Contributor: John Keegan
Written by Wendy Mericle and Ben Sokolowski
Directed by Michael Schultz
This episode crystallized everything that I’ve been thinking about the difference between “Smallville” and “Arrow”. I’m not talking about the fact that Oliver actually kills the criminals that are failing his city, because that’s obvious. I’m talking about how the differences in the main characters matter to the strength and flexibility of the narrative.
Clark was proto-Superman right until the end, and as such, the writers of “Smallville” could only go so far in letting him have human moral weaknesses. At worst, Clark had an arrogant streak a mile wide. Things got a lot more interesting when they introduced Oliver Queen and had a hero alongside Clark that wasn’t quite as perfect. And that’s why this version, which runs much darker in tone and characterization, has worked so well: this is a human being who is damaged. And human beings are complicated.
All those scars had to come from somewhere, and there was no way that Oliver went through five years of struggle on that island without accumulating some psychological scars as well. But we’re getting to see how deep those scars run, and it’s not a pretty sight. Let’s just say they don’t call experiences like that a crucible for nothing.
Setting aside the fact that they really need to name Oliver’s mentor already so we have an easy way to identify him (DC comics experts might know of one!), the action on the island continues to be one of the highlights of the story. Oliver might have been better off if he was alone for those five years. This is our first look at Deathstroke, a storied figure in the DC canon, but it’s only an introduction. There’s not much to go on in terms of character yet. That said, the costume harkens to the classic comics look, though I’m not entirely sure that the mask works within the aesthetic of the series. I suspect they will be making some adjustments.
What makes Oliver’s fractured psyche so interesting is that one really has to wonder where the line between deception and honesty lies. Dig takes him to task for being too fast and loose with the truth, even as he’s asking for help in his mission. Dig is going to make a good “grounding” character for Oliver, if this trend continues. Yet I was most struck by the conversations between Oliver and Laurel. How much of that was truth, and how much was designed to deflect Laurel’s suspicions?
Underlying all of this is the fact that everything Oliver does in this episode is an elaborate deception. He pleads his innocence, taking people to task for questioning his word, when everyone else is absolutely right! Yet we understand his motivations, even as we question his choices. Even with decades of familiarity with the concept of secret identities, this is a fine line to walk. All too often, “Smallville” and other comics-inspired shows have failed to let the other characters look intelligent or even mildly observant.
It’s hard to say if Laurel will be entirely forgiving when she learns the truth. At this point, I think it’s possible that she will find Green Arrow inspiring on her own, and choose to become Black Canary before Oliver is even aware of it. More importantly, though, Laurel challenges Oliver on several levels, and she only believes him (if she even does, in the end) because he’s able to sell his damage so earnestly.
As usual, the least interesting thing in the show right now is Captain Jack’s mysterious gambit involving Oliver’s mother. (Sorry, but isn’t that the easiest way to refer to him right now?) Captain Jack is rather blunt about his willingness to kill to achieve his desired goals, which suggests he doesn’t have much fear of reprisal. So who is he, and why did he conspire against Oliver’s father? Will the eventual discovery of this vast conspiracy be the reason why Detective Lance or Laurel becomes Oliver’s ally in the future?
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 2/4
Final Score: 8/10
