever truly marked for permanent death.

One of the most notorious examples comes from Batman.
Jason Todd, the second Robin, replacing the outgoing and outgrowing Dick Grayson, who decided on a better career under the name Nightwing and running with the Teen Titans, was savagely beaten to death with a crowbar by the Joker. The incident provided the Dark Knight with anger, regret, fear, temptation… an entire gambit of emotions not normally reflected by the stalwart hero. It also helped the book transition into the modern age, the death of Jason Todd symbolizing the death of innocence within the Batman comics as a whole. It forever affected the partner relationship and heavily influenced Batman’s treatment of Tim Drake, the third Robin, and the development of their relationship. Granted, Todd really died as the result of a reader’s poll, but the writers thought it would be a horrible slight to the readers (who voted Todd dead) if they brought the character back shortly after.
It was believed since the 1989 death of Todd that he would never be reintroduced, as the death was far too significant for the comic.
Of course, Todd was resurrected (courtesy of “reality punching”, DC’s Infinite Crisis-based panacea for all ret-conning). Clayface, posing as Todd during the Hush storyline, offered fans the jaw-dropping moment in 2003, but it wouldn’t be until 2005 that the actual Todd rose from the grave to cause trouble. He also had a pretty big role during the Battle for the Cowl mini-series while Bruce Wayne was (ironically) “dead”.

Can anyone in comics stay dead? Is it simple popularity that brings them back to life?

Bruce Wayne, as mentioned, was killed via Darkseid’s Omega Sanction. Turns out he was just unstuck from time and sent back to the stone age. He had to crawl his whole way back to the present through the strangest means possible, all the while regaining his memories.
This had me, as a fan, worried because the new Batman and Robin, Dick Grayson and Damian Wayne (Bruce’s son via Talia al Ghul), were performing incredibly within the scope of the comic. It was a truly fresh look at the Dynamic Duo. Thankfully, when Bruce returned he immediately spun off into Batman, Inc. – a story about Bruce taking Batman global – leaving Dick and Damian in charge of Gotham while he’s fighting for the greater good. We can continue to watch Dick as he carves his path as the new Batman and Bruce can still be King High Bad Ass. Disaster averted.

Captain America was shot dead after being arrested for violation of the Superhuman Registration Act at the end of the Civil War storyline. James “Bucky” Buchanan, aka the Winter Soldier and Cap’s old sidekick, picked up the mantle and took things to the next level.
Of course, Cap was also simply unstuck from time, forced to battle his way back to the present through… wait, didn’t I write this sentence already? Well, Marvel did it first this time.
Anyway, Steve Rogers, the original Cap, makes it back and steps aside, much like Bruce, to become the new head of SHIELD, America’s “top cop” as it were, and is simply known as Captain Steve Rogers, leaving his patriotic moniker to Bucky.

Both instances marked permanent changes for the namesake heroes, changing the men behind the masks but without the actual carnage of leaving the original heroes buried and rotting. We achieve change without death, but what does this really mean for the characters involved?
Are we not allowed to see a mournful superhero? Would it jeopardize our concept of the traditional super hero comic to see an exhibition of emotion that wasn’t related to being a total crime-fighting, world-saving badass? Will the popularity of the originals versus the infusion of new blood only serve to briefly shake and reestablish the status quo? Can a hero ever stay dead, be mourned, be memorialized, and have the world move on?

If Marvel had any balls, they would test the waters with the F4 member who is about to bite it and mandate that he remain dead. I mean, Ares died in the Siege storyline when he was torn in half (literally) by the Sentry, who was then put down by Thor (lightning bolt to the head). Those two have been dead for a good six months or so now and I’m pretty sure they’re going to stay that way. I have hope that Marvel is learning it’s ok to kill. It’s ok to let some heroes reach their final rest (excluding Magneto and Jean Grey, of course). How long until other publishers follow suit?

In my story (that being Unlucky 7), when you’re dead, you stay dead. (just ask Wearing Hudsucker)

Any thoughts on this? Any answers to my queries? What’s your opinion? Just something to think about while you’re slowly being snowed in this winter.

Keep fighting the good fight.

—end transmission—