“Borrowing Problems from the Future.” The Flash Season 3, Episode 10. Directed by Millicent Shelton. Written by Grainne Godfree and David Kob.
I enjoy when the DC television shows approach similar themes in the same week.
It’s coincidental, not intentional: Supergirl in its own universe, The Flash in its own universe, and Lucifer on a completely different network have little need to approach the topic of choice at the same time, especially how well-worn that topic is.
Whereas Supergirl looked at the choice to fight or retreat, to change or stay stagnant, and while Lucifer is now questioning whether he had any choice or whether God intervene in his meeting Chloe, The Flash is about fighting the future.
Too bad the episode takes its sweet time getting there.
“Love Handles.” Lucifer Season 2, Episode 12.
Another week of Lucifer, another week of me only realizing at episode’s end how the case-of-the-week ties into the episode’s theme.
“Supergirl Lives.” Supergirl Season 2, Episode 9. Directed by Kevin Smith. Story by Andrew Kreisberg. Teleplay by Eric Carrasco and Jess Jardos.
We have needed the return of Supergirl.
While some reviews may overstate it as the most progressive series on television right now (Steven Universe says hi), even as heavy-handed as it could be the last year and a half, its messages have been spot-on.
The show follows a bit from what Buffy the Vampire Slayer did: turn real-life issues into allegories. Some work better than others, yet the discussion they can motivate is vital when it comes to xenophobia, refugee relief, racism, sexism, homophobia, schools of feminism, toxic masculinity, being the change you want in the world, and forming a coherent society.
And as the United States allows a fascist and a bigot to walk into the White House, those messages are more important.
(And yes, I will get to reviewing the episode in a moment.)
Lucifer, Season 2, Episode 11, “Stewardess Interruptus.” Directed by Greg Beeman. Written by Sheri Elwood.
Lucifer attracts my attention because it takes a page in a post-Joss Whedon television environment: blending narrative arcs with one-episode stories. Television is flooded with police procedurals, and as cliche as they are, this show sticks with the format, likely being popular with viewers who enjoy such digestible stories, and which are easier to re-air in syndication. And there has to be the necessary spectacle: attractive people by the pool, playful banter about outfit choices, an admittedly fun car chase after an airplane. Even the title is rather forgettable for me, as I didn’t remember that this episode was about pilot and flight attendants. Yet, especially with this episode, the Sheri Elwood and writers on the show do adjust the format to serve the progression of the seasonal arc and the development of their characters. In “Stewardess Interruptus,” the crime reveals someone has come across an item that produces unexpected reactions in whoever holds it, perhaps something preternatural, and the case again has Lucifer (Tom Ellis) confront his flaws and where he wants to be in his relationship with Chloe (Lauren German).