Superhero Adaptations As Completely Separate From Superhero Comics: Why Adaptations Can Tell Different Stories

I’ve made multiple posts about the nature of adaptations of superhero comics – one about why we don’t need word for word translations, one about the impact they have on how we perceive characters,  one about how adaptations sometimes displace the material they’re based on in public memory, and a few more. But now I have to make yet another, because a while back, I saw a post saying that you can’t make comic adaptations realistic without completely changing the heart of the comics, and I disagree with all my heart. Because I think that’s why adaptations are nice. By their nature, they’re not going to continue for decades. And that lets you explore topics that will, no matter how good the writing or the art, always end up falling flat in the comics themselves.

You cannot really delve into certain topics in comics because the nature of the medium means they’re never going to change. Take Robin. Obviously, I adore the concept of Robin, the characters to have borne the mantle, and all that. I think Robin is so essential to Batman, that you cannot have a Batman story that rings true without them – or, at least, one of them. But I’m also well aware that, if you apply that to a real world setting, it goes from being a lovely concept of a found family of misfits and strays that don’t fit in anywhere but with each other saving other people so that no one has to suffer the way they did to a frankly disturbing story of reckless child endangerment. This is especially true when you consider the not-Dick Robins, because Dick’s case was unique. He had skills that the others most definitely did not, and the same anger/grief/what have you that Bruce did. By the end of it, he came out shockingly well adjusted. This combination makes it easy to believe that Bruce did more good than harm, and that Dick would have got himself killed had he been left on his own. The others? Not so much! They didn’t have the same skills and training. They didn’t have the same motivation where they were going to do it regardless of what he did or said. They were brought into vigilantism because of the precedent Dick set…and the fact they looked up hugely to Batman. The person that was supposed to be the responsible adult telling them, no, you most certainly cannot go out at night and fight supervillains, these guys are killers. However, Robin – as a concept – is so much part of the foundation of DC that it’s not going to die anytime soon.

My feelings about the oversaturation of the Batfamily aside, Robin as a legacy matters, no matter who’s using the nameSo you can’t have meaningful stories questioning whether or not the legacy should exist. Not really, because even if you have a great story challenging how heroic someone can be if they’re taking a child into combat situations…it’ll fall flat, because nothing changes. It doesn’t matter. It’ll be a forgotten Aesop in a month. You probably think I’m exaggerating, right? After all, we don’t forget about Jason! But even though he’ll always be remembered as the Robin who died and his death had a huge impact on Bruce and Dick, it didn’t really last, because Death In The Family and Under the Red Hood didn’t end the Robin mantle. Court of Owls and all the unflattering parallels drawn between Bruce and the Court didn’t end the Robin mantle. So despite how great those stories were, themes alone don’t really mean anything unless there’s follow through.

You can make plenty of arguments as to how Tim, Steph, and Damian were different from Jason. Sure, Bruce tried to dissuade them more than he ever tried with Dick or Jason. Tim knew full well what he was going into. Stephanie, like Dick, had personal reasons motivating her and was already in costume before she became Robin. Damian was raised to be an assassin. But the fact of the matter is that Robin continues to exist, not because the post-Jason Robins were different from Jason, but because the legacy is too iconic to let die.

Comics work because they’re not set in a real world. They’re in a fantasy where people can have problems that are either like ours or just similar enough to be relatable, but where the solutions they have are not the solutions that should work in a real world. They’re in a world which is just different enough that when something seems weird, we can just shrug and accept that that’s how this other universe is. Comics can delve further into topics like, how healthy is it to deal with your trauma by going out at night and beating up criminals? or is training a sidekick the same thing as using a child soldier? but the second they do, the whole damn universe falls apart, because once you start trying to apply real logic, you can’t stop until there’s nothing left. Once you start trying to ask these questions, more and more will arise. You simply cannot try to apply comic book tropes to a real world setting.

That’s what’s nice about adaptations. Things like Titans and the Under the Red Hood  movie can contextualize comics. They can apply the issues raised to a real world setting. And that’s okay, because they end. When we’re watching an adaptation, we can see things change for the better, we can see characters learning lessons, without having to deal with the fact they’ll inevitably forget those lessons so that the story can continue, because in adaptations, the story isn’t supposed to continue! I talked about something similar in this post about how Jason isn’t a sustainable character. My reasoning revolved mostly around how I didn’t think he had a place to go as a character while still being a vigilante, and I think the heart of that argument is basically the same as this one: conclusions give stories weight. That post is largely about how Jason’s character development keeps getting reversed because he can’t really exist without the angst over his death, and this one is about how in adaptations, he doesn’t need to. In an adaptation, we can have a character that completes an arc, then doesn’t go back on it, because it ends. We can have a story that means something continue to mean something, because it doesn’t continue on only to for the moral of the story to be forgotten.

Death doesn’t mean much in comics. Not just in terms of people coming back, but in terms of the impact on other characters. It can’t. Not when there’s so much going on. It’s not that a death will never be brought up again. But it’s rare that it has a consistent, continuous impact on others, unless it’s relevant to the story being told, like Bruce’s after Final Crisis. And deaths and resurrections are now so common that they lose their impact on the reader. The greatest comics are those that have a point, and when the story is endless, those points almost inevitably get confused.

Furthermore, the writers of adaptations thinking critically about the source material and making changes keeps things fresh and interesting. It gives us things that are different, stories of which we don’t know the outcome going in. That’s not a betrayal of canon. The specific changes made might demonstrate a lack of love for the source material, but it might also demonstrate an enduring love for it. Take Gotham. A lot of people used to – not so much anymore – complain about how it “messed up the chronology”. To be fair, I used to kind of agree. Gotham was sold as a gritty crime drama about the mob families. As a prequel that would tell the story of how Gotham got to becoming the city that needed Batman, the city where supervillains thrived. And that was great. Except that, with a few exceptions, most of the villains that are traditionally around Bruce’s age were aged up so that they were already fully grown adults at the start of the series, while Bruce was only twelve. Meaning that, if the writers followed the traditional timeline, the villains would be well into middle age by the time Bruce put on the cowl, and by the time most of the Batfam showed up, they’d be fighting senior citizens. Which is why it was so great that by seasons two and three the writers had completely abandoned that premise. It became very clearly an Elseworlds tale, because instead of being a Batman prequel, it became what was, essentially, a Batman story, if Batman were a teenager. It’s about Bruce having to get his training from within Gotham, not outside it, and finding ways to help well before developing fighting skills. It’s an awesome take on the mythos and a sign of writers that care about the long history of Batman and telling a good Batman story while also making something we’ve never seen before.

Comic fans are impossible to please, and we all know that. You have people that complain about Gotham being too little like the comics and people that complain about Watchmen being too much like them. So the best way to tell a story based on superhero comics has to be embracing the new medium. As great and universal as the characters are, comics are different from animation are different from live action, and different stories are best suited for each medium. The more that idea is embraced, the better stories we can get.

Looking The Part vs. Embodying the Role

David Mazouz was born to play Bruce Wayne.

Child actors are often pretty hit or miss, right? I mean, sure, you could argue the same thing is true of adults. But it’s often worse when it comes to kids, due to a combination of inexperience and scripts written by people that have apparently not interacted with anyone under the age of eighteen in years. Because of this, the combination of a talented child actor and a competent writer can be absolutely memorable. That’s definitely the case with Gotham.

Every single time I watch an episode of Gotham, whether it’s one from the first season or one from the fifth, I’m left completely in awe of how well Mazouz plays Bruce. In a show full of impressive performances, it’s Mazouz’s Bruce that stands out the most to me. That’s partly because of great writing that shows him developing from a helpless kid that doesn’t know what he’s doing into a capable, confident, and driven young man that may not have all the training he one day will but still embodies the spirit of Batman. The rest of it is because Mazouz’s excellent performance brings the character to life. I look at him and think, this is Bruce Wayne. He’s still a teenager. He doesn’t have the height or build we expect. But you know what? To me, at least, he still feels like Batman.

Maybe it’ll be awkward seeing him in the suit at the end, because he still looks young. I keep seeing people say things to that effect – like, I can’t take him seriously as Batman, he’s too scrawny and young! I disagree, though. Sure, maybe seeing his head imposed on a body double as they try to pass him off as a decade older will be a bit jarring. It’s not like they’re trying to make a thirty year old look forty, where it’s just a question of maybe greying the hair a bit and adding some lines, they’re trying to make a teenager an adult. But I have absolutely no issue with him being Batman. None.

I’ve seen a lot of people – and this was before it was announced that the series finale will take place in the future – saying stuff about how they want to see Batman, or they want to recast with a timeskip because Mazouz was great for kid Bruce, but not Batman. I think all those people are kind of missing the point, because they’re too focused on Batman as “big guy in a cool suit”, and because they’re not seeing that suit, they’re still talking about “when are we going to see Batman”. The way I see it, the answer to that question is we already have.

Forget the proto-suit he wore at the beginning of season four. Forget about the future scene we’re going to get. Forget about how people are always drawing distinctions between Bruce Wayne and Batman. And think about scenes like in 3×14, where he fought Jerome and decided that I will not kill will be his mantra, or when he told Selina’s fence he should have taken the offered deal in 4×15, or at the end of 4×22, when he slams a guy into a storage unit; demands to know where Jeremiah is; then, once the guy claims ignorance, tells him to tell Jeremiah Bruce is looking for him and knocks him out. Those scenes? Those are more Batman than most actors to have played the role have ever gotten. He may not have the name. He may not have the costume. He may not have the build or the age. But he already embodies Batman.

You can see something similar if you look back at Michael Keaton’s version of the character. Keaton is only 5’9″. I’m pretty sure he’s the shortest actor to have ever played adult Bruce. And I think until Mazouz and Affleck, he was the best. With Mazouz, I think people that would otherwise care about the height manage to set that aside just because they see it as him not really playing Batman – which, I guess, is justified by the fact they’re using a stand in in the finale, despite my feelings about how perfectly Mazouz embodies the character. With Keaton, it was more a question of a good use of the camera so his height wasn’t noticeable – and, when we look back on his movies, probably some element of nostalgia. But Keaton’s performance was also convincing enough to pull focus away from how he looked. Looking the part is good. Embodying the role is better.

I was very disappointed when the news broke that there’ll be a new Batman for the DCEU solo movie – especially coming, as it did, so close to the end of Gotham. Ben Affleck’s performance was one of my favourite parts of  Batman v Superman – a movie that everyone reading this probably already knows I love. For me, Affleck was completely unparalleled casting, both because of the fact he looks the part – height, musculature, good looks – and the fact that he nailed the spirit of the character – the intensity, the determination, the drive. The looks alone will never be enough, but it was a very nice bonus. It’s breaking my heart to lose both that Bruce and Gotham‘s so close together.

The problem when it comes to me accepting a future Batman in the films is that Affleck both looked the part and embodied the role. While obviously I prioritize an actor that embodies the character over one that looks the way I expect the character to look, both is preferable. I’d be able to set that aside for an actor that does as tremendous a job as David Mazouz in making Bruce Wayne believable…but I’m not seeing that happening with this next movie. We were fortunate enough to get to two fantastic incarnations of Batman at the same time with Affleck and Mazouz. Now I think we’re going back to decent. After being so spoiled with Gotham and Batman v Superman, I can’t help but be disappointed.

I would have loved to see Mazouz play adult Bruce in ten, fifteen years. He might get taller or he might not, but he’d be fully grown, so his face wouldn’t look weird under the cowl, and he’s already demonstrated how good he is in the role. We’re not going to get that. We’re probably not even going to get someone at that level. So I think all I can do now is hope that whoever is next cast as Batman can do even close to as good a job as Mazouz, because if he can’t…well, his movie is going to be about a Bruce early in his crime fighting career. If he’s not up for the task, I’m going to go back and rewatch  Gotham instead.

Romance In Comics And The Editorial Tug Of War Over Characters

Hi! Popping back in after weeks of absence to discuss how romance in comics can serve as an indication of what is currently seen as the most important aspect of a character.

As probably anyone that’s reading this knows, I love Dick Grayson. I’m very much invested in stories about him. But I do not care whether he ends up in a romantic relationship with Starfire or Barbara Gordon or any other character. I like Kory, I love Barbara, and there’s probably not going to be a new love interest that I actively can’t stand, so. It does not matter to me. What does is Dick getting to remain the beautifully complex character I’ve literally loved for more than half my life and develop so that he doesn’t stay stagnant forever. Unfortunately, it’s impossible to talk about his development – past, present, and future – without discussing his romantic relationships. This is because his relationships with his two most prominent love interests act as kind of a barometer for what editorial considers most important about him, and as such, what we can expect in the future.

Characters that have their own solo series – characters that are considered anchors, of a sort – usually have their own supporting cast from which the key players are chosen, the key players being love interests, Rogues Galleries, family members, and the like. It makes sense – it’s way cleaner than trying crossover pairings. I think that’s one of the many reasons Superman and Wonder Woman didn’t work. It’s not just about Lois. It’s that you can’t have them as main characters in each other’s solo titles. Forget about in universe reasons and how iconic Superman and Lois Lane’s relationship is. Long term, Superman and Wonder Woman can’t last, because it’s not practical in terms of writing. That brings me back to Dick.

Dick is a unique case. He’s undoubtedly a major character – he’s got his own series and supporting cast. He’s one of the core members of the Batfamily. He’s led the Titans – hell, he’s led the Justice League. He’s absolutely not a character that’s only perceived as important as a member of the Titans. Despite that, for a long time, his most important romantic relationship was with his fellow Titan, Kory. Someone that has absolutely nothing to do with Gotham or Bludhaven. What’s interesting about this is that while in many cases, this sort of relationship would indicate to me a character that writers and editors had no intention of developing as an individual, the context and timeline behind it make it seem more like the era in Dick’s publication history where he was most independent.

Dick joining the Titans was him asserting his independence, because he didn’t have a solo series until the 90s. He was defined by his partnership with Bruce. His relationship with Kory, his leadership of the Titans…those things helped him break free of being considered a supporting character. And you know how I said that I don’t really care whether Dick’s with Kory or with Babs or with someone else altogether? That’s still true, but despite all the good elements of stories featuring him in recent years, despite the fact that I’ve loved seeing him as Batman and as the eldest son of the family, all told, the era where he and Kory were a couple and he was on his own was probably better for him as a character.

Dick’s relationship with Kory spoke of a time of freedom for him. He was involved with her when he gave up the Robin identity, when he became Nightwing, when he wasn’t on good terms with Bruce. They went through a lot together. And they could have still been together today…had it not been for the tug of war between those writing the two of them and those that wanted to bring Dick back into the Batfamily. The latter won out. And as much as I do love his dynamics with the different members of the family, it kind of sucks that him going back home involved pushing him back into being, on some level, a Batman sidekick, rather than the completely independent and awesome hero he had become.

When Dick is off with a team – whether that team be the Titans or the JLA – he gets to be the hero that learned from both Batman and Superman, the former sidekick that’s surpassed his mentor. But – as I brought up in a post I wrote a while back on the issue with the ever expanding Batfamily – when he’s back in Gotham, in the same story as Bruce, he’s often pushed back into Batman’s shadow, because Bruce has to be so special that his son can’t ever be better than him at anything. So he gets deaged, made less competent, and has parts of his history erased. That brings us to his relationship with Barbara.

When Dick shifted back to being considered a Bat character, we started to see the rise of his and Barbara’s romantic relationship. That has continued into the present. When it comes to comics, Dick is nowadays considered primarily a Bat character and secondarily a Titan. His relationship with Kory has been left to the past. He doesn’t spend nearly as much time as he once did far away from Gotham with the Titans. The focus is on his relationship with his family. Romantically, he’ll have brief relationships with others, but those are relationships that we know have expiration dates. Even while he’s in those, there are reminders of his and Barbara’s relationship. Right now, that’s a pretty significant part of who he is (of course, once we bring in the Ric thing, there’s a lot more discussion to be had about the nature of who he is and Barbara’s importance, but frankly, I’m way too tired for that. Let’s not talk about Ric).

In adaptations, it’s different. The Bats aren’t so much the priority anymore – not like they were in the 90s and early 2000s with Batman: The Animated Series and the related movies. Even though the comics version of Dick and Kory’s relationship has been left to the past, that’s Dick’s primary relationship in the adaptations, possibly just because we haven’t had as much real Batman stuff as we used to. The exception appears to be Young Justice, as of season 3, because that version of Dick is involved with Barbara. This is interesting, because it seems to me a sign that the Batfamily – and by that, I mean the family, not just Batman or Nightwing – seems to becoming a priority in at least this one adaptation. Dick has been a major character from the beginning, of course. And Bruce has had quite a few significant scenes, and is arguably one of the most important supporting characters. But it wasn’t until season three that we really started delving into the others. We have Tim, of course – we knew that already – and Steph, and promos have shown we’re getting Cass…but in a spectacular wham shot, we now know we’re going to see Jason and baby Damian, as well! This season is likely going to have a lot of the Batfamily, and we should have seen that coming from the second we found out that Barbara had become Oracle and was flirting with Dick via text, because the second we knew Young Justice involved their relationship, we knew that this version of him is most definitely being written as a Bat.

I find this a tiny bit frustrating, not because I’m opposed to any of these relationships or to having a character fit different roles in different stories, but because it implies that writers and editors find Dick to be kind of a piece of clay that they can stick in different places to tell other stories.He is a malleable character. None of his relationships are comparable to, say, Clark Kent and Lois Lane in terms of how essential to the character it is. He does serve different purposes in different stories, and I’m all for exploring his different relationships. But that doesn’t mean it always has to be romantic. I’d like some more focus on his consistent traits and on the strength of his friendships. Because those are just as important – indeed, when it comes to Dick, probably more – than his romances, and having this much weight given to his romances really isn’t all that helpful to actual character exploration.

‘Titans’ And The Strange Feeling Of Enjoying Each Episode While Being Disappointed By The Whole

The first season of Titans had eleven episodes. Of those, I at least liked ten, and loved maybe eight. Despite that, the entire thing left me feeling distinctly underwhelmed. That being said, I disagree with quite a few of the reasons I’ve seen other people give as to why they didn’t like the finale.

Nightwing

From what I’ve gathered, there is a lot of conflicting opinions about Dick this season. A lot of people are upset that he’s been getting so much screen time compared to the others – my response to that is, he is easily the most popular character in the main cast, he’s my favourite comic character of all time, and he’s getting a beautifully nuanced live action take for the first time, so don’t you dare try to ruin it for me. Another large contingent has been complaining that we didn’t get to see him become Nightwing in the finale. Now that I’m going to talk about in detail.

I’m okay that we didn’t get Nightwing yet! I really am. I love Dick Grayson with all my heart. I love his journey into becoming Nightwing, I love him taking on the mantle of Batman, I love his relationships with his family and friends and the lasting impact he’s had on comics as a whole. And because of that, I want it to continue to be a slow build. I want it to be earned, not rushed. Because the costume change is just that – a costume change. Him becoming Nightwing is far more than that. It’s about him choosing his path, about moving on and growing up.

So, no. I’m not disappointed that we didn’t get a Nightwing suit in this episode. Or, well…maybe a little. The show really felt like it was building to that with the first eight episodes. But given the context of the finale and the previous episode – Dick running into the house after Rachel – it wouldn’t have made sense. When would he have had time to make a new suit? Why the hell would that be his priority? The reveal wouldn’t have had time to breathe properly, so I’m glad that’s going to happen later, when it can have the dramatic weight it deserves. What I am disappointed about? That the episode just ended with Trigon corrupting Dick.

The entire season focused on Dick overcoming his darkness. On Dick moving past Robin; coming to terms with his past; realizing that while Bruce wasn’t a perfect parent, he still tried really damn hard. Dick was the central character. He was the heart of the show. And to end the season without that arc resolved, without him deciding, no, I’m not giving into that darkness, is just a really dumb cop out. It’s lazy writing that cheapens his beautiful development. It would have been one thing had this been the penultimate episode, rather than the finale – a setback before he pushes his way through the illusion for Rachel – but it wasn’t. And I know, a lot of that’s probably due to Trigon’s manipulation, but the problem with that is…I don’t think that matters. Not when it comes to a season finale. It doesn’t matter why, it just matters that this character arc – the only real character arc in the show – didn’t get a proper resolution, rendering all of Dick’s character development not quite meaning-less, but certainly not meaning-ful. The suit is just a suit. But the season should have ended with Dick at a point where he’s ready to be the hero that wears it.

And even setting aside the thematic issues, if Dick killing Bruce is due to Trigon’s influence, it wasn’t done in what I consider a compelling way. Yes, it was cool to see how he bent reality every time Dick was ready to walk away to push him into confronting Bruce. But even so, the moment when Dick killed Bruce fell flat. It didn’t feel like much of anything, least of all the climax of anything. It was just a letdown.

Guest Star Spotlight Episodes

There have been five episodes out of the eleven that were named for/centred around/introduced guest characters: “Hawk and Dove”, “Doom Patrol”, “Jason Todd”, “Donna Troy”, and “Hank and Dawn”And when you look at it just from a numbers perspective, then, yeah, it does seem like an inordinate amount of time focusing on characters that aren’t in the main cast. But I really don’t see it that way.

For a start, not one of these episodes is included in my personal list of “episodes I didn’t love”. I thought every one of them was excellent. “Hank and Dawn” deserves special mention in that category as well, because I was hugely skeptical going in – it was placed right after a cliffhanger, it was the second guest episode in a row, it was a flashback episode without the main cast, it was the antepenultimate episode – but when I watched it? I loved it. It kept my attention the entire way through, and I didn’t miss the main cast at all.

In addition to this, just about all the guest episodes aside from “Hank and Dawn” weren’t really about the guest. “Hawk and Dove” introduced Hank and Dawn, but focused more on Dick and Rachel’s relationship and Dick’s issues with family. “Doom Patrol” was more about introducing Gar and having him join the team. “Jason Todd” and “Donna Troy” were both about Dick’s relationship with his past and the Robin identity and the struggle he has to reconcile his love for Bruce with his anger towards him. Titans has mostly been a character focused show, and all these guest episodes served as a way of exploring the lead character.

In what might be a controversial opinion, I also think that two of the guest episodes – “Doom Patrol” and “Donna Troy” – were some of the most cohesive episodes in terms of developing the entire main cast and balancing plot with character development. In the former, we had Rachel bonding with Gar and Dick clashing with Kory, as well as Gar joining the other three. In the latter, we had more character development. We got to explore more of Dick’s past and his lighter side, through his relationship with his best friend. We also had scenes of Kory, Rachel, and Gar on the train, with Kory and Gar – who’d had very little interaction until this point – talking and bonding. We found out what Kory’s mission was. It was a very, very well constructed episode. I don’t think there’s a single episode without the guest stars – except maybe, maybe “Asylum” – that managed that level of cohesiveness.

So my issue with the guest star episodes isn’t at all that they existed. It’s not that guest stars were spotlighted more than the team as a whole. It’s not that they took up too much time in the season. It’s that they didn’t really go anywhere. When it comes to comic book media, I love a meandering, character driven story, because that’s a lot of what the heart of comics are. But that doesn’t mean the plot can be entirely abandoned or that character arcs can be nonsensical. If you’re going to having a running plot instead of actually leaning into the idea of “miscellaneous stories in the same world”, there still has to be thematic coherence and some amount of resolution. And with the finale, we didn’t get that. It felt like stopping at an absolutely inexplicable time.

What I thought was going to happen after seeing both “Hank and Dawn” and the preview for “Dick Grayson” was that Rachel was going to call Hank and Dawn, tell them to find Jason, all of that because she was trying to save Dick and snap him out of his Trigon hallucination. I figured the episode was going to be split between Dick in the illusion and Rachel outside of it, connecting the episode plot to the overall season plot, to the overall importance of Dick and Rachel’s relationship. But none of that happened. We only saw Rachel at the very end. Gar was nowhere to be seen, Kory and Donna were both stuck outside, Hank and Dawn were presumably still at the hospital, and Jason was probably in Gotham. It was messy, with too many dangling threads.

If, as I’ve heard, Hank, Dawn, Donna, and Jason are all going to be recurring characters in season three, then there is too much going on. Especially with the stinger featuring Conner escaping Cadmus. They keep introducing new characters and plot threads, but don’t seem to care enough to wrap them up, or even bring them all together so that they can eventually wrapped up. They’re juggling a lot and dropping the balls.

Kory and Gar

Look, everyone reading this probably already knows I’m biased. As I’ve said in just about every post I’ve made about comics and related media, including this one, Dick is my favourite character. And I’ve never really been a fan of either Starfire or Beast Boy. So I’m never going to complain about the show or season focusing primarily on Dick and his growth into the best version of himself. And while I wouldn’t object to Kory, Gar, and the team as a whole getting more focus, I totally disagree with the claim that centring the story on Dick is the problem, or even one of them.

like this interpretation of Kory just fine – hot blooded, the first one to resort to violence to solve a problem, cocky, a kind of weird sense of justice…but frankly, there’s not enough there for me to love her. She’s a pretty shallow character so far. There are traits that can be interpreted from her actions, but she hasn’t had a real arc, hasn’t had those traits clearly defined and reiterated. I don’t mind watching her, but I also don’t really care either way. I’ve rewatched the pilot a couple times, and I’ve skipped through her scenes. While Anna Diop was engaging enough to keep me from getting bored the first time I saw it, I didn’t care enough to watch those scenes again, and skipped through them to get to what I really wanted to see. If season two focuses more on her, I’m going to need it to be with a much more compelling plot than she has amnesia and wants to figure out who she is. Gar has had even less screentime than Kory so far. And to me, that’s weirder than how little Kory we’ve gotten, because there’s, like…no actual reason for him to be around, either in terms of plot or in terms of the writers having something they want to do with him. He’s just here to be here. It feels kind of like how it always felt to see Storm in the X-Men movies. She was there…but not actually to do anything. Just because the writers thought, oh, X-Men, we need Storm, right? He’s going to need a lot more fleshing out in the future…but the lack of fleshing out so far isn’t why the story fell flat.


I liked episodes 1, 3, and 10. I loved 2, 4, 5, 6, 7, 8, and 9. And with 11, I enjoyed several different aspects of it. But overall, it didn’t make much sense. It neither advanced the plot nor advanced the characters, and in some ways, reversed the character development that had already happened for the sake of getting them to a certain point. And that made the meandering plot and the slow focus on character growth far less appealing because of how jarring the finale was.

I’ve heard several rumours about the season and how it was supposed to go – that they cut an episode and merged parts of it with other episodes, that they cut large chunks out of the finale, that they even split it in two to make the second half the premier of the second season. I don’t know if there’s any truth to any of those rumours. But if the last one is true…that would make way more sense than what we got. It’d be frustrating, sure – but at least then, I’d know that it was just a bad idea, rather than writers setting something up perfectly, then screwing it all up.

I still enjoyed each individual episode enough to want to watch season two. I’m reasonably confident I’ll be at least entertained. But I’m really hoping that season two will be more coherent.

Batfamily Dynamics In ‘Titans’

So you know how I love the Batfamily? Well, I do. And that’s another reason watching Titans makes me geek out like an idiot. It’s so centred on Dick and his growth that we get a lot of insight into how his family affected him. It gives us a unique and compelling take on Dick’s relationships with both Bruce and Jason, without having them as his entire story, and it’s fascinating to watch.

I loved getting to see Dick interact with Jason. But I haven’t seen anyone discussing the one thing that kind of weirded the comics fan in me out – the ages and the impact they have on the inter-Batfam relationships. Jason is the only character whose age we canonically know, because it was actually brought up in the show. Sure, people involved with the show have given us some numbers – or at least, vague ideas – for the others, but remember, Writers Cannot Do Math. So until everyone else’s age is solidified within the show, the only thing I’m willing to assume is Jason’s. Unless he was lying for some reason I don’t understand, Jason is explicitly nineteen. He’s also explicitly been with Bruce for about a year, so pretty much immediately after Dick left. Presumably, him going out as Robin has been recent, both because Robin hadn’t been seen in over a year as per the beginning of the pilot and because he needed time to learn the necessary skills. That confuses me, because it means Jason has been a legal adult for the entirety of his relationship with Bruce. He’s not an adopted son anymore. He’s not a child soldier. He’s young, brash, stupid, but he’s not exactly the kid that sees it as a game – he loves it, thinks it’s fun, but he also is okay with the idea that he’s drawing fire. It changes the relationship between all of them.

I’ve always thought that the age of becoming Robin was most essential to Dick, and less so for everyone else. This is because Dick’s story was about loss and pain. It’s a clear parallel to Bruce’s – they lost their parents at about the same age. They started fighting crime to deal with it. By the time Dick became Nightwing, he’d been Robin for pretty much half his life, and he’d set aside the role in a way Bruce never would have been able to, had their positions been switched. In the show, he’s been Robin for even longer. So it makes perfect sense that in the show, he is having a hard time letting go! With everyone else, except perhaps Damian, it seemed like their age was much less important. But now, I’m wondering if I was wrong. It may not matter whether Jason is eleven, thirteen, sixteen. But I think it does kind of matter that he’s a minor.

One of the recurring points in the comics is that Jason kind of saw being Robin as a game. He wasn’t as emotionally invested as Dick, who had a personal reason for putting on the mask. He was a kid that was kind of in over his head. Aging him up changes the tragedy, because now he knows what he’s going into. He’s not just a kid having fun and loving the attention anymore, he’s an adult more capable of making his own choices. So for me, his anger at Bruce upon his resurrection won’t ring as true anymore. Likely, Bruce’s guilt won’t, either. It seems likely that, if Death In The Family is ever adapted in this show – which I doubt, honestly – they’ll have to take his becoming Red Hood in a very different way. With the implication that Dick telling him he should cut out the tracker in his arm will lead to him doing just that, leaving Bruce unable to find him, I wonder if adapting that arc would focus more on Dick’s guilt than Bruce’s.

That leads me to Jason and Dick’s relationship. I find that very interesting, thanks to the age gap. DC often tries to convince us that they’re very close in age, rather than Jason being closer to Tim’s than Dick’s. I seem to recall Rebirth insisting that they’re only a year or two apart. This is despite the fact that I’m pretty sure when Jason was introduced, he was eleven and Dick was eighteen. But Titans is actually acknowledging that Dick is significantly older. More than that – because both of them have been aged up, it’s easier to see how much they’re in different stages of their lives. That made it fascinating to watch, because Dick was clearly trying not to take out his anger at Bruce on Jason, and only partially succeeding.

Throughout the scenes when they were discussing the Robin moniker, I was unsure whether it was clever or an oversight due to DC’s long history of ignoring how personal Robin is to Dick. When I look at it from my own perspective – that of a fan that knows the history of Robin – I think the former. And since it’s on a DC streaming service, viewership is mostly limited to DC fans with a solid knowledge of the comics history. So from that perspective, it makes a beautiful amount of sense to not bring up what Robin really means to Dick – his family’s colours. His mother’s nickname for him. Dick has spent a long time closed off from other people. He’s not going to just spill his life’s story to the random kid that came barging into his life wearing his costume and calling himself by his name. It’s more than enough that the audience knows why he’s questioning why Jason didn’t make his own identity, why he’s upset that his father figure handed over his name and costume to someone else the second he left, why he’s having such a hard time letting go of Robin and carrying the suit with him across the country. But. That doesn’t work as elegantly for viewers  that aren’t comic fans.

The episode didn’t delve into the origins of Robin, why Dick has so much difficulty letting go, why he has every damn right to take his suit all around the country and be annoyed at the kid that acts like he knows what Robin represents without knowing any of the history behind it. So for viewers that don’t know and love Dick Grayson, it must come across very differently. Jason’s speech must seem like a genuine armour piercing speech, cutting to the heart of Dick’s issues. And to an extent, that is the case. Dick doesn’t really know who he is, doesn’t know what he wants or needs. But it isn’t like he’s a kid that’s outgrown his favourite sweater but doesn’t want his little brother to get to have it. This isn’t about him refusing to move on. It’s about him being unable tobecause he’s afraid of what letting go will mean.

Titans is shockingly subtle for a superhero TV show. It’s utterly character driven. I’m not used to this kind of storytelling when it comes to superhero media. It’s slow. It’s indirect. It waves forward than rolls back. It has characters go through similar storylines for very different purposes. If 1×06 was about Dick’s relationship with Bruce, 1×07 was the obvious follow through – his relationship with himself. His self loathing and anger and confrontation of the fact that it’s not really Bruce he’s mad at – he’s mad at himself. 1×06 ended with Dick acknowledging that Bruce did the best he could. 1×07 focused on Dick hitting rock bottom, because if he’s done blaming Bruce, it’s time to look inwards at himself. It’s nuanced. It’s hard to watch. It’s awesome.

It seems most people weren’t expecting anything this subtle, and as such, aren’t taking the time to interpret it as they would non superhero stories. You can see that both through the complaints that 1×07 was the same thing as 1×06 and through the complaints about Donna “badmouthing” Bruce in 1×08 when she contrasted Batman and Wonder Woman by saying Batman was created to punish the guilty, rather than protect the innocent. I saw a lot of people mad about that, saying that it’s missing the point of Batman and all that, but I don’t think that’s true at all – it’s been made very clear throughout the show that this perspective on Bruce is only part of who Bruce really is, and it’s coloured by bitterness and anger. Donna’s quote was even more like that than Dick’s own thoughts on Bruce, because Donna’s attached to Dick. She loves him and cares about him and saw how much all of it was affecting him.

That doesn’t mean that Dick doesn’t still care for Bruce! It doesn’t mean Bruce is the “bad guy”. It means that Bruce and Dick are flawed people with a flawed relationship. It means that vigilantism as a lifestyle is ridiculously unhealthy. It does a disservice to the quality of the writing to simplify it down to “they’re painting Bruce as a villain”. Dick went from refusing to talk about Bruce to casually referring to him as his dad to a stranger. And yeah, sure, that was probably at least in part because it was the easiest way to get the point across without delving into their whole relationship to a random person – the guy was already weirded out by Dick reminiscing about when Donna got her first camera before even introducing himself, how much more weirded out would he be if Dick started going on about his foster father that took him in after his parents fell to their deaths in a trapeze accident? But it was also about Dick coming to terms with himself and his relationship with the man that raised him. It was him remembering that his childhood had good times as well as bad.

Kory joked about Jason being younger, healthier, and smarter than Dick. As comic fans, we know only one of those things is true. But it made me consider what I know about this version of Dick – not comics knowledge, not cartoon knowledge, just what has been revealed in the show. And that’s kind of awesome to think about, because Dick hasn’t done any real acrobatics yet. For all that a segment of the viewership complains about it being the Dick Grayson show, we don’t really know all that much about his past, either. He hasn’t gotten a chance to show off many of his skills. That’s because the focus has been on who he is, not what he can do or how he learned it or the details of how he became who he is. And it works.

I’m obviously biased, due to my love for him, but even if I weren’t, I think it would still be pretty clear to me that Robin is one of the main characters of all those to have ever been part of the Titans. Almost certainly the most popular. Dick was the only member of the original roster that was included in the main cast of the cartoon and the main cast of this show. He leads the team. He’s had a successful solo series. He’s the poster boy for how Sidekick Graduations Stick. So, yes. It doesn’t bother me at all that the show is called Titans, while really being about Dick. It probably would if any other members of the Batfamily – except Tim, but that won’t happen for a while, if at all – end up as main characters, because that would be making it not a Titans show. Focusing on Dick? That’s just picking a main character.

Dick’s arc has moved beyond his issues with Bruce and into the territory of his issues with himself. So we don’t need a confrontation to conclude the character arc he’s going through – which is good, because introducing Batman will no doubt pull focus from the team that the show centres on, even though we know full well he exists without him showing up. However, because Bruce has been a spectre hanging over Dick since the first episode, we at least need something. It’s not going to be enough for Dick to be like, “hey, I worked stuff out with Bruce, we’re cool now”. For better or for worse, whether the resolution is us hearing the beginnings of a phone call or a season ending with him knocking on the door of Wayne Manor, we have to get something, and it has to have some amount of dramatic weight. The build up has been subtle. But the conclusion needs to be more.

Titans leaves me both wanting more of the Batfam and knowing there are few ways in which that could actually work. I don’t think Jason can carry a show. I know making any other members of the family recurring characters will pull too much focus away from what the show is supposed to be about. And being one of the Titans, rather than in a Batfam show where he’d always be second fiddle to Bruce, is better for Dick as a character. All this together means that I’m holding my breath, waiting to see how the writers handle the issue in the end of season one/beginning of season two, because they’ve built it up so beautifully, it’ll be downright tragic if the conclusion doesn’t measure up.

‘Titans’: Character Growth And Respect For Dick Grayson

Now that we’re most of the way through the first season of Titans, I finally feel ready to comment: I genuinely love it.

I was very much surprised to find that that’s the case, between that first trailer, the story details, and the weird age lifts. Though maybe I shouldn’t have been – Geoff Johns is heavily involved, and I have my issues with him and his approach, but he is the man that flat out refused to write Nightwing’s death in Infinite Crisis. He has a healthy amount of appreciation for Dick as a character. I should have had more confidence that my favourite character was going to be treated well. He has been. And that’s good, because even though the show is called Titans and it’s Rachel that drives the plot, at heart, this is a show about Dick Grayson – and specifically as Dick Grayson, not Robin or Nightwing. It’s about him figuring out who he is and what he wants. It’s a character driven story. The plot matters, the villains matter, but it’s primarily about Dick and his internal conflict, his familial relationship with Rachel, how his figurative demons parallel her literal ones.

Fans of the Titans team may or may not love it. And I’ve seen a number of comments from people that are frustrated by the backseat the others – particularly Gar – have taken in favour of Dick and guest stars. But as someone whose primary investment in DC has always been Dick…it’s kind of perfect for me. After all the mixed feelings and confusion about how it was going to turn out, I’m really glad I watched it. I was terrified of this show for the same reason that I was terrified when the Nightwing movie was announced – he’s a hard character to get right. But much to my shock, Titans gets it. What it does spectacularly is capture the almost paradoxical nature of Dick Grayson.

When I first saw the story details, I anticipated it flattening his character by focusing on the anger that was a huge part of his character in the 80s. And that’s certainly part of him. But it’s also not even close to everything, because even though he is angry, even though he’s obsessive and paranoid, he’s also funny and charming and likeable. In a lot of ways, he’s a more complex character than even Batman, because with Batman, there are a ton of equally valid interpretations. You could focus on his obsessiveness driving everyone that loves him away. You could focus on his refusal to stay down. And any one of those will help you understand a solid chunk of who Bruce Wayne is. That works, because those are all different sides of the same type of trait. That’s not the case with Dick, because with him, you kind of need a solid grasp of all those elements of his character, because his traits are so different from each other while all equally important. Titans is doing a genuinely impressive job presenting all those traits in a way that makes sense.

The characterization doesn’t feel flat at all. Dick does have that anger, that need to move out of Bruce’s shadow, but he’s also got his comics counterpart’s charm and decency – it’s most obvious with the motel owner in “Together”, who he turns down politely and tactfully when she’s hitting on him, but we also see it with Amy, who warms up to him after a thirty second conversation despite how much he tried to keep to himself before, and Kory, when their arguing softens into friendly and flirty bickering. Through his relationship with Rachel, we see the comfortably steady and reliable figure he’s becoming, the one that in the comics-verse is so important to guiding Damian. We see his intensity through his interactions with everyone. And through all of it, we see the seeds being planted for him facing his past, reconciling with Bruce, becoming more comfortable with who he is, letting go of Robin and becoming Nightwing.

Personally, I prefer it when Dick leaves because he’s grown up and it’s time for him to live his own life, not because of any major fight with Bruce or being fired or anything like that. He grew up in a circus – he was born to be the star, not play second fiddle to Batman. Bruce said as much himself. But there still is a lot of merit to the way Titans is showing it. Them not being on speaking terms opens up a lot of areas for character development. Also, it gives Dick more room to breathe and become his own hero on his own without his mentor overtaking his story. Otherwise, there would be very little explanation for why Bruce doesn’t have more presence in the show. Beyond that, in the context of Titans, it just makes sense.

Dick and Bruce are more similar than different. It’s been noted on multiple occasions that Dick is basically Batman with social skills. As such, they’re bound to clash, especially because what Bruce wants more than anything is for Dick to be better than him. As he put it in Young Justice, when Diana asked if he’d introduced Dick to crime fighting so that he’d grow up like him: “No. So he wouldn’t.” That conflict runs deep within the show, and it’s fascinating to watch.

A large part of why comics!Dick stopped working with Batman in the comics was because of his issues with identity. He was spreading himself too thin. He didn’t know how to balance his desire to see the best in people with his learned cynicism, or how best to help people. That identity issue is at the heart of his character arc in Titans. He’s fought crime in a city so terrible, Amy’s reaction to finding out where he was from was Jesus since he was a child. That didn’t leave him much time to figure himself out. And now that he’s not on his own anymore – now that he has Rachel to protect, Kory constantly prodding at him to get him to open up – he has to figure that out and come to terms with the mistakes he’s made.

“Jason Todd” was the a major part of that character growth. It was also a clear step in the road to Nightwing. It was a fascinating episode for me, because it forced Dick to confront his past – his vicious, brutal past. Don’t get me wrong. I love the traditional, goes after Zucco but doesn’t kill him bit. But you know what? It makes a painful amount of sense that he would. It’s also very easy to connect to different pieces of DC media. For one, it reminds me a bit of Batman v Superman – as we did with Bruce there, here we see Dick making decisions that are hard to watch, that we don’t want to look at, that aren’t heroic…but that we know will lead to him growing, being better, doing better. The idea of him killing once than being horrified at what he’d become reminded me of Bruce’s arc in Gotham. It also reminded me of Batman Begins – not for what it was, but what it wasn’t. In Batman Begins, we see Bruce trying to justify leaving Ra’s to die, saying something like, “oh, not saving you isn’t the same thing as killing you”. Titans makes no such pretense. Dick acknowledges that he killed Zucco. He talks about it. It’s a whole episode of him dealing with the fact it’s time for him to stop living in the past, stop living in anger and regret, because the cycle of vengeance won’t make the world a better place. And as he does so, he comes to understand that his memory is flawed, because it’s been coloured by rage and grief, and it’s time for him to move on and forge a new identity. As Jason put it, he doesn’t know who he is. The episode culminates with him acknowledging that Bruce tried his best. It’s absolutely gorgeous character development.

Not all of the show is as well done as Dick’s arc has been so far. Some of it has been kind of sloppy.  Take the Beast Boy appearance at the end of the pilot – it wasn’t much of anything, it didn’t need to be there, it was just a minute or two of, hey, there’s Gar, he’s in this, remember? Similarly, I wasn’t big on Kory’s scenes before she met up with Rachel. I mean, I liked watching her…but only because Anna Diop has enough presence and charisma to keep me from rolling my eyes and getting annoyed with how her amnesia plot was a dumb thing to pull focus from Rachel and Dick for. And when the season is only eleven episodes, it’s kind of frustrating to have the team keep splitting up. Outside of Dick – and his relationship to Rachel, because that’s just awesome – it’s a pretty mixed bag. However, the way Dick has been handled? The progression has been so damn good, he alone will make me want to watch season two.

For a popular character, Dick doesn’t get all that much respect. I’ve written about that before. We see it with how his movie seems in permanent limbo. We see it in the comics, where he’s wandering around with amnesia and calling himself Ric. We saw it when his 75th anniversary was kind of hijacked by Harper Row, when DC kept trying to kill him, when we get increasingly ridiculous reasons why he hasn’t actually surpassed Bruce and still needs a mentor. It’s been going on a long time. But this show isn’t falling into that trap. He doesn’t need a mentor. He doesn’t need to work under Bruce. He’s Dick Grayson, and that’s fucking awesome all on its own.

X-Men Adaptations And The All But Inevitable Disappointment

I’ve brought up my issues with The Gifted repeatedly. And almost every time, it’s been through the lens of I love The Gifted, but…Not this time,though. After “afterMath”, I’m out. I can’t defend this anymore.

I’ve been iffy on this season from the beginning. The writing hasn’t been good, the character work has been sloppy at best, and the themes became a mess when they started trying to make the classic X-Men vs Brotherhood conflict work in a setting without either the X-Men or the Brotherhood. I kept watching, though, because I love the X-Men, Emma Dumont was doing an awesome job as Lorna, and the quality of the first season gave me hope that it would improve. But you have to draw the line somewhere, and while I can forgive moments of bad writing, I can’t forgive comparing people fighting against oppression to Nazis.

It’s really fucked up to compare the Inner Circle’s goals of a mutant homeland where members of a persecuted minority aren’t getting murdered on the streets to “Hitler’s big dreams”. Especially when one of the members is Lorna – you know, the half Jewish daughter of a man whose entire family was murdered by Nazis. Under some circumstances, I would probably assume this was intentional – an example of the members of the underground being so caught up in their issues that they got distracted from who the real enemy was – and give the writers the benefit of the doubt for another episode or two. After all, this comparison occurred in the same episode where Purifiers stormed a clinic looking for mutants and threatened the staff. The same episode where a roomful of those Purifiers started chanting “they will not replace us”, a sentiment that was instantly and terrifyingly recognizable. But if this season of The Gifted has proven anything to me, it’s that I shouldn’t give the writers any such benefit.

So much of this season has been about why the Inner Circle is wrong, even though they haven’t done much to be wrong about, or why their methods are evil. And sure, killing people is obviously bad. But that’s one of the biggest Captain Obvious Aesops I’ve ever heard. It’s the smug cowardice of centrists, the idea that “oh, taking a stand against oppression just means we’re sinking to their level!” Every time someone has been uneasy with what the group they’ve allied themselves with is doing this season, it’s been a member of the Inner Circle. The underground is still too busy being self righteous to consider the fact that they aren’t helping. If that weren’t the case, I’d be willing to wait for the season to play out. But it’s not. So I’m not.

you tell 'em magneto
Magneto (AKA the most famous Jewish character in comics) not down with murderous gas clouds.

We’ve seen this same thing in comics for years. Characters referred to Cyclops as “mutant Hitler” for destroying a toxic gas cloud that was killing mutants. Very obviously not Hitlerian at all, right? You would think so. But the writers, despite obviously recognizing what that whole storyline brought to mind, continued to behave as if Scott was a genocidal terrorist, rather than the guy trying to save lives. I am not even remotely down for watching a similar story play out with Lorna in live action.

It’s disappointing. The Gifted began with a huge amount of potential. And even this episode had a lot going for it – the themes of police brutality, the Purifiers, Jace Turner, the contrast between Rebecca’s desire to see the world burn after gaining her freedom and the other mutant’s forgiveness of the jury that put her in the mental hospital. But that one line, casually comparing the Inner Circle to Nazis, on top of the way there are more PoC as extras in the Sentinel Services and Purifiers than with any mutant group…it just goes to show that the writers don’t really understand the issues they’re trying to represent. And I’m done hoping that’s going to change.

World Building And Lived In Universes

When the second episode of Titans – “Hawk and Dove” – came out, one of the things I thought was that it felt like Batman v Superman. Coming from me? That’s about as high of a compliment as I can give something.

It’s strange, because in a lot of ways, they’re very little alike. Batman v Superman was a sequel, not the start of a new universe that Titans is. But they still feel similar, because they’re both set in already established worlds. In Titans, there were obviously the big details, like how Dawn, Hank, and Dick all knew each other prior to the series and the fact that Dick isn’t working with Bruce anymore. But there were the smaller things, too – Dawn’s Superman T-shirt. The photograph of what was presumably this universe’s first incarnation of Titans. Dick’s contacts list, which included not only Bruce and Alfred, but Donna Troy and Lucius Fox, as well as an assortment of minor characters – Bridget Clancy, Bonnie Linseed, Lori Elton. This is a continuation of the same pattern in the pilot, where Dick’s coworkers are talking about how he’s from Gotham, and how it’s anybody’s guess what happened to his old partner – he could have even been gassed by the Joker. That’s how everything about Gotham feels in BvS.

Like I said, Batman v Superman was a sequel. But while it continued plot points from Man of Steel, it introduced Batman as an already established hero that’s gotten much more brutal recently. He’s twenty years into his career. Losing everyone that’s ever mattered to him has left him jaded and brutal. We don’t see much of Gotham, but we know it’s a crime ridden cesspool with a pretty bad reputation. The Joker doesn’t play a role, but we know that Gotham has a history with him. Even in regards to Superman – we know how he started off – we saw that in Man of Steel. But we weren’t shown all the details of his life since then. We see the gist of it, not the details – he saved a bunch of people, moved in with Lois, is in a good place.

By contrast, there are shows like Gotham. That’s my favourite comic book show. I love it with all my heart. And it has a very different vibe. The city feels like one with a lot of history, like a city that was holding on by a thread until the Wayne murders. But the show, the characters…that all feels fresh and new. However lived in the world may be, there’s a new world order coming and a new status quo that the residents will have to live with. That’s because the show is a prolonged origin story, and over the seasons, we’ve been there for just everything that makes Bruce Wayne who he is.

We were there when he watched his parents’ murder. We were there when he failed to deal with it. We were there when he met Jim Gordon, when he met Selina Kyle and found a reason to smile. We saw him train and grow and confront villains, saw him regress and pick himself back up and start fighting crime for the first time in a world where the new phenomenon of supervillains is emerging. That’s not at all what it’s like in Titans or Batman v Superman, because they start in the middle, not at the beginning.

Sure, we see the basics of Dick and Bruce’s lives and traumas in those stories. In the case of the former, we’ll probably see more as Titans progresses. But how we see that is very different. In both cases, it’s through flashbacks, not what’s occurring in the present. More than that – with many shows and movies, flashbacks are just regular scenes set in the past, sometimes with a different colouring to indicate that it’s not the usual timeline. Not so in Titans and BvS. There, there’s a separation. Stylistically, it comes across as a memory.

In Titans, the first flashback to the Flying Graysons is from Rachel’s perspective, not Dick’s. We hear voices as echoes, we don’t see every detail of what happens, it’s more like flashes of images than a scene. And in one of Dick’s very first scenes, we see him years older wearing a costume we never saw him put on, much less for the first time, and confronting criminals who already know who he is, even though we didn’t see when he got that name. We know that he had a life before this show, one that we’re never going to know all the details of. In Batman v Superman, it’s pretty much the same thing. It’s a compressed telling. It’s stylized. We don’t hear voices or see every frame, we just hit the main points – what Bruce is never going to forget.

This particular brand of storytelling appeals to me so much – sure, it’s great to be with characters through the entire journey, but when flashbacks are a major part of it, I like not seeing all of it, or piecing it together slowly. It’s not all thrown at us at once. It’s enjoyable.

‘eMergence’: I Continue Trying To Figure Out How I Feel About ‘The Gifted’

So last night was the season two premiere of The Gifted. I thought it was pretty good…but some of the issues I had with season one are definitely still there. So what’s a girl to do but make a list?

The Good

  1. Lorna was, as always, wonderful. Emma Dumont’s performance in the first season was better than anyone else’s; Lorna was the standout character; and it’s nice to see her continuing to be great. I may not be a fan of the baby storyline – and I’m kind of annoyed she didn’t name her Sonya – but this ep as it pertained to Lorna gave me a great performance, an awesome demonstration of powers, and was just all around fun to watch.
  2. Reeva Payge! She’s got the charm, a great wardrobe, and right now, is the only thing keeping the new Inner Circle from being painfully white (Hahaha, White Queen, only one not white, sorry). I really liked watching her. I especially liked how she explicitly brought up the variety of other things she’d been hated for in her life aside from her powers – her poverty, the colour of her skin.
  3. The Struckers may have all taken turns in being annoying in season one, but Andy’s really improved. There was no whining in 2×01, just him trying to help Lorna. I cracked up at his “she just needs to keep pushing” when she was in labour after he’d said earlier that if she got preeclampsia, he’d do his best. I mean…points for effort? Negative points for lack of helpfulness.

The Bad

  1. The episode still felt kind of choppy and unbalanced. Sage was there, but not really doing anything. Pretty much everything involving Caitlin, Reed, and Lauren was clunky, awkward, and could have easily been excluded, or at least streamlined. I didn’t like how it kept cutting back to them when Lorna was in the middle of having a baby. The Cuckoos still haven’t gotten the chance to behave as individuals, rather than as a collective unit – and seeing as three in the show are Esme, Sophie, and Phoebe, who have the most similar personalities of the five Cuckoos in the comics, I’m questioning whether they’ll ever get nuanced and unique characterizations.
  2. The Inner Circle isn’t behaving much like the comics Hellfire Club. It seems more Brotherhood than anything. Which isn’t necessarily bad, but it’s kind of disappointing.
  3. John and Clarice as a romantic thing just doesn’t do it for me. In concept, it’s fine, but they were thrown together in such a clumsy way in season one, and now skip ahead six months and they’re happily living together, no issues? No Clarice still being a little uncertain as to what’s her and what was Sonya? No John being hesitant about jumping into another relationship so soon after Sonya, who he’d been with for a substantial amount of time? I don’t know. I don’t find it interesting or well written.
  4. For fuck’s sake, why am I the only one that cares about Sonya?! A mention, please?!

The Ugly

  1. Andy’s dye job. That is so bad.
  2. I don’t know what Andy’s name suggestions were, but Lorna, I don’t think you have much room to judge when you named a kid Dawn Dane.

Overall, I quite liked the episode. It was entertaining. I didn’t love all of it – especially how the Strucker family still isn’t working for me and it was detracting a lot from Lorna and Reeva, the best parts of the episode – but it was good enough to keep me watching for now. Next week, we’re going to see the Morlocks, which really excites me. If handled well, they could really drive home the message that neither the underground nor the Inner Circle are actually helping mutants. It’s not ideal, seeing as that message was what the underground itself was supposed to be to conveying last season – the X-Men and the Brotherhood could have their ideological conflicts, but the underground had to actually do help people without those resources – but maybe it’ll actually come through this time.

…a girl can hope.

‘The Gifted’ And Righteous Anger

I have mixed feelings about The Gifted. Acting-wise, the disparity between the quality of some of the performances is jarring. Writing-wise, it’s so inconsistent my general reaction is meh. I’m still bitter about Sonya and all the ways she could have been used.  My feelings about the Struckers are best left unsaid. But when it first came out, I loved it.

The Gifted started off as smaller, more intimate look at the X-Men universe. That was why I was so excited to watch every episode. The marketing for the first season revolved entirely around the point that these people aren’t special. They’re, for the most part, mutants without any kind of extraordinary powers or ties to any of the major factions, no access to the resources those factions have. They’re people that have to get by in a world that hates them for existing. Each episode explored a different aspect of discrimination against mutants, all of them relevant to the real world. It was a nuanced take on what it means to live in a society that discriminates against you. Now it appears to be falling more into the same trap most X-Men material eventually falls into – trading substance for bombast. Because these people are special! They do have extraordinary powers! And those factions are involved in the show, and their resources, too!

Andy and Lauren are descendants of the von Struckers, who in this universe, were members of the Hellfire Club’s Inner Circle and are so super duper powerful that everyone wants them. Reed is coming into mutant powers late in life. Caitlin is a nurse that can perform field surgery without breaking a sweat. The Inner Circle is going to be playing a major role in the upcoming season. And all the promotional material for said season is focusing on mutant underground vs Inner Circle, good vs bad, rather than the wide range of ideas in between. Which I think is just missing the point.

What I loved about season one was there was some element of moral ambiguity. Lorna was treated as Lorna, not Magneto 2.0.  But by the end of the season, Lorna was isolated as the “angry” member of the underground, which I find deeply unfair, because part of what I enjoyed about the show was how much it showed that none of the characters were into passively sitting around to ~show humans that they don’t mean them any harm. They weren’t “ideal victims” by any means. They were full of righteous anger and even if they weren’t “fighting back” in the sense of planning assassinations and killing the people that attacked them, they were still resisting. They were going out to rescue mutants from people that were hurting them and fighting those people in the process. They were breaking laws and protecting fugitives. Sentinel Services classified them as a terrorist group.

Marcos revealed plenty of his own aggression, to the point where Lorna was bothered by how much he’d enjoyed torching a truck for Carmen. Sonya may have been more pacifistic than the others, with no desire to physically harm anyone, but she also had no qualms against using her powers against someone if it meant keeping more mutants alive. Clarice was obviously ready to fight, because her reaction to meeting Lorna, Marcos, and John for the first time was to throw stuff at them. John physically broke things or shouted at people on multiple occasions when he was mad and he allied with the Cuckoos to go after Campbell partially because he wanted to avenge Sonya. And that’s just the core characters, not getting into characters like Fade, who also demonstrated their anger at baselines. Lorna was not even remotely the only one. She may have been angry, but her anger wasn’t treated as something that made her a bad person, because everyone else understood it and felt the same way.

Exploring Lorna’s character and darker impulses could be fantastic. Because it makes sense that her learning she’s pregnant would lead her to be more ready to fight for her baby! But the way the writers seem to be going about it is by taking it to the extreme. They’re taking a very broad, complicated topic that encompasses a lot of smaller problems and a wide range of perspectives, and looking at it as a single black and white issue. They’re ignoring how much the mutants resonate with minorities that are angry to instead focus on the simplistic idea that Lorna giving up on hiding and choosing to fight back is her crossing the moral event horizon, not her being justifiably done waiting for more mutants to be killed and bringing down a private plane where the only people on board were those that were associated with Montez and Campbell, not random civilians.

It’s been a longstanding problem in the comics where anyone that gets angry and starts to actually do something to stop mutant persecution is claimed to be acting just like Magneto. This was most obvious with Cyclops – after fighting for years for peace and coexistence only for more mutants to be experimented on or murdered, he decided enough was enough and founded Utopia. He drew his line in the sand and stuck by his principles – sure, he’d still protect humans from mutant criminals and fight for those that valued mutant lives, but he refused to sit by and let his people be slaughtered. Seems perfectly reasonable, but according to comics writers, that means he’s essentially Magneto. That’s what the writers on The Gifted are doing with Lorna – they’re so desperate to have her be in the wrong, they’re not exactly doing a good job proving she is wrong.

Lorna is by far the most interesting and well written character in the show. She’s layered, she’s consistent, and out of the characters in the show that originated in the comics, she’s probably the closest to her comics counterpart. Even though the writing that’s supposed to convince me she’s in the wrong is weak, the writing for her and her decisions is still believable. Without her? I wouldn’t bother to watch season two. As it stands, the only reason I’m still watching is that it has to do with the X-Men. Had it been an original property, I’d have probably given up a long time ago, but I love the X-Men and have to hold on hope that it can improve.

Substance and bombast don’t have to be mutually exclusive. And stories where factions are pitted against each other can be great. There could be a wonderfully layered story featuring different groups that disagree on the how but agree on the what – mutants deserve safety and freedom from persecution – coming together to get things done, where both sides realize that neither militant pacifism nor offensive violence is the solution they need. They could do all of that with bigger action sequences and dramatic uses of mutant powers than in season one. But instead, the season is being marketed as a pick a side, underground or Inner Circle. It’s veering away from the actual point and into the cliché of infighting.

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I saw the Tweets to the left a while back, and it strikes me as very relevant to this discussion. The way Lorna – and, to a lesser degree, the other members of the underground – behaved for most of the first season was like Emma, not like Xavier or Magneto. She started teaching combat so the kids would be ready for a fight because the world is a dangerous place for mutants. She wasn’t portrayed as in the wrong for that. Even when Caitlin got mad, she pushed back, rightfully pointing out that Caitlin had no right to be criticizing her for teaching mutant children to protect themselves, that Caitlin had no right to come into their home and tell them how they should be behaving. By the finale, she was veering away from that practicality.

The plane made sense to me. It felt true to Lorna’s established character, and it was easy to understand why she did it and support her. But after that? Ending up in a more subservient role to Reeva Payge, rather than as a leader in her own right, while still veering towards the Magneto side of these four options? Less so. What would be more interesting to me is a Lorna, disgusted both by the underground being so passive and the “Inner Circle” – who’s more Brotherhood than Hellfire Club here –  not helping matters. going towards the Cyclops end of the scale. Where she decides she’s going to change the world while still training kids to defend themselves. Where she has complex goals and ways of achieving them. That more than anything would prove to me that they care about Lorna and aren’t just using her because they’re not allowed to use Magneto. Her actions so far have felt authentic enough…but they’re also those that Magneto would take. They don’t feel unlike her, but they feel more like him. I want to see Lorna, see where she falls in between the poles of the “how we live our lives when people want us dead” spectrum.

My feelings towards the show are pretty much the same as my feelings towards the X-Men movies – just about every episode is good for at least a watch, and I don’t realize the problems with it until I start really thinking about it. But once I start thinking about it…it makes me seriously question whether I’ll be able to enjoy future instalments. The Gifted still has room to recover. For all my complaints, the first season still had enough that I enjoyed that I know it’s close to something great. But with all the focus on the Hellfire Club standing in opposition to the mutant underground…I’m not sure it’s going to get there.