Hiddenpick

Darkness and light are themes that's been the heart of the show since it's inception. It has also been an elemental struggle for Oliver Queen after his time on Lian Lu. Each year and seemingly ever episode there has been a point where he has had to choose which path to follow. Season one was clear cut---nothing but darkness. Since season two however there has been a conscious effort by Oliver to choose the better option---a choice he made all by himself. His motivation for that option becomes relevant only as a reminder that that light----- that elusive light he talks about and seeks. The one where he credits it's existence to this person and that person, was conceptualized by him. No one talked him into changing his ways or thought process, he chose the option. What has changed since then is he has had the good fortune to have friends and family who, as he abides by this balance with council when asked and support when necessary. Yeah, there's some lecturing too, but that goes with the territory when one opens themselves for accountableness. I have struggled with the constancy of Oliver's brooding and has been annoyed with his quickness to take blame for the world's problem. This molehill has become a mountain as the seasons have past. My hope was that with the introduction of the Green Arrow that somehow the 'conversation' would be different. That this self flagellation would let up or channeled differently. That recognizing all the good that he did would not be glossed over or tossed aside and should (by now) have outweighed the bad. That this perceived need to be lifted up or cheered on or encouraged could---could be interpreted as this weak almost pathetic person lacking self confidence constantly in need of validation. But what I have too often appreciated is that it's kinda the same old song, with a different beat. Yes, Felicity, Laurel, Diggie etc has been his cheering squad (at times) and deserve credit--they do; but no I don't believe that he couldn't find the light --his own easily conjured internal-self-sustaining, inner-directed light by his own damn self. These same 'light bearers', have also told him he can't love and that he would always revert to that guy---the one that keeps deep dark secrets. I'm not sure if the thought is that his journey would be less dramatic if he's seen as a man that exudes confidence framed in a way to portray human frailties. Owning who he is and believing in himself isn't arrogance, it's confidence. Having said all o'dat, I have liked the emotional beats this season had to offer starting with Diggie and Andy's arc. But I have struggled to appreciate the magic-centric plot. I have complained that having magic doesn't make Damien a worthy and particularly titillating villain (though I absolutely love Neal's portrayal of this character). His solution to a problem is magic, which limits the protagonists capability to defend and protect. There is no thought process, no strategizing. His power is based on fallacy, when removed renders him useless. I'm not sure I can explain my aversion to Damien's choice of 'weapon', but it makes the show less about 'hero's'--these folks who wears masks and jump off buildings at night trying to deal with bad guys on a playing field where their brains work to outwit and capture and more magic carpet ride. The resolution to Andy and Diggie's arc was very satisfying. I wanted to be wrong about Andy for Diggie's sake, but given all he had done after Diggie placed his and his family's trust in this man's hand I was begging Dig to shoot. Diggie is a broken man, having just shot the brother he believed in, his nephew's father, his daughter's uncle; but Andy's glee in taunting him almost seemed as if he wanted him to shoot. Meanwhile having heard from Constantine (using his Galaxy 8 no doubt) and getting some advice about how to counteract magic, Oliver goes to the Hub. Of course this was a perfect opportunity for Felicity to tag along for a weekend getaway, because you know, that's what dis-engaged people do. The tattoo Constantine gave Oliver wards off magic apparently, so why didn't it before? I think Oliver should just stop wearing the Green Arrow suit when he goes to fight Darhk and his peeps..seems silly. I mean Damien knows who he is, and it would save so much time. Seems Oliver was able to conjure up the 'light' by hearing the voices of Felicity and friends, during his encounter with the Darhk one. I don't absolutely mind that Felicity is the anchor that Oliver needs--everyone needs an anchor. I do mind when that anchor moves the line of acceptable behavior up and then moves it back. The reason for their breakup was bogus, specifically Felicity's dire announcement that he will always revert to the guy on Lian Lu and their relationship would never work because of it. I mention this because suddenly, she mentions that no matter what people can/do change. Oy. Seeds for a reunion? I know, I know... Thea is under the dome with clueless Alex, in Genesis. This is Damien's new jack-ed up city, where people who have taken the yellow pill will enter the matrix two by two, and peace will guide the planet and love will rule. This..this is Damien's plan, to annihilate Star city? the earth? But why?? Seems this was part of Malcolm's plan and Slade's and Ra's Al Ghul's for different reasons of course. What is it about Star City that makes people want to destroy it?

The Wu gang was as determined and purposeful as I've seen in their quest to find out exactly what was going on with our favorite sergeant. I liked seeing that--this comradery--this one 'nation' under the Wu scenario. I liked it because, if nothing else, it gives Wu some interesting screen time. The gang will be challenged for sure, what with finding a cure. But it's this Black Claw uprising that continues to endure. This episode continued the grim Grimm story of monsters and men or rather extend the concept of the monster that can be found in men. Intended or not, the presentation represents an abstraction regarding the effect of how a person that's affected with 'mutancy' reacts and how that condition affects the people in their orbit. Though Wu's new wrinkle might not have meant to draw particular attention to that phenomena, it did. it's actually a recurring theme in this series. This was not the first time this kind of exposure was used to push a change in characters. Juliette and even Adalind is testament on that score; it's the struggle that comes from the reality of living two separate lives that presents the dilemma. Wu has been fundamentally transformed, physical and mentally. He has killed---he has taken a life albeit unconsciously. The moral burden is lifted and his 'crime' justified by verbiage that indicates that his victim 'deserved' to die. He is full of remorse and has consciously accepted his fate--or so it seems at this point anyway. The concern now becomes, will Wu's new reality alter him to the point of no return? Will he (somewhere along the way) embrace his 'power' like Juliette did or fight the urge as he's vowed to do? Meanwhile he is nowhere near tamed. The opposite (I suspect) goes to Eve/tte. Her personal and (I think) intrusive interest in Nick is troubling. She's all up in this man's arse, a man who ostensibly she should fear. She is not this 'creature' devoid of emotion. It's Juliette pretending to be Eve for whatever reason. It could be guilt and therefore the need for recompense due to the pain and destruction she caused. Whatever the reason, I'm sure that she's waiting to announce that, "psych, I've been dull, useless Juliette all along". Black Claw's other agenda (domination by destruction) came back into focus. For the past couple of weeks we were inundated with the plans for this usurpation from a political aspect. Now, with a new, yet tedious Black Claw head figure, Bonaparte (really?) the group has resorted to strong-arming Adalind, Renard and Zuri and things are about to get crucial. Gotta feel sorry for Hank though, getting in bed with the enemy thereby guaranteeing that his love life will bite--big time. Hank isn't the only one with a Wesen problem. Nick's relationship with Adalind has been fraught with deceit. Addy, finally shared her 'secret' with Nick and to her (and my) surprise instead of rejection, she was assured that he would not harm her. The same can't be said about her powerful daughter Diana. The threats and ultimatums Bonaparte doled out to Adaline scares her enough that she has taken he Kelly to parts unknown. She did however cleverly leave a disappearing ink note with an explanation, an apology and a seemingly sound motivation for her flight---to save him and her children. Diana, a person of interest to Black Claw has issues, not the least of which is her manipulative yet immature behavior. Temper tantrums, apparitions, voices that imitate, threaten and demand and this is the first act. This girl needs an exorcism--Exorcizo te, omnis spiritus immunde, in nomine Dei Patris omnipotentis, et in noimine Jesu Christi Filii ejus, Domini et Judicis nostri, et in virtute Spiritus Sancti. Per eumdem Christum Dominum nostrum, qui venturus est judicare vivos et mortuos, et saeculum per ignem. Her power scares me, Adalind and Eve/tte and seem to (potentially) empower Black Claw. Is Renard a puppet or the puppet master lulling the Black Claw contingent into believing he's their boy? Bonaparte is trippin' and livin' la vida fantasía. His directive to Renard? Recruit Nick or he shall die! uh-huh. Adalind's intent is to protect Nick and Kelly, but from whom? Diana or Black Claw? I'm thinking Black Claw ought to be afraid of Diana if for nothing else her disregard for anyone's needs but her own. If Addy plays her cards right, it's possible that she could direct Diana to destroy Black Claw insurgents, and, if I pray really hard, maybe Eve once and for all. She had better not try to hurt Kelly...although I'm thinking that Kelly may just be able to hold his own. Shirtless Meiser and Trubel are back---just in time for the war that's a comin'. Nick...come here quick and bring that lickin' stick!

That's right kill 'em all---the people who wrote this episode in fact the whole season 7 that is...no, make that seasons 5,6,7. Horrible writing, directionless plots ought not be the crowning glory for any TV series, let alone a series that had such promise. I ought not to be more excited to put dirty clothes in my new washer than watching a 'riveting' episode of TVD. It's just seems that pride in strong work should be a goal for these folks who call themselves professional writers. And yet I have concluded that what has been demonstrated for the last several seasons is anything but. This particular season has been a hodgepodge of action with no emotional content. For one thing, the 'big bad' has been teased to be the Heretics, Julian, Rayna and the Armory, and all have come and gone into some black hole. I believe that that's part of the problem with this ill-conceived season. Every plot, every arc was vague and poorly developed. Characters came and went through the turn-style of gitchi, gitchi ya ya non-development and I cared not one iota for them. However now, seems the big bad or the bad ass will be none other than Bonnie Bennett. Imagine that; and although the idea of Bonnie socking it to these 'friends' that have taken her for granted all these years seems appropriate, it's just that...well I want her to be happy. I wanted her to have a full life--a life of her own where she chooses her, dammit. The thing is she has always had the potential for being something more than the sacrificial lamb; and for the past two seasons it seemed, at times, that that vision of mine was about to come to fruition, what with Bonnie seeming to have a more prominent role in the series (although for the life of me I have been annoyed that her powers have never increased and consistently applied). Now, she is about to become a vampire slayer--the antithesis of the person she was with the intent to destroy her friends instead of 'saving' 'em. Had I not been weary, I'd appreciate the irony in all this more gleefully than I do now. There had to be a twist of course, when Rayna decided to give up her life for Bonnie; after all she made an agreement with no assurance to the very person that tortured her. There should have been a "danger Will Robinson" nagging voice in Damon's head as the deal was made. When it came right down to it, Rayna was as clever as Damon and Enzo were gullible. She accomplished her goal (destroying vampires) with no physical effort on her part and gave them the middle finger in her death by assuring that her 'work' would continue. And continue it will with a character I actually have some emotional investment in. The Scooby gang will want to save themselves of course and her in the bargain. And like Jer and Alaric before him, it's highly unlikely that any of her vampire friends will be killed. But maybe Matt can get between a crossbow and Enzo? I'm on mah kneeze beggin' pleeze. "There's that strain again. It had a dying fall". This week, once again the endless 'why everybody hates Damon' trope tape played. Stop. "Enough. no more. 'Tis not so sweet as it was before"; and he's not even my favorite character! It's a mad, mad, mad, mad world y'all. Bonnie's mad at Damon; Enzo's mad at Damon; Stefan's mad at Damon; Caroline's mad at Stefan; Matt's mad at Stefan; Alaric's mad at Stefan and I'm mad that I needed a new washer. The madness will continue for sure what with hunter Bonnie on the loose and will give everyone more fodder to be mad at Damon. Alaric and Caroline...um... well...er. Did you know that at 13,528 ft, Kings Peak is the highest point in Utah? Yep. I should say something, right? Okay...this couple is doomed of course. He (with twins in tow) will go on to traveling and seeking valuable artifacts, with whom he seems more intimately attached to than Caroline, and she get back with Stefan to continue their boring association. Nope, not a fan of Steroline. Matt and Stefan. *sigh*. Matt has had tragedy and losses in his life before. His sister's life and death comes to mind. He was abandoned by his mother and has witnessed his friends Caroline and Elena's troubles etc. Yet it's Penny's so-called tragic death that has pushed him over the edge so that he would betray his friends and Stefan in particular. This is a tragedy? No, it's a travesty. I suppose there's always 'the last straw' in emotional turmoil...but...Penny was a non-essential character whom I knew nothing about, had no emotional attachment to and cared less for. Matt continues to hate/blame Stefan for what turned out to be 'friendly fire' accident--committed by him. And Matt's .."if you hadn't been in town" (as if MF wasn't Stefan's home way before Matt was a conception) is just more pasturage. Additionally his assignment of blame says more about character's lack of accountability issues. Two more episodes to go. I can wait--hardly...

Very apt name for this episode methinks, as my post is about a show I used to know. I'm of the impression that filling in the blanks of stories heretofore told in flash forwards, would actually mean that an audience would eventually have full disclosure of what occurred, and that said audience would be satisfied, pleased with the information or actually be blank-less no more. Sadly I'm clueless about the blankety blank blanks that were supposedly filled in regarding anything of relevance or importance. Further the reveal of the biggest blank (that Bozo relationship--yes Bozo) fell short of satisfaction. Hopefully Bonnie did get some satisfaction, cause I tried and tried but I couldn't get no satisfaction. Vampire Diaries presented the flash forward 'hook' as a means to tell a story; what with shifting, broken, surprising alliances and odd relationship hook-up. At first view, there was promise, at least there was the hope of promise for better or more interesting, cohesive and consistent story telling. There were glimpses of some decent narrative and potential for some cool runnings; but the majority of episodes seemed to lack focus. This episode's quest to tell the 'now-from-then' story could have been better. The crux of this week's 'filler inner', was about the titillating relationship of Bozo, told through interspersing flashbacks. I'm asked to believe that after being injected with some magic robbing serum, kidnapped, encouraged to take blood pills and kept isolated in a cabin for what..one year? two? (where she sees no one else and talks to no one else) she--falls for her 'jailer' Enzo. Having said that, I have to admit that when given a chance to shine Cat hits it outta the park every.single.time. This episode was no different. I actually did see a bit of chemistry between Enzo and Bonnie--I mean Cat has chemistry with anyone [maybe not Jer], and though I now know the genesis of that relationship, and though the setting and the mood of their 'courtship' had all the ingredients needed to make the scenes romantic, I am never completely bowled over by their passion for each other. Again I got no satisfaction and I tried, I tried. I just find it incredulous that Bonnie needs to take anti-magic pills. Why? And with this revelation, I am struck, yet again by the apparent ineffectiveness of this Bennett witch when the mythology suggests that they are strong and important witches that's able to move heaven and earth. Every witch, it seems, is stronger than she. Here's my other on-going observation. Bonnie's emotional investment in Damon and his for her feels more like those of lovers than best-ties--though the idea of best friend and lovers aren't mutually exclusive. I see more passion in Bonnie's 'you don't bring me flowers -you don't sing me love songs' attitude and in the protestations of her so-called disgust with Damon for betraying her, leaving her or whatever, than her 'love affair' with Enzo (even as gorg as he looked). Incidentally, did Damon ever bring Elena flowers? I may have missed the number of times he did, what with me FF their scenes and all. And should Damon know what kind of flower Bonnie likes? Is that a discussion best friends have? The present day scenes with Damon, Bonnie, Enzo, Stefan and Ric hark back to the same old, same ole--everyone's disgust with Damon's ways (as if, BTW, they hadn't known the type of man he was all along). But at this point their disgust with him doesn't prevent vampires and former vampire/vampire hunter working in tandem with Rayna to save Bonnie. The Bonnie and Clyde-esque vampire hunting sequence was actually fun to watch. Of course Bonnie's impending death was dramatically construed to highlight the urgency of the situation. At this point the (Rayna/Armory) presence in the story has just been this giant black hole. The mythology is flawed and the impact of it's importance to the story doesn't quite connect--at least not yet. BTW, where in the world is Matt? Is he the scary thing in the basement? I kid of course, but I do dread the episode where I am (mis)treated to his and Penny's back story. Oh?? we may not see his story you say? It is my prayer to the story gods (although my prayers for a fab season has not been answered). I [too] feel as if I'm in the hell that is the Phoenix stone, and I actually ache to mention the disaster that comes in the form of Stefan and Alaric's moments. Pathetic dialogue and disastrous story line is no fun to watch. I have always questioned why Alaric was brought back and I have had no answers, only the same questions--why? I am sure as Phoenix hell that I hated Alaric speaking on Caroline's behalf. Did Stefan not write to Caroline? Did she return his letters unopened? In any event Stefan was kinda rude being all up in Caroline and Alaric's business. It's clear they (MFPTB) are setting up another Bermuda triangle, this time involving Stefan, Caroline and Alaric. *sigh* This is what it sounds like when I cry... Rest in Peaceful Purpleness, Prince...

Does it seem as if this TVD season is an endless mess on an endless loop fraught with aimless, feckless, order less, purposeless pursuits? There was a time when the notion that TVD's season was about to come to a close fueled me with both heartache and excitement. Uh-huh. Were there moments within the run of the series that thrilled me and filled me up with that can't-wait-don't-hate-gotta-date-won't-be-late-TVD-is-first-rate feeling? Wasn't there? Hop aboard the midnight train to Dallas, y'all, no...to Tennessee, no...to Virginia...no,no... to Asheville. This southern train has taken us on a roller coaster ride and I just have to wonder what happened to MFMF? It's a town that Matt, the Barney Fife of MF, fought for. So did Stefan, Damon, Caroline...the whole gang. Why isn't anything happening there anymore? To think I used to complain about all the parties that took place there. The Heretics came--and went. Julian came--and went. The town was an 'anchor' of sorts. All roads led to MF, it was common ground..almost consecrated ground. It was that place where 'home grown' characters would come into contact with each other. In fact the town could be considered an important 'character' within the series---The Boarding house, the Mansion, the sheriff's office, the town square, the Grill, the Gilberts, the Bennets. I cared about those places and the people who lived and worked in them. I have no sense of cohesiveness now. As it is, everyone is scattered, communicating mostly by cell phones, which is as exciting as a box of hair. I'm sure this slight is ten percent of my discontent at this point. Damon (everybody's punching bag this week) Salvatore, appeared doggedly determined to do the 'right' thing by his brother. I gotta say the 'honest' but hurtful remarks thrown at Damon was kinda overkill...and I'm not a great fan of this character. The opposing features given to him from one week to the next is dizzying. He's good, no he's bad. He's selfish, no he's kind. He's egotistical and thoughtless, no he's thoughtful and loving. We revisited his "I had to remove myself to protect the people I love' yammering said this time to Al. The act seemed selfish to some selfless to others--including Damon. I didn't think it was necessary to hide to protect his loved ones, because the danger didn't go with Damon in his coffin. I have had no use for Alaric in any of his 'lifetimes', so his sanctimonious attitude regarding both Damon and Stefan was grating. He hates Stefan because he broke Caroline's heart? But he was BFF with the guy who slept with his wife? Stefan's short lived body jump was silly. I found it was without substance or merit. I believe the purpose of the exercise was ye olde plot-ery intended to showcase the urgency of the situation that would then evolve into a bonding moment for the brothers and further Damon's redemption. It wasn't that I didn't enjoy Damon and Stefan's talk, I did. But they could have, dunno, gone fishing and had the same convo. Less dramatic to be sure but absolutely effective. But here's my conundrum, apart from Stefan and Damon, (loosely), which relationships Should I feel something for and crave that their story be something to smile about. Valerie is gone (quite classy departure I must say). Should I be rooting for Alaric and Caroline ( I actually do since I abhor Steroline). Should I be rooting for Enzo and Bonnie? Bonnie and Damon (I was a huge fan, now I'm a trepidatious one) Meanwhile, dishonorable mention to Rayna. Is she gonna die soon, please? Her character has become superlative. Hooray for Bonnie's appearance, even though she's trotted out at odd times doing odd things. The Bennett witches are supposedly the strongest witches..like..eva---except I have seen action to the contrary, more often than not. Seems every witch in creation is more powerful than her. I love the material Kat has been given this season...let's put it this way, I like what Kat has done with the shit she been given. Meanwhile, Bonnie, you in trouble gurl. "This sense of disappointment must be what it feels like to have you folks as writers"..damn straight.

Awww...miss-vanilla, thank you so much. Sometimes my fangs linger after biting (into) decaying stories.

I'm not sure if "I went into the woods" was to be viewed as a foray into the mind of Thoreau in order to provide studious access to the theory that engaging in behavior that enriches your life makes you a better person; or that frivolous, silly waste of time pursuits negates a purposeful life. Reflection and soul searching seems to be the theme here. What I did appreciate, was a forlorn fable retrospective of contrition, disappointment and expectation starring the Salvatore brothers in another Groundhog loop from hell. Yes, that very space which Stefan imagined he fell into, is the very spot this episode, indeed the season (so far) has imported moi. To wit, repetitive themes and dialogue. Supporting characters that are not only useless, they are boring, poorly conceived and under developed albatrosses, rewarmed fraternal issues and unclear mythology, has left me wanting. I wanted to be moved by the brother's emotional give and take. I wanted to be carried away by the emotionalism and sensitivity of their you-didn't-wouldn't-couldn't-be-there-for-me-I-can't-won't-because-I'm-b-bb-bad to the bone recitation. I wished that there was some sort of lightening bolt moment, where I'd learn something significant and new about these two--anything. I wanted dialogue between these two grown ass men that was..dunno...transcendental maybe? (for lack of a better word). What I got instead was Damon's urged declaration that he's unabashedly selfish (except with/for and about Elena) and Stefan's pouty assertions and blind expectation that his brother be better than what he is or who he claims to be. You know what? I get it. I get the message. I am bludgeoned by it--even as awkwardly as it's been presented and in spite of appearances, this was not a literal conversation with the tough I don't give a rat's ass Damon who says shit for effect; nor was it about a Stefan who believes that (despite words to the contrary) Damon won't always find him. Wanna bet he did when they played hide-and-seek? I believe he clings to those memories of a brother who he looked up to and loves. I--we have heard the 'promises of divorce' from each other once too often to believe in the reality of it (even in the dire circumstances in which they find themselves). That option will never come to pass. I know that, you know that, I know JP knows that, and I know she knows that I know she knows that. Stefan and Damon are the heart and soul of the show. Only Damon can 'save' Stefan, be he human or vampire, in whatever body he's in or mind trip he's on. Elena told us and him that. They save each other. While I have some problem with the character of Damon, selfishness being one of them, I don't buy that he's solely defined by that trait. Likewise, Stefan is as complex as his brother, and I can't buy that he would complain about his brother 'leaving him'. After-all, Stefan has, in the past, requested that Damon do just that. So this insistence on making these boys appear one dimensional for...dramatic license? is just irritating and it doesn't work. And while the visuals (Stefan struggling in the cold and having a phone conversation with a deliberately resolute Damon) was meant to be heart felt (I mean I thought I heard angels singing when Damon appeared near Stefan, surrounded by the white light) it fell a little flat. All style no real substance, they can do better. Meanwhile Stefan is once again saddled with an invasive being. This is like..what..the third time? How fortunate though, that he was able to get cable news in the cabin in the woods. Matt..why? I cannot care about this character's grief if I don't know (or care) about his Penny! I suppose we will get the back, or forward, story soon. But the degree of interest I have is minus infinity. The walking dead is coming to MF?? How exciting...well, if only. So, per Rayna the escapees from the stone are the worst of the worst. Wow. So what now? Will MF be bombarded with more unstable entities? Wait, wasn't Jo nice? So was Rayna responsible for imprisoning nice vamp Jo? I'm confoozled. *Sigh" If only Spike and Angel were among the escapees...

Days of Future past is yet another in the series of the days of ours lives soap opera story about the brothers Salvatore. It's old, it's annoying and I tire of seeing variations on the theme of the same sorry story told with the same outcome. Actually, this outing may have set the brother's relationship back, after all the forward movements that have been teased. Stefan's resolve to be there for his brother has been established from S1 as well as his wish for his brother to be 'all that he can be' (and by any means) has been a constant. He did proselytize that even though he lost Elena, she was a good influence on jeopardous Damon. What is also vested is Stefan's disappointment in his brother's behavior, which in fact, has, on many occasion led to Stefan's earnestness (albeit temporary) to renounce Damon. So asked to buy that Stefan has had this sudden epiphany about his need to abandon Damon instigated by none other than Rayna is just, well...ridiculous. Yes, they love each other--unless they don't. They need each other--unless they don't. Damon often chooses to attend to his needs regardless of the consequences his behavior may wrought on Stefan --or anyone he proclaims to love for that matter. He chose desiccation over remaining with Stefan (and Bonnie) when Rayna threaten. And now, when given a new option to 'save' his brother, he chose not to--until, that is, it was too late. I suppose there is something to be said about intent--it's just that I have no clue what that word is when it comes to Damon. Here's what I know, he shouldn't have to be continually talked into being there (consistently) for his brother--not by Valerie and not by, for or because of Elena's influence. Time has 'caught up' with this season's ploy. The three year flash forward is now real time with flashbacks being the new narrative for the story. This episode packed quite a lot of 'round up' action, trying to tie up mysteries of Matt's 'psychotic break' and Enzo's story and inform viewers of past three years action. Although Matt's motivation was no mystery at all since we already knew that the underwhelming and little known character of Penny triggered his ire. We have yet to find out why Stefan killed Penny. Ask me if I care--go ahead ask. Enzo, our ever morphing man whose motivation for action changes as often as sheets in a motel frequented by prostitutes, is now apparently in love with Bonnie and trying desperately to save her. Heaven help us. As for the Armory, the Initiative-ish cheap resemblance, is still mired in mystery. Not the wringing-hands-gotta-know-right-now-cause-I-can't-sleep type though. It's the irritating-unhelpful should-I-care-why-isn't-it-clear type. Although if I had to guess, the Armory has to be this season's big bad. What will happen now that the stone is destroyed thanks to Nora and Mary Louise, who BTW are gone---say goodbye to two gay characters. That creative deficit is a major problem in "Days of Future Past" is an understatement; and the inclusion of bald expository dialogue, forgettable action with direction by IS does nothing to off set what's wrong. The storytelling had a flurry of activity but that still doesn't allow you enough time to realize that the story itself lacked urgency. Next up? Days of Thunder maybe--the race to find Ste-fan followed by Days of wine and Roses--a set featuring Axl, give me patience, please.

Felicity's emotional fall out/disillusionment/disappointment as you describe and subsequent decision to leave, is a direct correlation to Oliver's 'big lie'. It was the catalyst for her initial and ensuing pain. By profound or new I meant that there was no other lie or secret revealed. No other discovery of a covert plan or furtive arrangement uncovered that was new information and added to the already fragile situation..like say...she found out, in addition to the William debacle, he secretly decided to resurrect the League of Assassins. My statement spoke to that.

"Shot through the heart and you're to blame you give love a bad name". I quote these Bon Jovi lyrics while looking at you Cupid, and at you writers. Why the writers you say? Because if the expectation is that I would be invested in the idea that Cupid is so forlorned by the 'death' of her fantasy lover that I would buy that as a legitimate motivation for her actions, then...then you'd be wrong. What I do know is that her appearance is a devise (a heavily laden one at that) to continue the campaign to legitimize or analyze the contrived nonsense that led to the Olicity break-up in the first place. I'm worn by it, beat down, exhausted...trampled with the dour soap opera-ness of it. That it's a necessary (I used the term loosely) plot development doesn't provide comfort or contentment. Now, it certainly would not be cool for the writers to have them break up in a previous episode just to have them make up in this one, yet having Felicity walk away again, given there is no new or deeply profound reasoning for doing so is becoming tiresome at best and predictable at worst. (Although the paralysis story and it's conclusion was a bit anti-climatic). We get it, Oliver can be a blockhead sometimes, but this is nothing new. Further (as I have posted before) it's a sensibility that was front and center as she fell in love with this version of Oliver. Not sure if it's wise to be with someone only to expect to change them. The moment they fail to live up to expectation, they'll fail and you'll will be disappointed. And so I suppose this is Felicity's realization--finally. There was no heightened sense of urgency in this week's episode and no indispensable dramatic interchange. There was no compelling or crucial action. What it was instead was a grim sad outing that weighed the episode down. Maybe it's because I absolutely realize that Felicity was the one character that often made the episodes lighter--at least for the most part, what with those (at times) inappropriate one-liners that endeared me. And maybe because I feel that the way Felicity is [written] more recently has morphed into this provocative character, targeted for her actions to be interpreted as 'wrong' and 'right' and/or 'good' and 'bad'. And maybe that's why after seeing this episode my shoulders sag and I have a glazed look in my eye and am left with a discontentment I cannot fully explain. And while I am saddened about the breakup, that sadness is coming from a more peripheral place, not a heart-and-soul-deepdown-to-the-bone-gut-bucket angst. Meh, maybe it's because I know that this (breakup) too shall pass into a better and best relationship for them both. It doesn't help that characters seem written with a schizophrenic-esque flavor. On the one hand Felicity tells her mom to forgive Lance because people keep secrets to protect the ones they love and on the other she is not allowed to practice what she preaches. But more annoying is the idea that we are bombarded with affected story lines that try to sell the idea that Oliver is wrong without really making him do something realistically dastardly to warrant a proper bu-bye from Felicity. Oh Oliver, my Oliver asking Felicity to go through a fake wedding was so in bad taste, though the practicality for the ruse apparently worked. Oliver's 'role' in this episode was (for the most part) to react to the breakup, a process which placed him in his usual emotional crisis with the M.O. of him 'running away' from the reality at hand. Dig's and Thea's egging him on to 'just tell her' what he wants (as if she doesn't know) didn't help the situation. And as this estrangement continues, what we will see in the episodes to come is 'noble' Oliver fighting and "suffering the slings and arrows of outrageous fortune and take arms against a sea of troubles" even as he's brooding and moody. What will Felicity do now that she has quit the team (again)? There's no doubt that this is an emotional journey for Olicity, not it's destination. Seeing how that all works itself out had better be so fascinating that all this mishigos will be wiped from my memory forever. In other news, Laurel does not recuse herself from the case which involves her father, but manages to get a conviction. Devious devilish Damien Darhk is up to no good as he's led to his jail cell. Is that ring mystical? And the endless sub-plot in an endless flashback continues and round and round it goes, when will it stop, nobody knows.

V9 is one of those drugs, the likes of which we are bombarded with TV commercials extolling it's necessity. But then, within the same frame, we learn about the all too frightening litany of adverse effects that leaves one questioning the usefulness of the drug in curing what ails one. Eliza, must have been too tied up with her beakers, Bunsen burner and microscopes to watch TV thereby never learning about the consequences of dabbling with A-vilify 9. Had she had a life outside the lab she may have heard this warning: Call your physician or local lab cohort if your depression worsens or you have unusual changes in behavior or thoughts of suicide. There is an increased risk of stiff muscles and confusion which addresses a life threatening condition. You may develop uncontrollable muscle movements--these could become permanent. If you have dizziness, seizures, trouble swallowing ( the advise of well wishers), impaired judgement or motor skills. In addition, I suppose A-vilify 9, enables the onset of DID (Dissociative Identity Disorder aka split-personality) and apparently it's speed enhancement not only causes slow and fast twitch muscle increased activity, it causes hair twisting as well. Luckily for team Flash, Wells was well informed and convincing enough for Barry to reject it's use. Speaking of hair...did Wells get a perm? I didn't find this the most stimulating episode what with the weak, weary and predictable plot of introducing the potential pairing of two people working in the same office. Two boring people working in the same office. Two boring non-chemistry wielding people working in the same office. Two boring, non-chemistry wielding, dumb boss liking employee out of nowhere conundrum is as exciting as watching grass grow. Jesse, Jesse we hardly knew ya. She's gone in a..er..um...flash, leaving the father who would kill for her a bu-bye note. Really? Oh hell, Cisco doing most things is a treat, but Cisco dancing was a extra special treat. Could they have danced to Beyonce's Crazy right now, maybe? Yeah, I liked the lighter moments. I didn't realize how much I missed them until I saw how it anchored the story in a way. it reminded us that these folks not only work together, they are friends who can and are able to have a good time together. Barry and Iris' marriage convo was a tad awkward I thought. I couldn't get a handle on any kind of emotionalism from it. Iris seem to find it funny...but does she? Barry's response seemed cool. Are they happy about the possibility? Do they not believe it? Are they scared about it? Excited about the possibility. Though that kind of convo is difficult no matter how you slice it. I suppose what is important here is that it was mentioned and it's out there in the universe, hopefully to be addressed again--not end up lost in space somewhere. Did Jesse's meta-alert wrist band go off in Wally's direction? The big reveal--Jay is Zoom. Uh-huh. Poor Barry, betrayed again..or so he thinks. I'm thinking after a three week hiatus maybe this had to be a filler episode, but Trajectory was--well, ho hum. Her reasons for taking the hit in the first place was---well a let down and her encounter with self was under whelming. Though I must say the lightening special effects was pretty neat. Right now though, I'm kinda thirsty--gonna go get a V8.

THIS!! This and this again. I especially love (and absolutely agree with) the words bold-ed. I'm laughing at the visuals--you know the breast feeding haze ( no doubt to prevent engorgement) and the gleeful skipping. Tra-la-la, La-lah...

I'm trying hard to understand how the Heretics, Lily and Julian is ultimately related to where we are now. I'm puzzled about the story and therefore unsure about the mission or course of this season. Maybe it's not for me to understand. Maybe my brain is too addled what with trying to piece together the what, why and how of stuff going down. Gotta own that, I guess. I'm thinking though that maybe the series (this season anyway) would be better served in a Telenovo format. Because after fifteen episodes and a three year time jump, the story has boiled down to something that's been incandescently clear from the second episode of this series--Stefan and Damon Salvatore have a complicated relationship. This isn't new or news. Seems there could have been a different path for these brothers this time around. The manner in which this story is told creates no tension and has no compelling element or essential conflict. It is what it's always been and getting to that all too familiar place encounters too many plot holes, too many unnecessary twists. I love complexity, on the other hand convoluted is wasteful. Moreover, even if I can't get the plot of my dreams, you oughta gimme something reel--yes reel, gimme characters that make me care about them. Ahhh, Penny, brown Penny, I'm duped in the loops of your gooey brown hair--rapped no doubt by Matty Ice D to his dreadful Penny. Matt found his mojo after listening to Penny prattle on about vampires and their deeds; a tale that Matt was well aware of for years. Matt, a character as useless as tits on a bull, blackmails Stefan into leaving "his" town--a town that Stefan has lived in way before Matt was a speckle of useless DNA. Say whaaa?? Exposing the goings on in MF on YT? TMZ? Srsly?? Folks nowadays laud bigoted presidential candidates. And yet, even after this outrageous demand, Stefan somehow trusts Matt enough to meet him only to be bested, captured and tied up by Rayna. Enzo and the Armory is what now? The new Big bad? And they (as an entity) want Rayna--a character whom we have been told looks like Damon's sleeping beauty of a girlfriend; a vampire slayer who doesn't kill vampires--unless they are marked and a slayer who apparently (like Buffy) loved a vampire. Damon and Stefan were both bestowed with foolish and unnecessary behavior and equally unbelievable dialogue. They are both made to appear self-involved and directionless. Their depicted actions were non-flattering and quite sad. And so, if I had to elect the character this title related to it would not be either brother. "I Would for you" is the story of Bonnie Bennett. She has and will do anything for her friends, including Damon whom she has forged a unique relationship with. I have always liked this pair--romantically, and I am fully aware that that won't ever be; that they chose not to go there though and developed this horrid Steroline instead, is well...I digress. Damon and Bonnie is the most important and developed relationship appearing right now. Damon and Enzo's relationship is absurd. His relationship with Alaric is laughable, even with the apocryphal booze and letter, and yes, place my name in the column that believes that suicide (as it pertains to fictional characters--specifically Damon in this excerpt) is neither brave nor noble. Citing the need to protect your friend and family from dangerous and disruptive liaisons because of who you are is weak and unbecoming. Bonnie and Stefan's encounter with danger will happen in spite of Damon's so-called sacrifice, not because of him. The need for drama aside, being in a coffin won't solve a thing; what it will do instead is solidify my thoughts that the character is a petulant, whiny, self-serving narcissist. He is neither complex nor deep. How does one work on being worthy of sacrifice in a coffin? Further, Damon has never been down with people making sacrifices for him. He has not only shown his abhorrence for the gesture, he has said it. BTW, that the writers chose to have Stefan recite the 'after I've made the sacrifices for you' speech is both contemptible and egregious. WTH? "This hurts me". You and me Bonnie, you and me...

It was a bit disconcerting I must say, when right after the previews aired there was a commercial for chicken wings... and so the picture of the amputated outstretched wing and question of who the hell has it had a kind of surreal flavor. No seriously though, who has 'em and how did they know about the secret compartment? I continue to be impressed with the shades of darkness that filter through that snark-filled..ahem..devil make- care attitude he showcases every now and again; but this week that I-don't-give-a-rat's-ass demeanor was blown to smithereens. The pressure was on Lucifer at every turn and losing his cool over other earthly matters had never seemed too much of a bother for him. Not so in the latest outing though. Linda---a woman he usually sought some sort of solace from---well maybe more of his personal and private guide to explain his new consciousness, put him on the offensive thanks to Amendiel. Chloe sort of admonished him by questioning his decision to be secretive--though she did admit that she liked working with him and Maze continued to voice her irritability at the mortal he's becoming. These annoyances set the stage for his 180 degree turn from boredom to anxiety and then anger. But those irritants seemed petty compared to the revelation about his reasons for leaving Hell in the first place. That rationality spoke volumes regarding the catalyst for his 'rebellion' against daddy. It's the age old authoritative parental style; that do as I say-ism that demands little or minimal self direction and initiates a whole lot of anger. "He vilified me--he shunned me". Lucifer's pissed that his PR has defined him in a way that he had no control over. It wasn't 'earned' so to speak. He has good reason for his ire of course, but the manner in which he chooses to 'rebel' sometimes (not often thought) come off as him being more of a petulant child. Not so though, because his circumstance became quite sympathetic when the image of his amputated wings kinda loomed after focusing on his scarred back. If only we could get more of this potentially exciting story arc and less procedural. There were some funny bits with Trixie and less funny bits with Dan. No more bar/garage scenes with Chloe and Lucifer against hoodlums please. Tom--nice job singing with Nina Simone's "Sinner Man".

It's a miracle! I have seen a mir-a-cle I tell ya! Witnessed it, was surprised by it, grimaced at it; was paralyzed by it, felt patronized by it. Of course the miraculous feat was none other than Felicity's supercalifragilisticexpialidicious transition from wheelchair to perfect gait. See, it's not that I have a problem with Felicity walking again, but the need for it to be done in the manner it was, was--preposterous. I found the act of it stupendous and the effect unfulfilling. It smacks of shady faith healers act ..."heal, I say, get out of that chair and walk". Was her recovery done in that fashion for dramatic effect? Except that that sort of reveal leaned heavily melodramatic side. Was it supposed to be a sign of some sort? That emotional devastation triggers revitalization of neurons? The title of the episode tells the story--a child of a parent skilled in combat gets kidnapped. It is, of course, also the premise of the movie with the same name. Is it a coincidence that the mother of the child is estranged as was the case in the movie? Well that's neither here nor there actually, in as much as this "Taken" pulsed with indifference. It was both lazy and tremendously overwrought. However it was anchored by a sincere performance by Oliver, as well as additional gravitas provided by Felicity with kudos going to the drop-in Vixen character as well. Her inclusion could have been a tremendous misstep--as it was it was a gamble, however her appearance was rather entertaining and gave the episode a cool new element. Which then begs the question, as animated..er..I mean acquainted as he was with her, why in the hell didn't he bring her in before? Vixen destroyed Damien's totem just in the nick of time. It was, for Damien, a Darhk day afternoon. Is deviously delicious Damien Darhk's dangerous days done? Gotta tell ya his dethroning moment was a tad anticlimatic. Maybe it's 'cause I wanted it to be Oliver who ultimately brought him down--though I suppose technically he was--hence being William's new hero. BTW, seems that more people know that Oliver is Green Arrow than there are citizens of Star city and yet Damien doesn't??!! So what's gonna happen to Star city's mayoral race now? Is Ruve a shoe in? Or will Oliver take up the gauntlet again? Malcolm (who I believe is the real big bad of the season) no longer has a hand in Thea's life, as she summarily dismissed his efforts at some sort of reconciliation. I suspect that Oliver and company will be going after MM, the hand-less wonder? Hopefully they have beefed up security in the foundry. *Sigh* I, as we all have, have called foul on the flimsy excuse utilized for the Olicity break up. In it's aftermath there are differing opinions regarding Felicity's reaction and action-- the black or white of it, the good or bad of it and/or the wrong or right of it. However (and I suspect I'm in the minority) Felicity is painted as hypocritical, petty and un-flawed here. In the last episode she told her mother to forgive Q for his 'lie' because, basically a lie to protect someone is somewhat excusable. She has also told Oliver that staying when times are tough is what a 'marriage' is about or something to that effect. The point being that you don't run and hide you stay and heal. She 's gotta practice what she preaches. Additionally getting herself all wound up because Oliver and his baby mama made a decision about their lifestyle going forward, is their decision. Whether he would have told her of the decision is now unclear since she took that option from him when she accused him of not discussing the situation with her. Sorry Felicity, it's not about you--not this time. Here's the thing though, at some point Felicity will have had time to work out whether she can accept this man she loves. She will, of that I have no doubt. Meanwhile, this Oliver--this guy who keeps secrets; this Oliver--this guy who carries the weight of the world on his shoulders; this Oliver--the guy who's devoted to her; this Oliver--the guy who carried the darkness within him, is the very same guy she fell in love with, flaws and all. This is the guy she admires and is proud of--she has said as much. Wishing, hoping, and dreaming that he will/has changed so dramatically has and will always set him up for failure. And so it goes...

You know what? Castle-ish-ness premise aside this was a decent episode. Yes, yes the procedural stuff still stinks to high hell, and given this week's story, where we see a gang member in tears over his pet pig dying (BTW--puff Piggy? Bwhahaha); and watching the unfolding of a 'gang' war, which was staged more like the gang war scene in West Side Story or MJ's Beat it music video, this clearly captured the less than serious procedural aspects of the show. This week also showcased a more focused Chloe. She seemed astute and intense at her job and seemed less intimated by Lucifer. When I say intimidated I mean because of her preoccupation with Lucifer--who he is, what he's about--she had difficulty staying on the task at hand , as it were. She had a more relaxed demeanor, maybe it's because she feels she has no choice in a decision to work with him and have accepted her fate. In any event she seemed more flip and less patient with his antics. Locking him in the car, locking him out of the car and smacking him are examples. Maze is badass. Though as she kicked butt and Lucifer stooped and made commentary, I couldn't help but wish that the entity that was kicking butt was Lucifer. I didn't want him to orchestrating the action, I wanted him in it. It's been five weeks now and Maze has whined each week about going back to Hell. I get it writers.. please make it stop. Her telling Amen about the doctor and creeping up on a sleeping Chloe makes me wonder about their past relationship. After Lucifer's chilling speech..."you exist to protect me", I wondered if Maz is taking her body guard job too far, or at least defining the word 'protecting' in a more broad sense to be inclusive of the thought that anyone distracting him would be a person of interest. Hence her visit to a sleeping Chloe. I'm hoping the show has found it's groove now, I also hope we'll be seeing more of those serious almost sinister tone that was evident in some scenes.

Yay!! They found the keys--to my heart and the show's heart that is, and not a moment too soon. There was no dragging or lagging scenes in this episode, it was well-wound and pertinent. It was not weighed down by a procedural sequence as have been the case in some of the episodes. Procedurals have (sometimes) been intrusive in a show with meager plotting--well maybe I should say a season (thus far) with woefully uneven story telling which has in turn marginalized the mythos. What this outing did was bring the focus back on a long lost mythological plot. It was exciting to watch the story unfold even thrilling. Okay so maybe I'm going a tad overboard with the description of the emotional impact, but I was neither restless nor bored in viewing. The story-line wasn't useless or deplored. The way the episode was formatted was cool in that with exclusion of a case of the week scenario, the story was enriched with depth and weight. I was just as intrigued and excited as the characters were to learn the contents of the trunk and was impressed by how the acquisition of these book and artifacts was incorporated in the Black Claw plot. I liked seeing the team together, discovering and researching this new treasure trove of intel. I love Monroe's uncle Felix and how urgent he made the importance of the discovery seem. As Felix babbled on excitedly about the historical aspects, this particular familial trait made it clear to the group and I that this was absolutely Monroe's family. RIP Uncle Felix, you were a delight even for your short stay. Black Forest here we come. The conversation between Nick and Monroe about Adalind/Juliette/Eve/Nick was amusing simply because among other things, I could hear the roar of thunder and the crackling of lightening from those who cannot stand Nick/Adalind. Me? I don't get hives contemplating their hook up. If they get together, cool; if not that's cool too. I think though Nick suspects what her feelings for him are and he knows his for her, just don't think he's ready to share. In spite of the awesomeness of this episode, there were some minor but puzzling moments. Renard and the mayoral race? Why? Eve doing levitation push ups seemed a silly and unnecessary scene. The topic of Trubel's conversation seemed equally curious; as was the timing of said convo. They have been in contact for what?... weeks--possibly months? yet, they're just now having this conversation? I don't trust Eve. I don't trust or understand this dissociative disorder and the claim that she knows but doesn't feel. And in as much as Meiser helped to mold this creature, dunno if I trust him either. On the other hand, I loved Monroe's not so subtle remark about the "not an accident" destruction of the trailer. Nice. Meiser's aggression is spilling into areas that I'm not sure I like. It may be an insignificant moment, but his dismissive and authoritative tone that he 'won't risk' Trubel helping Nick retrieve the trunk seemed out of line and Trubeling...er..troubling. In any event Teresa's absence allowed Nick and Monroe's excellent adventure to occur. The boys were up to the task. Well actually Monroe with his bad-ass Blutbat self. Pity the fool who messes with a Blutbat--and the fools who tried were the flying? Anubis. Ahh, that moment when Nick and Monroe faced each other as Grimm and Wesen, *shrudder* tense. It brought home the fact that these two men have forged an unusual connection and friendship.

The title of the episode is a song from a movie called, She's Having A Baby. It was played during a sequence that effectively depicts a husband's worry and wait while his wife goes through an extremely difficult labor. It is honest and strong and has a genuinely emotional impact on the viewer. It is fair to assume that Caroline's plight and Stefan's worry and wait was supposed to have the same impact and depict the same raised stakes and emotional intensity, except the moments leading up to and at the 'birth' itself had absolutely no tingling effect on me at all. First, there was no 'work' on Caroline's part. Second, she was sedated and on a 'date' with Stefan during her 'labor'. I was dazed, detached and befuddled by the magic-extracting-chanting-distracting-mantra. Maybe it's because the relationship between Stefan and Caroline leaves me wanting--wanting purpose, wanting reason, wanting rationalization, wanting less--but it's also because the 'three years from now' previews have virtually wiped out any dramatic angst about some of the plots. For instance, it was no surprise that Caroline and her twins would not have a catastrophic outcome. It was no surprise that Elena wasn't dead, dead. It is no surprise to know that Stefan would be marked and on the run; It's no surprise that there is a Huntress and so on. It doesn't matter what will happen to Nora and Mary because their characters and their importance to the story are not only an irritant, they are unfocused and liquid in their assigned development. Their introduction as villains (useless and annoying as they were) was never firmly rooted. Were they villains or not? If they were then they should have been shown with consistency. We are asked on the one hand to accept them as villains and on the other to accept them as friends or at least harmless foes--but they come off as wishy washy whiners. The whole introduction of these so-called scary monster heretics was a case where the characters and what they represented were inconsistent at best. Lily disowned her kids...no she was indifferent...no. wait, she wanted to get to know them....no, she loved them. Rayna's dad was a member in the Brotherhood of Five--the well known vampire hunters anonymous club that Jer belonged to. She was sanctioned in his glory. But she's more. She's impervious to magic, she is super strong and she is the phoenix and maybe she can no longer be compelled? The thing is while she seems to be really focused on her rage and intent on her task, as a vampire hunter she never actually kills a vampire--well except poor old Beau, invoking the he's-Black-and-shall-die lore. Rayna had the opportunity to kill Enzo, when last I heard he was a vampire, but she ties him up? Then again maybe her particular skill is about trapping her victims in the stone. But why? And should I care? She shoots Bonnie, instead of Damon? Damon and Bonnie are, as I'm constantly being told, best friends (why they couldn't be more I will never understand and for a different topic) but Damon doesn't tell Bonnie that he has 'killed' Elena. His dilemma about his deed and his need to tell Bonnie was folded once again into the Enzo blackmailing him and Bonnie trusting him on faith scenario, which as it happens, always end up with Bonnie being hurt. This season has generated more questions than answers. Seems to me that the potential to make better use of the core characters were squandered and instead they became the Diabolus ex Machina. The heretics and their silly and uninteresting drama took center stage and for what? The progression of this episode was filled with an amazing assortment of gimmicks and whatever story there was--as thin as it was--was interrupted by extraordinary flights of fancy. That Steroline montage? The Damon comment about Rayna's resemblance to Elena and her doppelgangers? *Sigh* And so it goes.

Ugh, I hate it when a story line is constructed employing zero imagination and illogical tripe to show cause for accommodating the break-up of a romantic pairing. It's insulting for one; it's not challenging or satisfying; it's not intriguing drama; it makes the characters vulnerable to ridicule; it affects and disrupts my ability/wish/need/desire to suspend reality and it just pisses me off. I wanna stay in the fantasy of that story. I wanna lather in it, bathe in it, wade in it dammit. I wanna be all up in the throes of it and get jiggy wid it. . I can't, when in addition to the contrived plot, other characters get saddled with the task of validation the silliness. It takes fun out of function. It is most especially frustrating when said validation is verbalized by a character whose sensibilities had been rooted in truth, the whole truth and nothing but the truth. Of course I speak of Thea's and Oliver's tete-a-tete, wherein Thea ceased being Thea and became Two-face or something--a conduit through which Oliver could justify his "error" in judgement and receive some sort of absolution. It was the hypocrisy heard around the world. What is the purpose of anvils in a storyline anyhow? Is the thought that we (the audience) are not paying attention? Is it that we are not savvy enough to know about cause and effect? Or is it a tool used when a plot becomes convoluted and inherently silly that there needs to be a 'dumbing down' of characters. I was quite busy dodging and cringing at each sledge hammer-ry battering when the lie/trust/secret subject was broached with how horrific the reveal of the secret will be. To wit: Lance and Donna's separate mention of Oliver's honesty. The big neon sign in Star square that reads: Commission of an omission is contrition in this here town. I kid, I kid..And there's Felicity's occasional input on the subject as well. Even if the sentiment isn't verbalized, her pleased and proud look when Oliver's integrity is subject of conversation, says it all. Of course there is a concerted effort to let Oliver off the hook by playing the sympathy card. I mean Felicity encouraging her mom to give Lance a chance and suggesting there are legitimate reasons to withhold life altering truths is somewhat peculiar, and could be considered misleading. How? Is it okay for Felicity to be that understanding and give advice to her mother, then not follow her own apparent beliefs? Is she exempt from practicing what she preaches? Cause if she is not, then maybe her response to Oliver's secret and lie will be far less devastating and damaging to the relationship, right? Right. If only some of our RL political debates were just like the one in the episode, I'd be a happy camper. This rendition trumped those. Um...uh-huh...yep. I know, I know... The Darhk's are a trip. MM with his sling and (no) arrows in Darhk's dark dank dungeon was odd. I wonder if he'll wear a prosthetic hand? Is he having it made? Will he get another ring and be Wrist Al Gruel? Damien should watch his back though. MM is there to seize any opportunity to usurp Darhk Vader's dynasty. Darhk on the screen is always interesting.although his mystical powers almost make his villainy a cop out...almost. What fighting chance does one (villain or hero) have if he's able to transcendentally meditate and transport himself through time and space at will? Anyhoo, I am curious and excited to see how he's going to be defeated and by whom. In spite of the hiccups, the show had an energetic vibe with attempts at sensational stunts. How sensational? Good but not surprising. I found that the lighter and touching moments to be very sweet. Echo's gift to Felicity...thanks dude you're Terrific. Donna's decor, Donna's choice of invitation; Donna's choice of party games; Donna's dresses, her tresses. Donna giving Lance a tongue...lashing. She's a hoot and she takes obligatory scenes and makes them more than routine. Truth be told I'm more interested to see her reaction to Oliver's confession. I loved the Olicity moments--all of them. I love the connection and intimacy they share, it makes their union seem seamless. And even as I know that the breakup will be temporary (after all Felicity needs that surgery to walk down the aisle) I am going to miss those little reel-al-ity moments.

Oh Lucifer...his frenzy of rapid one liners, wisecracking philosophizing makes him a sort of a Chandler Bing with confidence and ..(wait....wait) a devil-may-care style. O.M.G. What is clear is that he treats his existence as a joke, and his concern about his possible mortality is not one he presumably cares about. He is more intrigued by humanity and its unknowns than how these possible changes will impact his hedonistic life style. I mean he seems to have no purpose other than debauchery. Weeellll..actually that and he's also quite amusing. The crime/procedural plot this week was extremely uninvolving. Seems they are getting more and more dumb. I mean a motivational speaker with a caveman mentality message whose ex girlfriend (he took her virginity as some sort of experiment,) tries to get back at him by having him fall for her so that she could destroy him..really? I have come to the conclusion that, the pitiful procedural are time fillers, so I am now enlisted in a seven step program (PTP- pass the procedural) which allows me to ignore their worth within the story and rely on the gift of laugh that Lucifer offers. However there were times this week that his quips didn't hit the mark for me, which, at interims, made him a little less charismatic. Not a whole lot you understand, just enough to make those moments flat. However, thankfully, joyously those hiccups were outweighed by the introduction of a new set of emotional traits for Lucifer---exposure and sensitivity. Not the mushy kind of sensitivity or raw exposure, but tinged with acute wickedness. It's his serious somewhat 'fragile' side that not only changed the pace and charged the scenes but gave me a tiny and welcomed reprieve from the constant wisecracking. His reaction to Chloe's touch and her interest in his scar was a revealing moment, for example. He snaps at her, changing his affect to one of ..well, sensitivity and a bit of sadness. Another was the was the moment when he was shot. His reaction is at first disbelief and then shock and then I think comes quickly to a decision that being hurt is something that intrigues him. I wonder if Chloe's immunity to his persuasive 'powers' has to do with her secular beliefs? She's an atheist I think? So could it be that her non-belief is a factor? I dunno just seemed the conversation they had was kinda random. Maze and Amendiel's confrontation was a cool a cheap man's Crouching Tiger Hidden Dragon fight moment. Not to mention Maze's tongue lashing..er..no means no. Lucifer's conclusion to the psychologists advice was hilarious, but it was those nude scenes that were interesting. Yes they both took a good long look, and it wasn't hard..um..to see why. Trixie is the cutest thing.

*Sigh* Was not at all feeling this episode for the most part. I have to admit that while watching I experienced certain physical reactions--restlessness, head shaking, eye rolling (was I seizing?); not to mention my sorrow that the writing is an inconsistent mess. I figured as an audience member I deserved either great writing or elevated acting that would eclipse poor scripting. But when the featured actor isn't all that, then...got neither. Postcards from the edge was an apt description of my mood during the two hours..er..forty minutes I viewed this episode. Maybe it's because I had no interest in the now overly saturated, long in the tooth adventures of Damon dark. (Arrow friends don't kill me). Maybe it's because I had no interest in seeing Damon revert to familiar behavior (lying in the street lay waiting some poor sucker).--been there done that once (maybe twice) too often. Maybe it's because I imagined I would continue to see sustained growth for this character...indeed it could be argued that this was regression. I don't want to minimize the emotional turmoil of Elena's "death", because the way in which the incident occurred was tragic--the occurrence that is, not the hard to believe outcome-- but enough already. I get it, this is what Damon does and who he is --a wreck, a hulk that drifts like the flying Dutchman, a menace to navigation and travelers on the uncertain seas. The Fight club scene was wearisome and arduous for a few reasons. a) that it had to be used b) that it involved Julian, a waste of space, a useless character in a useless sub-plot c) that using these actors in this scenario was an insult to Brad Pitt (Durden) and Ed Norton's (West) from the Fight Club film. Apparently Julian represented Durden whose philosophy is that the Fight Club is about freeing oneself from the shackles of life which imprisons and emasculates men. By being willing to give and receive pain and risk death, Fight Club members find freedom; and it's only after one has lost everything one feels free to do anything. The importance of this scene escaped me and to the degree I do not understand, I don't care. BTW, is the woman who 'saved' Damon the Huntress? Stefan's own little fight club mano y mano moment (punching Damon a couple of times) was the highlight for me. (Sad right?). But it was Stefan's subsequent reaction after he returned to his car (banging on his steering wheel a couple of times) which was interesting. Was his behavior born out of repressed feelings for Elena or was it due to frustration and anger at his own Phoenix stone 'message' re Damon? Julian's death with Val's magical assist was welcomed. Although, truth be told, the death seemed anticlimactic. The hits and misses that lead up to the final deed was as drawn out and as useless as the character, because the method in which he was killed was possible a long, long time ago. It's not as if his continued appearance advanced the plot. Halfway through the episode I wondered if maybe the meaning of the episode had escaped me. I mean the title spoke for itself of course. Except, the 'edge' was nothing special.This was no watershed moment or huge revelation or epiphany in the life and times of Damon Salvatore. His behavior here was no worse than it had been in the past. Okay...maybe he turned his humanity off at one time--though I'm hard pressed to remember when ( when he let Enzo burn maybe?). It was however reassuring to discover that by the end of the episode I had, after all understood everything I had intended. It was just that there was less to understand than the episode at first suggests. Headlines: Hi Oh-io off to hunt we go. The witches of Mystic hunt the Huntress Caroline's twins are siphoning her magic. Now you see her now you don't Enzo plays with fire.

I know I may be reaching here and giving in to analyzing and speculating way more than is necessary or true, but writers tend to, I think write (be it subtle or blatant) stories that reflect social/political climate. If so, the Claws uprising could be--could be interpreted as a mirror of terrorism around the world and also introspective of the mindset of those feeling disenfranchised or oppressed and are vulnerable to the ideology of those who speak of a by-any-means-necessary way. And so, maybe the focus of these disruptions in and around Portland is reflective of how global problems affect local 'politics' with some local angry Wesens giving in to extremist ideology .i.e those who want to 'take back' or 'reclaim' by going on the offense rather than being on the defense?

So it's clear that Wesens don't give a phuck about their once secret traditions, since the evidence of their work is left for all to see in the light of day. I am kinda thinking that there must have been drought at one time before this recent bout and this ritual must have been carried out then. Had they not given a crap there would have been records. Oh well. I suppose the new attitude is due in part to the ominous Wesen (Black Claw) war that's a comin'. But damn if this particular ritual wasn't kinda barbarous. Sacrificing humans on a cross? Any human life taken is horrific, but I have this added empathy for these poor homeless folks missed and loved by no one. Also, the placement of glass in the eye socket is reminiscent of the Tooth Fairy figure (Francis Dolarhyde) in the Red Dragon movie. *shrudder*. Glad to see team Grimm working together to solve the mystery. Who knew that Rosalee was fluent in Middle Irish??! And yesss...even Adalind contributed to the solution of the ritual's origin. It was good to see her doing something more than folding baby clothes. Speaking of mystery, what does Rosalee's ex want and what's behind the bolted/welded/locked door in Nick's basement? Not sure I care about Rosalee's mystery but I'm extremely curious about what's behind door #1. Can anyone of you goodly folk tell me why Juliette..oh, sorry..Eve...wears theses wigs? What's the purpose? Is it to enhance her look while interrogating? No. Is she balding? No. Is it so that we aren't confused? (*smirk*) I mean wearing the wig will indicate that she's Eve? Is she incognito? I mean will the Wesens she captures and kills or imprisons recognize her in a line up? Is it like a super wig that increases her powers? Whatttt???..Anyone?

Good question Sonja. I suppose she is still dealing with her suspicion that he's changing; that in the past her encouragement would have prompted him to go forward with an act that lives up to his name. As it is now, when she eggs him on, he's probably reminded of his new outlook.

Slick, quick quipped, erotic, despotic, Lucifer swaggers through this half-way decent episode in a cool stride. Well...maybe I'm pushing the despotic part a bit, at least for now. But maybe it's knowing that the ability to exercise diabolic behavior is just below the surface that the producers want us to file away, what with glimpses of certain abilities he has. My ruminating may...may have feet only because this incarnation of Lucifer is about him recognizing and punishing evil---not creating it. The substructure of the show may not be a 'pure' or 'true' supernatural entry so much as a glimpse of an odd, wavering relationship between a restless 'vacationing' Lucifer (exercising free will) and his atypical (and surprising) interest in the human condition and how and why he's affected by it. Lucifer and Chloe's shared sensibility is that they both have reached a point in their existence where they question right, wrong, good, evil. Anyway, this week's episode didn't provide any movement in the relationship between Lucifer and Chloe. And by movement I don't mean romantic entanglement. I mean she has been asking the same questions about who he is and has had him investigated. She has seen evidence of his 'powers' and chooses not to believe her eyes or his word. It's not that I necessarily need to see growth, I guess I don't want to see stagnancy. Since the Pilot it's the same catch twenty two-ish game of trying to find out who this man is and what he's hiding. But she has been told who he is. Furthermore, he isn't hiding anything at all. His relationship with Maze is a maze in itself. She's his 'assistant' as it were, but I wanna know more about their personal relationship. She is often disappointed in Lucifer's inaction and is a cheerleader for his former (apparent) badass self; but since we aren't privy to what those were, she comes off almost--almost as whiny and jealous. I suppose there will be time to put all the pieces together. I should be patient, right? The procedural plot was and has been draggy and uninteresting and almost amateurish. Again I suggest that there has to be more intrigue with these cases--more acuity to the plot and therefore more intense investigating to find and eventually punish the perp. Things are just too rote now. Ack, then again the problem may be mine and mine alone in that my expectations outweigh and outpace the stride the writers need to set. The fact is despite my prickly criticism it's still fun to watch. For instance, Lucifer's one liners are witty and pun-ny and those scenes with his psychiatrist continue to serve two purposes. a) The internal 'voice' of who he's becoming b) Funny, funny interludes--they are always in some state of dishevelment.