BATWOMAN‘s second half-season kept up the level of the first half, which makes me sad Ruby Rose has decided one season is enough in the role of Kate Kane (there’s no official statement, but I’ve heard this credited to injuries in action scenes, the time suck of being a star in a weekly series, or her and the producers not getting along). She’s done an amazing job and plays great with her deranged sister Alice (Rachel Skarsten) and her step-sister Mary (Nicole Kang), who’s easily the best character in the show (I blogged this week about her and the show at Atomic Junkshop). In addition to the running battles with Alice and Mouse, Kate has to deal with her relationship with her closeted ex, Sophie and the discovery that Lucius Fox’s convicted killer may have been innocent, which doesn’t sit well with Luke Fox (Camrus Johnson). Due to the pandemic the season ends, like Flash, without the final episodes, but I will say the one they did have works well as a cliffhanger. “Kate knowing what she’s doing can be worse than most people not knowing what they’re doing.”
SUPERGIRL‘s unplanned finish was much less successful, mostly because the season’s been a mess. The big challenges carrying over from the first half were Leviathan, a ruthless alien cabal plotting mass destruction and new boss Andrea’s Obsidian system bringing billions of people into a virtual fantasy world; and Lena’s (Katie McGraw) plan to cure humanity of evil with an experimental mind-control system. Adding to this, the post-Crisis reality-altering turned Lex Luthor (Jon Cryer) into a respected businessman and the head of the DEO without changing his evil agenda any; while Cryer’s good in the role this repeated last season’s twist of revealing he’s been manipulating and playing all the various villains for his own ends. It’s too repetitive (he mocks Eve Tessmacher for her foolishness much as he sneered at Red Daughter a year ago) and it doesn’t help when the villains are so unsatisfying. Leviathan’s members are powerful but not notably different from any other conqueror; the buildup with Obsidian felt pointless (despite one great episode with Alex as a VR version of Supergirl) as Andrea doesn’t have an evil agenda. Lena’s arc, finally coming back to the side of good, was the only one that really worked. So the season just fizzled out — it didn’t help that winning (though with Lex still a threat) relied on Supergirl making a very unconvincing inspirational speech. “You arranged a battle with Earth, Wind and Fire and didn’t invite us?”
I don’t think I’d heard of Hitchcock’s YOUNG AND INNOCENT (1937) before watching it, or if I did I confused it with Rich and Strange. It turns out to be a good version of one of Hitch’s favorite themes, the Innocent Accused (it’s very much in the mode of The 39 Steps). When an actress turns up strangled on the shore (shortly after a private argument with her estranged husband), beachgoers spot Tisdale (Derrick de Marnay) running away from the body. He claims he was going for help but nobody believes him, including his incompetent attorney (there’s a lot of comedy in this film). Tisdale escapes and goes on the run with the help of Erica (Nova Pilbeam), a police officer’s daughter. Can they find proof that Tisdale didn’t do the deed? The leads’ love at first sight works much better than the romance in Secret Agent and the film is a good one with some clever suspense sequences, like the leads being stuck in a kid’s birthday party when they have a desperate need to be elsewhere. That said, I’m not sure the plot holds together (there’s no indication the police even tried to contact the husband) and the climax involves a nightclub band in blackface, so be warned. “You forget, it’s my petrol.”
MACBETH was a Folger Theater production streaming through the end of July. A well-executed, energetic production of the “Scottish play” but despite a striking opening (a staffer discussing trigger warnings for violence gets stabbed) it doesn’t stand out from other productions despite Penn of Penn and Teller co-directing (while some of the magic scenes are striking the play doesn’t make a huge thing of them, which is good). “Methought I heard a voice cry out ‘Sleep no more — Macbeth doth murder sleep!”
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