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REVIEW -- Batwoman (Season 1 - Episodes 1-20)




Batwoman is an American superhero television series developed by Caroline Dries. It is based on the DC Comics character Batwoman and shares continuity with the other television series in the Arrowverse. The series premiered on The CW on October 6, 2019, and is primarily filmed in Vancouver, British Columbia, Canada, with location filming in Chicago, Illinois. In the first season, Batwoman follows Kate Kane overcoming her demons and past to become Gotham City's new symbol of hope as the vigilante Batwoman.

In May 2018, it was announced that Batwoman would appear in "Elseworlds", the Arrowverse series' 2018 crossover, with an announcement two months later that a series centered on the character was in development from Dries. Ruby Rose was cast as Kate Kane in August of the same year. In January 2019, the series received a pilot order from The CW, to be considered for a series order in the 2019–20 television season. The show was picked up to series in May 2019 and in October 2019 a full season of 22 episodes was ordered. Production on the first season ended early due to the COVID-19 pandemic, leaving the first season with only 20 episodes.

In January 2020, The CW renewed the series for a second season, which is set to premiere on January 17, 2021. In May 2020, Rose had exited the series, and two months later, Javicia Leslie was cast as Ryan Wilder, a new character that is set to take up the position of Batwoman.





Cast
: 


Main

Gracyn Shinyei portrays a younger Kate.
Ava Sleeth portrays a younger Beth.

Skarsten also portrayed an alternate version of Beth who was displaced from her native Earth during "Crisis on Infinite Earths" and appeared on Earth-Prime. This version did not get lost during the car accident. 

Meagan Tandy as Sophie Moore
Nicole Kang as Mary Hamilton
Camrus Johnson as Luke Fox
Camrus Johnson also portrays his Earth-99 counterpart.
Elizabeth Anweis as Catherine Hamilton-Kane (season 1)
Dougray Scott as Jacob Kane

LaMonica Garrett also stars on "Crisis on Infinite Earths: Part Two" as Mar Novu / Monitor, a multiversal being who tests different Earths in the multiverse in preparation for an impending "crisis" orchestrated by his polar opposite, Mobius / Anti-Monitor.

Recurring

Introduced in season one

Greyston Holt as Tyler
Brendon Zub as Chuck Dodgson
Rachel Maddow as the voice of Vesper Fairchild
Gabriel Mann as Tommy Elliot / Hush
Warren Christie portrays Elliot in the guise of Bruce Wayne.
Brianne Howey as Reagan
Rachel Matthews as Margaret "Margot" / Magpie
Christina Wolfe as Julia Pennyworth
Sam Littlefield as Jonathan "Johnny" Cartwright / Mouse 
Nicholas Holmes portrays a younger Johnny.
John Emmet Tracy as August Cartwright

Sebastian Roché provides the face and performance for Dr. Ethan Campbell






*** WARNING: FULL SPOILERS!!! ***

Episode Summaries:




Episode 1: "Pilot"

Three years after the disappearance of Gotham City-based vigilante Batman, Jacob Kane and his private security firm the Crows preside over a gala led by Mayor Michael Akins to turn off the Bat-Signal. At the height of the festivities, Alice and the Wonderland Gang crash the event and abduct Crows operative Sophie Moore, prompting Jacob's stepdaughter Mary to call his biological daughter, Kate. Returning from overseas, Kate learns Alice is targeting her father and sets out to locate her cousin, billionaire Bruce Wayne. She discovers, however, that Bruce is Batman, who she blamed for failing to save her sister and mother after they died in a car crash. Realizing there's more to the story, she dons her cousin's Batsuit, altered by Wayne Enterprises employee Luke Fox, before rescuing Sophie and foiling Alice's plan to detonate a bomb in a crowded park. The next day, as the news reports on what they believe is Batman's return, Kate begins to suspect Alice is her sister, Beth.


Episode 2: "The Rabbit Hole"

Kate's growing suspicions about Alice's identity drive a wedge between her and Jacob, who firmly believes Beth is dead based on the evidence. While trying to get Alice's favorite knife tested for DNA, she comes under attack from a group of thugs that manage to steal it back. Deducing one of Alice's injured men used Mary's secret clinic, Kate frees him to give Alice a message. Kate then asks Sophie to buy her time while she meets with Alice, who refuses to directly admit she is Beth, but agrees to provide a DNA sample. Sophie tells Jacob where to find them, resulting in Alice being transported to Arkham Asylum. Alice tells Kate she tasked her boyfriend, ex-Crows agent Dodgson, with killing Mary; prompting Kate to save her before rescuing Alice from a bomb intended to kill her before both Kate and Alice escape from the police. Meanwhile, Kate's stepmother, Catherine, orders the thugs she tasked with stealing Alice's knife to destroy it. After interrogating Dodgson, Kate finds a parcel containing a live bat and a note from Alice that implies she knows her identity.


Episode 3: "Down Down Down"

Bruce's former childhood friend, Thomas Elliot, leaves Kate an invitation to a gala celebrating the purchase of the building overlooking Wayne Tower. Around the same time, a railgun designed to penetrate the Batsuit is stolen from a Wayne Enterprises facility. Kate correctly infers that Elliot is the thief, having learned Bruce's true identity and intends to kill Batman for saving his mother years earlier, delaying his inheritance. When he takes hostages to force Batman out, Kate confronts him in a modified suit, adopting the persona of Batwoman as she rescues the hostages and disables the railgun. Alice subdues Elliot to save a cornered Batwoman, but they part on less than amicable terms while the Crows take Elliot to Arkham Asylum. Elsewhere, Sophie finds herself pondering her relationship with Kate, but dismisses them after enter a relationship with a bartender, Reagan. Catherine finds playing cards left by Alice in her bedroom, demanding Jacob deal with her despite his concerns that she might be Beth. Gotham publicly learns about Batwoman.



Episode 4: "Who Are You?"

Kate's relationship with Reagan complicates her efforts to catch jewel thief Magpie, who has stolen Martha Wayne's necklace, and puts her newfound status as Gotham's protector in question. When Dodgson develops an infection during his captivity, Batwoman drops him off with Mary for treatment. While he is drugged with morphine, Mary impersonates Alice and gets him to reveal part of her plan: a mysterious figure named Mouse. After getting the necklace back, Batwoman foils Magpie's latest heist at a museum gala; allowing the Crows to arrest her and take her to Blackgate Penitentiary. Recognizing that she cannot be in an honest relationship, Kate breaks up with Reagan. To provide a cover for her vigilantism, Kate sets up a company to buy dilapidated buildings and turn them into low-cost housing with Luke as her assistant. Meanwhile, Alice meets with Catherine at Beth's grave and demands she turn over an experimental weapon; threatening to tell Jacob the truth about Beth. Catherine confesses to Jacob that she used a deer skull in place of Beth's, causing him to storm out.



Episode 5: "Mine Is a Long and a Sad Tale"

Alice is linked to a series of skin thefts in Gotham, so Kate captures her and gives her the chance to explain herself, while also leaving Jacob and Sophie a trail to follow. The sisters travel to the rural area where Beth was last seen. A series of flashbacks show Beth being rescued from drowning and subsequently being held captive by a man who wants her to be a companion for his disfigured son, Jonathan Cartwright, who will later become Mouse. Catherine tells Mary the truth about her deception and she storms into Wayne Enterprises in a drunken stupor. Luke calms her by letting her assist with his skin theft investigation, learning that they are connected to several escaped Arkham prisoners. Alice drugs Kate and locks her in Mouse's home. When Jacob and Sophie show up after subduing Dodgson and the Wonderland Gang members with him, Alice stabs her father. Kate escapes, takes Mouse captive with Sophie's help, and forces him and Alice to leave. Jacob recovers, but now fully accepts that Alice is Beth. Alice promises Mouse, who she calls her "brother", that she will help him become whoever he wants to be.




Episode 6: "I'll Be Judge, I'll Be Jury"

A vigilante calling himself the "Executioner" begins targeting law enforcement and judicial officials he deems to be corrupt. Alice has Mouse impersonate one of Catherine's researchers to steal the weapon she refused to turn over. However, Alice convinces him not to as she still needs him for an upcoming tea party. When he discovers it was intended to kill Batwoman, he feels betrayed and confronts Alice; believing she wants to protect her sister. Sophie deduces Batwoman's identity, but is injured by the Executioner during his latest attack; forcing Kate to take her to Mary. A flash drive is located, which proves the Executioner's claims to be true. This upsets Luke, as he fears it would allow his father, Lucius', killer to request a re-trial. Sophie escapes, but not before Mary urges her not to reveal Batwoman's identity. Jacob manages to kill the Executioner, only to be caught in one of his traps. After Batwoman saves him, he tells her he was wrong to blame Batman for what happened to Beth and his wife.



Episode 7: "Tell Me the Truth"

Kate runs into her old friend, Julia Pennyworth, while on the trail of a professional assassin called "The Rifle". Sophie threatens to tell Jacob Kate's identity unless she ceases her vigilantism. The Rifle meets with Alice and hands over a mysterious vial as he mentions his boss Safiyah. Kate invites Sophie to a local restaurant, where their show of affection upsets the homophobic owner. When they leave, Sophie confesses that Jacob was the one who convinced her to end their relationship, putting her on the path to where she is now. Catherine goes to see Jacob, who reluctantly agrees to hold off filing for divorce. Julia poses as Batwoman so Kate can trick Sophie, but winds up captured by the Crows when the Rifle ambushes her. Kate breaks her out and Sophie concludes that she was wrong. Nevertheless, Kate tells her it's best they stop seeing each other. After purchasing a space, Kate and Mary open a gay bar. Jacob meets with Alice, revealing himself as Mouse, while the Rifle leaves for the Mediterranean with Julia in pursuit as the real Jacob returns from upstate. Alice puts the next stage of her plan in action.



Episode 8: "A Mad Tea-Party"

Alice has Jacob abducted while Mouse sequesters Sophie and Tyler as her plan unfolds. On Alice's orders, disguised Wonderland Gang members replace the security detail assigned to protect Gotham's Humanitarian Ball, where Catherine is to be awarded. Alice rewrites her speech, making her confess to numerous crimes before collapsing. Alice tells a captured Catherine and Mary they have been poisoned by a toxin developed by the former's company and there is only enough antidote for one. Catherine compels Mary to take it, expressing how proud of her she is before she dies. As Batwoman neutralizes the Wonderland Gang, she nearly strangles Alice in anger upon learning of her actions. However Mouse, disguised as Jacob, stuns Batwoman to exfil Alice. Jacob awakes to find himself framed for Catherine's death and arrested by Commissioner Forbes. Furious that Kate chose to believe in Alice, Mary is left devastated by her mother's death. Tired of doubting, Tyler asks Sophie to decide whether she loves him or Kate. As Kate visits Jacob, both agree Alice is beyond saving and must be stopped. Meanwhile in Central City, Nash Wells uncovers a wall of symbols before a blinding light pulls him inside.



Episode 9: "Crisis on Infinite Earths: Part Two"

To aid the heroes, Harbinger recruits Earth-74's Mick Rory and his Waverider. After Oliver Queen's death, the Monitor consults the Book of Destiny and learns of seven Paragons. Two are Sara Lance and Kara Danvers, but to find two more, Clark Kent, Lois Lane, and Iris West-Allen must locate a Superman who has suffered "more than any mortal man" while Kate and Kara search for the "Bat of the Future". Complicated by Lex Luthor stealing the Book in order to kill Supermen across the multiverse. When he finds Earth-96's Superman at the same time as Clark's team, he forces the Kryptonians to fight each other until Lois stops him. Meanwhile, Kate and Kara locate Earth-99's Bruce Wayne, an aged killer, but fail to convince him to join them. A heated confrontation erupts wherein Bruce is accidentally electrocuted. Elsewhere, Sara, Barry Allen, Mia Smoak, and John Constantine take Oliver's body to a Lazarus Pit to resurrect him; but it fails to work. Back on the Waverider, Ray Palmer builds a "Paragon detector", which identifies Kate as the "Bat of the Future". Unbeknownst to everyone, Harbinger is approached by the Anti-Monitor. This episode continues a crossover event that begins on Supergirl season 5 episode 9, continues on The Flash season 6 episode 9 and Arrow season 8 episode 8, and concludes on Legends of Tomorrow's special episode.



Episode 10: "How Queer Everything Is Today!"

Following Catherine's death and Jacob's arrest, Mary tries to find an expert to testify in Jacob's defense and continues to distance herself from Kate while Sophie takes command of the Crows. After Batwoman saves a hacked train from crashing, the perpetrator demands a large sum of money as ransom or they will release all of Gotham's secrets online. Luke tracks the culprit to Gotham Prep, where Batwoman learns it was a lesbian student named Parker Torres, who was outed to her heteronormative parents by an ex-girlfriend and hoped to leave Gotham with the blackmail money. Alice breaks into the school, abducts Parker, and forces Batwoman to unmask herself to Parker or else she will murder her. She also threatens the school with a bomb and attempts to force Parker to out Batwoman's identity, but Parker contacts the Crows and GCPD instead, who evacuate the building and arrest Alice. Afterwards, Kate offers Parker emotional support and reconciles with Mary. Batwoman later comes out as a lesbian superhero in an interview with Kara. Jacob has encounters with a tough inmate named Reggie Harris. When she returns to Wayne Tower, Kate meets a doppelgänger of Beth, who happily greets her.



Episode 11: "An Un-Birthday Present"

In flashbacks, Beth was shown to have an improving friendship with Mouse, but his father August Cartwright did not approve and got her involved in his latest project. In the present, Kate tries to clear things up with the second Beth; who got displaced from her Earth following the Crisis. To free Alice, Mouse kidnaps Commissioner Forbes' and Mayor Akins' sons before he and the Wonderland Gang intercept Kate before she can become Batwoman. Using a code Kate and Sophie learned, Sophie refuses to yield to Mouse's demands. In an attempt to fool Alice, Luke and Mary disguise the second Beth as Alice to buy Kate time to break free. When "Alice" does not use the proper code, Mouse captures her. Kate breaks free, subdues the Wonderland Gang, and injures Mouse before rescuing the hostages. Alice gets out before she can be taken to Arkham, telling Sophie she has her own demons to deal with. With Mouse under heavy guard in the ICU, protestors appear outside GCPD, demanding they light the Bat-Signal as Batwoman arrives. Later, Kate celebrates her birthday with Luke, Mary, and Beth. Suddenly, both Beth and Alice simultaneously suffer from migraines.



Episode 12: "Take Your Choice"

Sophie and Jacob petition Dr. Campbell for his testimony, who agrees if he can examine Mouse. Alice visits Mouse and learns of her doppelgänger as she continues to suffer from migraines. When she meets her in Wayne Tower, Beth theorizes that only one of them can be saved. Remembering that Mary's blood has the "cure-all" antidote, Alice attacks her at her clinic to save herself, but Mary leaves Alice handcuffed to a clinic bed and escapes to give her blood to Kate so she can save Beth. Meanwhile, Jacob is attacked by Dodgson, then saved by Reggie, who expects him to repay him before the other prisoners find out. Campbell visits Mouse in the ICU, revealing himself as August. Exfiltrating Mouse posed as a guard, August leaves him bound in an unknown location so he can target Alice. After giving Beth the blood sample, Kate attends to a weakened Alice while Luke gets Beth away from the Crows. Though Sophie follows, ready to kill Beth, she chooses to call for an arrest. August snipes Beth instead, mistaking her for Alice, allowing Alice herself to quickly recover and knock out Kate.



Episode 13: "Drink Me"

With the truth of Catherine's murder disclosed, Jacob is cleared of all charges and regains control of the Crows. At night, people are targeted by a vampire named Nocturna. When Batwoman finds her latest victim, Nocturna stuns her with ketamine before taking a sample of her blood. Sophie helps Batwoman before the Crows find her; advising her to keep her distance. Mary treats Kate before the latter works with Jacob to draw out Nocturna. After speaking with Kate, Alice replaces the missing Mouse with a mannequin before she is attacked by Nocturna. Using facial recognition, Luke recognizes Nocturna as Natalia Knight, who suffers from porphyria. Kate finds Alice just as Nocturna attacks Mary. Alice donates her blood to save Mary before Kate confronts Nocturna and defeats her with a forensic UV light. Jacob confronts Sophie after viewing footage of her helping Batwoman and implores her to pick a side before suspending her until further notice. Mary remembers finding ketamine in Kate's system, and realizes she is Batwoman while Alice realizes Campbell is actually August. Kate visits Sophie by the Bat-Signal and they share a kiss.



Episode 14: "Grinning from Ear to Ear"

In flashbacks, Duela Dent struggles with making her face look "normal," so she smashes a mirror and uses its shards to cut her face. In the present, Duela targets social media influencers. Still suspended, Sophie's mother visits her. Upon learning of her current relationship issues however, she leaves disappointed. August hooks up Mouse to a fear toxin canister and tells him he killed Alice. While investigating Duela, Batwoman determines her next target, Myrtle, and narrowly saves the girl's mother after Duela attacks her. Following this, Luke discovers Myrtle changed her name to Veronica May and Duela's victims were all connected to Dr. Campbell. Batwoman and Sophie later find Duela just as she is to drop Veronica in acid. While Batwoman rescues the latter, Sophie subdues the former and leaves her for the police. However, Alice gets to Duela first and steals her face so she can kidnap Dr. Campbell and reveal she knows his true identity. Meanwhile, as Luke feared, Reggie's lawyer, Bobby Reeves, visits him to establish his client's re-trial date in light of new evidence. Amidst this, Jacob finds himself questioning the circumstances behind Lucius' death.



Episode 15: "Off with Her Head"

In flashbacks, Gabi Kane gave her daughters necklaces that matched her earrings. During her time with August, Beth endured torments from his mother Mabel, her "Queen of Hearts". Taking notice of Mabel's earrings, she traced them to a locked refrigerator containing Gabi's head. In retaliation, Beth turned Mabel's oxygen tank into a makeshift flamethrower. In the present, Batwoman finds a bound August near the Bat-Signal and alerts Jacob, who is unwilling to alert the police after what Forbes did to him. When he asks about the second Beth, Kate claims she was a "skin thief" to hide her true nature while Luke and Mary track down her killer. Meanwhile, Alice finds Mouse and frees him, but he hooks her up to the canister and flees, believing she's his greatest fear. Under the effects of the fear toxin, Alice hallucinates a zombified Mabel tormenting her before she breaks free. Jacob arrives soon after while looking for Mouse and uses adrenaline to save her before arresting her. Incensed by what August did to Beth and her mother, Kate accidentally strangles him, much to Jacob's dismay as he returns with Alice.



Episode 16: "Through the Looking-Glass"

As Jacob buries August's body, Alice escapes with his gun. She returns to the Wonderland Gang hideout hoping to find Mouse, only to find her gang murdered and a threatening note from Safiyah. She convinces Kate to help her find Mouse, promising to leave Gotham afterwards. They visit a nurse who treated Mouse, only to find the Crows taking him to Arkham. Following a disagreement and fight, Kate agrees to help Alice break him out. They retrieve Mouse's cell key from Dr. Butler, but when Alice goes to free him, Kate locks her in; revealing she was part of a sting operation with Jacob to capture her. Meanwhile, Jacob instructs Sophie to investigate Lucius' death after hearing of Reggie's re-trial. A sniper nearly kills her, but Julia saves her. Luke and Mary attend Reggie's court hearing, where he is granted his re-trial and released. Luke confronts him, but Reggie claims he was set up before he gets shot. Sophie later informs Jacob that two people connected to Lucius' case have turned up dead before the hitman nearly kills him. He defeats him, but the hitman dies from his injuries before he can be interrogated.



Episode 17: "A Narrow Escape"

Struggling with having killed August, Kate does not suit up for a week. Meanwhile, a past criminal called the Detonator resurfaces; placing people in bomb vests. Kate confronts George Adler, who confirms his deceased father was the original Detonator. Reeves falls victim next, so he contacts the Crows, who work with the GCPD to evacuate Mary's clinic. After Kate rescues Mary, she reveals she knows Batwoman's identity. When Jacob becomes the Detonator's latest target, Kate realizes that Crows agent Robles is responsible. Batwoman intercepts him and learns he is typing up loose ends concerning Lucius' murder and that the latest bomb is in Wayne Enterprises' underground parking garage. There, Batwoman discovers that Robles was paid by Elliot to get Lucius' journals, leading to his accidental death and Reggie being framed. Luke overhears and Kate stops him from taking vengeance, admitting that she killed August. Luke places the building on lockdown, limiting the blast radius. Jacob reinstates Sophie while Julia is transferred to the Crows. Meanwhile, Alice and Mouse, disguised as Butler, decide to take over Arkham to keep themselves safe from Safiyah.



Episode 18: "If You Believe in Me, I'll Believe in You"

Batwoman plans to go after Lucius' journal, which is currently being held by Elliot's associate, Johnny Sabatino. With Luke's assistance in the Batcave, Kate and Julia infiltrate Sabatino's club, only to get captured. In response, Luke is forced to ask Mary for help in rescuing them. Meanwhile, Alice agrees to give Elliot a new face in exchange for the journal and to keep the Crows from putting him on trial. As Sabatino refuses to give up the journal however, Alice sends Magpie to retrieve it while she and Mouse work on Elliot's new face. The Crows later visit Arkham and find what appears to be Elliot hanged in his cell. As Julia is being tortured, Sabatino auctions off the chance to kill Batwoman. However, Mary frees Batwoman while Julia frees herself before they defeat the criminals and retrieve Lucius' journal before Magpie. After meeting Reagan at the club, Kate has a one-night stand with her, only to find the journal missing the next morning. Elsewhere, Reagan gives it to Magpie, who in turn gives it to Alice. While pouring over the journal however, she and Mouse discover it has been written in code.



Episode 19: "A Secret Kept from All the Rest"

Kate storms Reagan's apartment and learns who she gave the journal to. Taking up the identity of Hush, Elliot abducts members of Gotham's Intelligentsia to decipher the journal on Alice's behalf and kills them when they fail to. He nearly abducts Parker, but Batwoman interferes; forcing him to escape. In response, Alice sends Hush after Luke and Julia. With help from Mary and Parker, Batwoman confronts Alice and offers Lucius' glasses in exchange for their safety. Once she gets what she needs from the journal, Alice releases Arkham's inmates and destroys Mouse's disguise before escaping into the tunnels. Following the incident, Jacob warns Batwoman that a war will start between her and the Crows should she ever resurface. Julia tells Kate that she was after the book for the Rifle's boss, Safiyah Sohail, but called off the deal after learning what it does. In the sewers, Alice continues reading through the journal and orders her associates to procure Kryptonite.



Episode 20: "O, Mouse!"

Jacob and Batwoman confront Arkham escapee Tim "The Titan" Teslow, only to be defeated. Mouse shows Alice a mobile app developed for people to send alerts to the Crows. After learning that Kryptonite can pierce the Batsuit, Luke shows Kate a shard of Kryptonite that Bruce had; intent on destroying it before it falls into the wrong hands. Batwoman meets with Tim's brother, Apollo, to warn him, but Tim attacks and kills him. Mary lights the Bat-Signal to get Jacob's attention and convince him to call a truce with Batwoman to stop Tim. Alice kills Mouse when he begins to affect her plans. Batwoman and the Crows lure Tim to Gotham Stadium, but just as she reasons with him, the Crows kill Tim and Jacob reneges on the truce; forcing Batwoman to flee. At the Crows' headquarters, Jacob reaffirms his desire to take down Batwoman while Sophie learns about Safiyah from Julia. Kate shows Luke and Mary the Kryptonite in her possession, entrusted to her by Supergirl. Alice finishes Elliot's new face, making him resemble Bruce Wayne.



The Verdict: 




I remember reading the news of this series coming to a reality after being rumored for a long time and thinking it may be an interesting concept. Then I heard the casting news about Ruby Rose being lined up for the lead role and I wasn't too thrilled about that news. Look, I never saw the big deal about her when she was a cast regular in Orange is the New Black or one of the new cast members on one of the many Resident Evil movies, but I did understand that it was important to cast someone to properly identify with the LGBTQ community with this character. 

When the series finally debuted on the CW, I remember watching the first two episodes on the CW app since my satellite provider stopped carrying the CW as part of the local networks on the broadcasting package I was paying for, so I was like whatever. It started off a little too "safe" for my taste as I wasn't really drawn to this character from her performance in the "Elseworlds" crossover the year prior. Don't get me wrong. I loved Batwoman/Kate Kane and The Question/Renee Montoya's romance in the New 52 novel that I read back in college. It was the same book that kindled my fondness for Black Adam and Isis' pairing. The turn off for me here off the bat was the whole notion that Bruce Wayne went missing and no one really bats an eye in Gotham City. It seems like a complete copout and lazy writing as a poor excuse that "Sorry, we currently don't have the rights to that character..." much like Superman being limited to text messages and instant messaging in the first season of Supergirl. To the show's credit, they won me over by the end of the third episode. 

As much credit people will give Ruby Rose for laying the foundation for this show in terms of LGBTQ representation, I have to tip my hat to Rachel Skarsten for carrying this season on her back from start to finish as Alice. This entire season is essentially about Alice falling deeper and deeper down the rabbit hole so to speak. Rachel Skarsten's performance as this villain is comparable to Tom Cavanagh's Eobard Thawne/Reverse Flash in The Flash on this same network that is just impressive from every scene she's in. 


Rachel Skarsten owns this show as this character. Without her in that role, it would have been very unlikely that I would have stuck with this for the entire 20 episodes. 



Alice is introduced as Batwoman's Jokeresque villain to serve as this season's primary antagonist until it's quickly revealed that her ties with Batwoman are deeper. She's really Kate Kane's estranged sister, Beth, who was thought to be dead after going missing when they were children. One of the biggest head-scratchers from this season is that Kate mentions that Batman/Bruce Wayne was stumped on this case, but when the details of how she survived is revealed over the course of the season it just seems like Batman didn't try hard enough. That was the impression that I was given anyway. 

Much like a lot of these CW DC Comics-based superhero TV dramas, Batwoman has a great supporting cast, ranging from Crows that enforce the law in their own militaristic means, led by Kate's own father, Jacob Kane, and Kate's ex-girlfriend, Sophie Moore, to Batwoman's team behind the scenes, Luke Fox (the deceased Lucius Fox's son who serves as Kate's tech support and genius behind her various gadgets) and Mary (Kate's step-sister from Jacob's second marriage, who runs an illegal medical practice in Gotham's underworld since she's still in med school). 

Jacob Kane bottles up all of his hatred and anguish over losing Beth and points all of the blame onto Batman for failing to rescue his daughter during the night of the fateful accident that drove their family apart. He would come to realize that was a mistake when he was misdirecting the blame on anyone and everything except for himself. That doesn't stop his stubbornness to do things in his own way as he sees his Crows as superior to the corrupt Gotham City Police Department (GCPD) with shady cops accepting any and all bribes from Gotham's criminal underworld. 


Both of them were in denial until this moment. 


Sophie Moore, who works in the Crows as one of Jacob Kane's most trusted and loyal officer in his militaristic police regiment, is Kate's ex-girlfriend, but she quickly becomes one of Batwoman's harshest critics. By the end of the first season, she's one of her biggest supporters after seeing Jacob Kane's methods to be too extreme at times and that Gotham needs a symbol of hope like Batwoman in the absence of Batman. She's an interesting character on her own right, especially after surprising me when I thought she was going to be merely an easily forgettable love interest. Then again... I don't know why I was surprised when I could look at what these shows have done with similar love interests, such as Felicity Smoak and Iris West-Allen. For as much street smarts, intelligence, and a keen mind for detective work in general that Sophie Moore has, it's rather ironic that she finds herself stupified by so many "dangerous" women over the course of the season. First, Kate Kane, then Batwoman, Alice, and later Julia Pennyworth. 

Luke Fox is no Cisco Ramon, but he serves as the peanut butter to the jelly of the sandwich that keeps their team working like a well-oiled machine. Kate Kane was made painfully aware that her crime-fighting exploits are neigh impossible without his contributions. A lot of his journey throughout this season is discovering the mystery behind his father's murder, but whether or not he can live up to his father's reputation as not only a genius inventor and confidant, but as a valuable ally to the Wayne family in general. To his credit, Luke raises to the occasion above and beyond the call of duty. 

Julia Pennyworth is introduced as a British spy who just happens to be Alfred Pennyworth's daughter and another one of Kate's ex-lovers. Julia's return to Gotham City seems to be for more reasons than she's letting on as she has an ulterior for monitoring Batwoman's exploits. That being said, she's a charming addition to the cast when she makes her debut and seems to stand out in every scene that she's in. She serves as a rebound for Sophie after falling out with both Kate Kane, Batwoman, and her own family after coming out as a lesbian. For as charming and charismatic Julia is, she seems to have no qualms about using anyone and everyone around her to complete her goals. Her array of skills seem to imply that she's had much more training than she's letting on too. Due to the awkward and impromptu ending of this season, her character journey doesn't see any resolution outside of that Kate is onto her working as a mole within the Crows, but isn't aware that Julia's somehow tied with the mysterious Safiyah.

Catherine Hamilton is Kate's stepmother and biological mother of Kate's step-sister, Mary. I honestly didn't trust her right off the bat as she had just as much shady dealings as Niko's mother in Marvel's Runaways. Alice forces her hand via blackmail to confess to planting fake remains of Beth and causing Jacob Kane to quit looking for his missing daughter. Catherine had as much of a part to play into making Alice into the psychopath that she is as the rest of the Kane family for giving up the search. Not the mention that Catherine's company was developing biological and advanced weaponry for the highest bidders. She had a lot to answer for when all of her skeletons came falling out of the closet.

Mary Hamilton comes across as a prima donna and fashionista at first glance, but much like the rest of her family, she has a secret of her own. Batwoman stumbles onto her private clinic where she treats anyone in Gotham City unfortunate enough not to be able to afford their own proper healthcare, whether it be criminals from the shady underworld or mere innocent people from Gotham's populace. She only wishes to save lives, anyway that she can. At the start of the season, Kate keeps her at arms length, but as the season boils over, they bond as sisters should after Kate realizes that Mary isn't trying to replace Beth's memory in her heart, but to be a part of her life too. She joins with Luke as part of Batwoman's support team during the tail end of this season. 

Speaking of Kate Kane, despite not being overly fond of Ruby Rose in general, I found myself indifferent to her portrayal of the character of Kate Kane in general. It's just that this show doesn't gives her enough "good" material to work with in the first place anyway. In those moments where it counts, Rose has a knack to convey Kate as a certified bad ass and in others, she's compassionate and empathetic to those around her. So I applaud Ruby Rose's performance in that regard. Everything else comes off stale and shallow. When Kate chose Beth from other Earth over Alice, you could read it all over Rose's face to convey how much Kate hated to be forced into that position to choose between lesser of two evils. 

(Laughs) Seriously though... how fucked up is it that Kate doesn't "betray" or abandon Alice not once but at least THREE times over the course of this season though? Meanwhile, Alice has MULTIPLE chances to kill Kate/Batwoman but spares her EVERY.SINGLE.TIME, claiming it's for she could be the only one to spare her suffering when in reality, she can't let her sister go like Kate and the rest of her family did to her. It was that same sense of twisted logic that had me enamored with Alice more than what Batwoman was going to do by the time the season came to a close. 

One of Kate's defining moments over the course of the entire season is the moment that she killed August Cartwright by strangling him to death. It was that pivotal moment that completely distanced herself from Bruce Wayne/Batman completely. The emotional turmoil that she put herself through over the next few episodes was uncanny to the point that it was affecting her health since she refused to suit up in the Batwoman costume after convincing herself that she was disrespecting what that symbol of the Dark Knight represented. It's one hell of a twist too and a constant dilemma with the clash of ideologies. Bruce Wayne never ended a life (at least not in this continuity as far as we know...) and Kate Kane did it with her own bare hands. Sure, she was manipulated into getting hysterical by Alice staging the ordeal, but at the end of the day, it was her own decision. One could argue that Kate deserves to be locked up just like every other criminal and murderer in Gotham City. What was even more powerful was Kate's confession to Luke when he was about to do the same thing to the man who murdered his father. Kate didn't want the kindest and gentle soul that she knew to go down the same dark path that she did and lost Alice down to the rabbit hole in. It's moments like this that serve as the few bright spots in this season.

Since the titular protagonist of this show is obviously lesbian, the CW used this show as a platform to bombard the narrative with a lot of pandering to LGBTQ viewers as a marketing agenda. I'm not saying that's a problem as that's the key demographic/main audience that this show is being marketed towards, but it comes across as forced at times (like a LOT of these CW shows) when the entire core plot is dropped at times for this show to literally hang up a bright neon sign that says, "LOOK WE HAVE GAYS ON OUR SHOW!!" In its defense though, this show handles this subject manner MUCH better than Supergirl did when her sister, Alex Danvers, came out as lesbian. Batwoman comes out to the public as lesbian after hearing the story of a teenage hacker and how her family completely rejected her for it. Later in the the same season, Sophie comes to grips about her own lesbian identity after juggling her feelings for her ex-girlfriend, Kate Kane, only to start a budding romance with Batwoman (after completely discarding that she could be Kate under the cape and cowl, even though she had thought she had it figured out early on) that only served to complicate things with her then-husband before they got divorced shortly thereafter. After hiding this sexual identity for so long and the lengths she went to hide it - throwing Kate Kane under the bus for she could maintain her military rank and position of power within the Crows, she came clean to her mother about everything, only to be shunned by her as well. That was some excellent writing on that episode. I could feel her slightly stereotypical black mother's disgust with her child about coming out and it pained me as a heterosexual viewer. I can't imagine that the LGBTQ viewers went through that episode with any dry eyes unless they were made of stone. When I wrote about the many things that I loved about Doom Patrol's unconventional storytelling, I mentioned how I liked how they explored Larry Trainer's homosexuality and how the story of hiding his identity tore his family apart, even before he was possessed and bonded to the energy being. When told well, these "coming out" stories make for some great character development/growth moments in these shows like this. Here, it feels natural in its storytelling than feeling like the network is merely fulfilling a checklist of demographics to market towards - something a lot of the other CW shows tend to be guilty of. Think about it... How many of these DC Comics-based superhero shows on the CW has a LGBTQ cast member, a token POC (person of color) character, and a strong female lead and/or supporting character? Almost ALL of them. It rarely feels natural either. Here, it doesn't feel as forced. Instead, it feels more natural more often than not. I applaud CW that they are learning how to convey the message(s) they want to share without shoving it down viewers' throats whether they like it or not. 


I thought it was cool that Hush made an appearance this season, even though his costume looked like something straight out of Power Rangers though.



In terms of villains and action on this show, I thought the fight scenes weren't bad at all and it definitely kept me interested. I was a little surprised at some of the villain choices for this show (outside of the choice of Alice for the primary antagonist that I warmed up to quickly), but was pleasantly surprised to see that they found ways to make villains, such as Magpie, Duela Dent, Noctura, and Hush work in this continuity. Sadly, this show still falls into that "villain of the week" formula that the Arrowverse is known for across the board. We see Alice, Magpie, and Hush show up multiple times over the course of this season, but too many of these villains are one and done affairs. 

I do want to mention that there's a few times that I was genuinely surprised at how bloody and violent that some of these scenes would get over the course of this season. It shows that this show wasn't afraid to push the envelope a bit to truly portray these adult-themed narratives and plot points. This is already another Batman show that is handicapped without Batman/Bruce Wayne in it, unlike it's predecessor Gotham, so it already has enough going against going in to begin with, so that was a nice nugget to have in its pocket. Even as I'm writing this review, I still feel like that the explanation for Bruce Wayne/Batman's absence was lazy as fuck and could have been done better. You would think that the CW would have learned from that mistake back with Superman's absence in the first season(s) of Supergirl!





It's narrative choices like that is where I had to draw the line at points during Batwoman. For everything they did great with the dynamic between Kate and Alice (from Kate desperately trying to reason with the sister that she thought she lost forever to Alice's multi-layered schemes to cause as much turmoil as possible for Kate, her loved ones, or the city that she's desperately trying to protect in Bruce's absence) or Kate's struggling to living up with the responsibility of being a symbol of good for Gotham City as a member of the Bat Family with the narrative over the course of this season, there's a lot of head-scratchers too, such as how did the other Beth continue to exist post-Crisis? I'm not even going to go into that entire crossover, but it was firmly established that the main Arrowverse universes were now interconnected. There shouldn't be anymore "doppelgangers from other Earths" from the Multiverse coming to the main Earth reality anymore. In hindsight, that narrative goof did give us the gift of allowing Rachel Skarsten to play Alice/Beth Kane from a completely different angle, so that was a plus. The whole subplot towards the end of the season concerning Lucius Fox's journal with encoded instructions of how to destroy the BatSuit was comically bad though. Even in the Nolan Batman films, it was established that Bruce Wayne was always improving onto Fox's original designs for his weapons and equipment, so why would a journal with precise instructions to destroy that specific model of the BatSuit worn by Bruce Wayne apply to Kate Kane's when Luke Fox made modifications and improvements to the design specifically for her? All of that was on the assumption that Fox's original designs were never tampered with nor modified in ANY capacity. It just seemed like a MacGuffin just to have a MacGuffin (or a hat on a hat) in there when nothing in that capacity was not really needed in the first goddamn place. 

The finale of this season really suffered from not paying off the mystery of who in the hell is Safiyah and why does she have so many major players in Kate's life, including Alice is afraid of what she is capable of? We haven't even seen this chick and that's the biggest mystery coming out of the lackluster ending that this season ends prematurely on. I'll give them a small pass since no one had the foresight to see how long this COVID-19 epidemic was going to last, but they should have given viewers something else to chew on in terms of who is this character and why should we care. 
 


Watch It or Don't Bother?



As it stands, this is a tough call. The first season ends abruptly at the end of it's initial 20 episode tenure without any real resolution for primary conflict(s) throughout this season. Hell, the ending creates more questions than answers. The news of Ruby Rose walking away from the role in the next season is rather alarming too. I binge-watched most of the season during the holidays over the stretch of a week and while I felt it had some ups and downs, I will applaud the show for holding my interest from start to finish. I want to see how they write off Ruby Rose's Kate Kane to make room for the new Batwoman in Season Two, Ryan Wilder (portrayed by newcomer, Javicia Leslie), while simultaneously finishing up the storyline between her and Alice/Beth. They better fucking deliver with this Safiyah character too, whoever the fuck she's supposed to be. 

I doubt most other people will stick with this show for the long haul though, but those that do will be rewarded with some interesting takes on these characters. That being said, I can't honestly recommend this series for everyone since it took me at least 2-3 separate attempts to get into it. To its credit though, I thought Batwoman was a success in terms of centering the story entirely around a lesbian heroine with all of the baggage that comes with that. This was the first show of its kind within the superhero genre to tackle this subject manner. Some growing pains were to be expected before it found it's stride.

REVIEW -- Wonder Woman 1984 (2020)



Wonder Woman 1984 (stylized as WW84) is a 2020 American superhero film based on the DC Comics character Wonder Woman. It is the sequel to 2017's Wonder Woman and the ninth installment in the DC Extended Universe (DCEU). The film is directed by Patty Jenkins from a script she wrote with Geoff Johns and Dave Callaham, based on a story by Johns and Jenkins. Gal Gadot stars as Diana Prince / Wonder Woman, alongside Chris Pine, Kristen Wiig, Pedro Pascal, Robin Wright, and Connie Nielsen. Set in 1984 during the Cold War, the film follows Diana and her past love Steve Trevor as they face off against Max Lord and Cheetah.

Discussion of a sequel began shortly after the release of the first film in June 2017 and the decision to proceed was confirmed the following month. Principal photography began on June 13, 2018, with filming taking place at Warner Bros. Studios, Leavesden in England, as well as the District of Columbia and Northern Virginia in the United States, London and Duxford in England, Tenerife and Fuerteventura in the Canary Islands, and Almería in Andalusia, Spain. Production wrapped on December 22, 2018, after a six-month shoot, with additional filming in July 2019.

Wonder Woman 1984 premiered on December 15, 2020, via the DC FanDome virtual platform. It was theatrically released in the United States by Warner Bros. Pictures on December 25, 2020, and also made available to be streamed digitally on HBO Max for a month before it will go to premium video on demand. In international markets that do not have HBO Max, the film was theatrically released beginning on December 16, 2020. It was praised for its "escapist qualities" and Jenkins' take on the 1980s, but many critics found it "overindulgent or cliché". It has grossed $85 million worldwide, and became the most-watched straight-to-streaming title of 2020. A sequel is in development, with Jenkins and Gadot returning.




Cast: 




Gal Gadot as Diana Prince / Wonder Woman
Lilly Aspell reprises her role as young Diana from the 2017 film.
Lambro Demetriou and Jonny Barry appear as young Maxwell "Max Lord" Lorenzano at ages 8 and 15, respectively.
Robin Wright as Antiope
Connie Nielsen as Hippolyta

Additionally, Lucian Perez appears as Alistair, Maxwell's son from his divorce; Amr Waked appears as Emir Said Bin Abydos, the ruler of oil-rich Bialya; Kristoffer Polaha appears as the man whose body Steve inhabits (credited as "Handsome Man"); Natasha Rothwell appears as Carol, Barbara's boss at the Smithsonian; Ravi Patel appears as Babajide, a man who keeps documents of the Dreamstone's history; Gabriella Wilde appears as Raquel, Maxwell's assistant; Oliver Cotton appears as Simon Stagg, Maxwell's corporate investor; Kelvin Yu appears as Jake, Barbara's colleague at the Smithsonian; and Stuart Milligan appears as the President of the United States.

Lynda Carter, who played the titular heroine in the 1970s television series, makes a cameo appearance in the end credits as Asteria, a legendary Amazon warrior who anciently possessed the powerful winged suit of armor. Gadot's husband, Yaron Versano, and their two daughters, Alma and Maya, make brief appearances near the end of the film.









*** WARNING: SPOILERS AHEAD!!! ***

Plot: 



In her youth, Diana Prince participates in a multi-stage athletic competition on Themyscira against older Amazons overseen by Queen Hippolyta. After falling from her horse, Diana takes a shortcut to catch up to it and resumes the competition. Just before she wins, her aunt Antiope removes her from the competition, lecturing that "no true hero is born from lies".

In 1984, 66 years after the first film, Diana works as a senior anthropologist at the Smithsonian Institution in Washington, D.C., specializing in ancient Mediterranean civilizations; Diana also secretly fights crime as Wonder Woman. At work, she meets new employee Barbara Ann Minerva, an insecure woman who comes to idolize and envy Diana. After Wonder Woman foils an attempted robbery, the FBI asks Barbara to identify a cache of stolen antiquities from the robbery. Both Barbara and Diana notice that one object — later revealed to be the "Dreamstone" — has a Latin inscription.

Diana unknowingly uses the stone by wishing that her deceased lover Steve Trevor was alive; his soul then returns and inhabits another man's body. Later, after Diana saves her from an assault, Barbara wishes upon the stone to become like Diana, inadvertently attaining Diana's superpowers and godhood. Failing businessman Maxwell "Max Lord" Lorenzano visits the Smithsonian under the guise of a wealthy donor, secretly coveting the Dreamstone in hopes of saving his failing oil company. During a gala at the Smithsonian, Max seduces the unwitting Barbara, who is taken by his charm to gain access to her office and steal the Dreamstone. He later wishes to become the embodiment of the stone and gains its power to grant wishes while also having the ability to take whatever he desires from others.

Steve and Diana steal a plane and follow Max Lord to Cairo. Max becomes a powerful and influential figure while leaving chaos and destruction in his wake as his powers trigger worldwide instability and conflict. Barbara, Diana, and Steve later discover that the Dreamstone was created by Dolos, the god of lies, treachery, deception, and mischief. The stone grants a user their wish but exacts a toll. The only way to reverse the exchange is by renouncing the wish or destroying the stone itself. Steve realizes his existence comes at the cost of Diana's power, while Barbara's newfound life has drained her humanity; both women are unwilling to renounce their wishes.

Max learns from the U.S. President that the nation's satellite system can broadcast signals globally. Max uses it to grant wishes to the entire world while regaining his now-deteriorating health. Diana and Steve confront him, but Barbara joins forces with Max to prevent Diana from impeding him. Steve convinces a tearful Diana to renounce her wish and let him go, restoring her strength while gaining the ability to fly. She returns home and dons the armor of the legendary Amazon warrior Asteria. She then battles Barbara, who has further mutated into a cheetah-like creature after wishing to become an apex predator.

After defeating Barbara, Diana confronts Max at the TV station and uses her Lasso of Truth to communicate with the world through him, convincing everyone to renounce their wishes. She also shows Max visions: first of his own unhappy childhood, then of his young son, Alistair, wandering the streets terrified and crying for his father, amid the chaos Max created. A tearful Max renounces his wish and rushes to find Alistair. Reunited, Max repentantly promises to be a better father.

Sometime later, Diana meets the man whose body Steve possessed, while she continues to watch over the world. Meanwhile, in a mid-credits scene, Asteria is revealed to be secretly living among humans, much like Diana.








The Verdict:
 


When WW84 dropped on HBO Max at 12PM EST on Christmas Day, I was one of the first people to fire up the app and hit play to watch this like many people that day. 

And boy, was I let down with this film...

It's no secret that I wasn't a fan of Patty Jenkins' work on the original Wonder Woman film, but I understood the praise for it and its cultural significance. I won't knock the film for that much. The thing that I can't stand even to this day is this notion/idea that a man can't understand the message of these two films unless they have a vagina. Seriously, I have seen that exact wordage quoted on multiple articles, message boards, and across social media. I don't have an issue with feminism, but this film goes in so hard into that mindset to the point that Wonder Woman can't do anything without the love of her life while every other man (outside of Steve Trevor) in this film is depicted in some sort of negative connation. The best offender of this in action is the action sequence in Egypt where she flips a tank over with ease one second then mere moments later that she can't stop another until Steve Trevor gave the assist. There's a moment like this throughout the film until after she renounces her wish. 

I could excuse that but there's so many potholes and inconsistences in this film that it makes Batman v. Superman: Dawn of Justice and Suicide Squad look like strokes of genius in comparison. 

If that wasn't bad enough, this film just drags on and on and ON until it kind of starts in its third act. The film clocks in at roughly two hours and half hours. An hour of that is where essentially NOTHING happens to contribute to the point and only serves to add more cringe material to pad up this film's runtime. 

As much as I liked the flashback to Themyscira to open the film, it did nothing to affect the events later in the film. That flashback only served as a meager excuse to bring back one of the highlights that defined the original Wonder Woman film - the display of female empowerment on display in Themyscira. Patty Jenkins used that to bring back Robin Wright (Antiope) and Connie Nielsen (Hippolyta), along with a laundry list of female athleticism to don those Amazonian suits of armor for this short opening scene. This flashback ended with Diana allegedly learning the lesson of using shortcuts to get ahead in life or rather cheating to win. If she doesn't already have enough aces in the hole from being the Queen's daughter along with their father being Zeus himself, then why in the blue hell does she need to cheat at anything to win? That lesson was already lost on deaf ears by the time the film fast forwards to 1984. It was painfully obvious that Diana didn't learn a damn thing from that ordeal as a child when she was willing to cast all reason and logic aside just to have Steve Trevor back in her life. Damn everyone else and who else that could possibly affect with her selfishness. 

Another bold question... Diana stops the burglars in the present day portion of the film at the mall to start things off, but why wasn't the jewelers' shady dealings behind closed doors ever brought up again? It seemed like such an interesting piece of information to disregard as a throwaway scene. 




The overall theme of this film is the good and bad that comes with wish fulfillment. The MacGuffin (a modern term coined online for an object that drives a film's plot forward in a cliched manner) of this film is a stone that is somehow acquired by the anthropologist team at the Smithsonian Institution that both Barbara Minerva and Diana both work for that grants one wish of those who comes into contact with it. It first grants Diana's subconscious wish of bringing Steve Trevor back to life then later grants Barbara's wish to be "more like Diana" - in terms of beauty and superhuman powers. Maxwell Lord then somehow learns of the stone and uses it to become essentially this "Dreamstone" itself, granting wishes to anyone he comes in contact with. This creates the conflict of this film as Lord goes around granting everyone's wishes while manipulating the "side effects" of these wishes as every wish, no matter how noble they may be, have horrible consequences. Diana's wish brought back Steve Trevor in the body of an innocent man (how fucked that whole ordeal is another bag of shit altogether...) while also causing her powers slowly fading away throughout the film. Barbara's wish gave her the beauty and power that she wanted, but at the cost of her humanity and compassion for others. Lord's wish to become the stone is at the detriment of his own health and by the end of the film, it leaves him even more estranged and distant from his own son. Lord specifically points out that one person can only receive the benefits from ONE wish as the film proves on multiple occasions that he is unable to grant more than one wish from any individual, but somehow at the film's climax, he's able to grant a second wish for Barbara Minerva to transform her into his own bestial guardian (an "apex predator" if you will) during the film's finale. 


The sad part of the matter is that Kristen Wiig isn't bad looking to start with, even with glasses, so the whole nerd to knockout trope was lost to begin with.



This film uses the Barbara Ann Minerva version of the Cheetah, portrayed by Kristen Wiig, and while I had no issues with her performance, even though more people are still shitting on her from her similar role that she played in the all-female Ghostbusters reboot a few years ago. She plays the lovable geeky/nerd girl fine and it worked here for the few minutes that it lasted before she was granted her wish. As she continues to reap the rewards from this wish throughout the film, she gets more aggressive in nature and abandons her gentle tendencies to be driven mad with power. She aligns herself with Lord as she essentially becomes Diana's polar opposite. Where Diana is desperate to hang onto the memory of Steve Trevor and won't let this farse of him go for she could regain her powers, Barbara is desperate to hang onto this false sense of power that she has acquired by being beautiful and confident while refusing to let that go and return back to her nerdy self. 


It's too bad that we didn't get more time with these women standing off as polar opposites of each other.


It's one of the few great moments of this film to see them stand-off in the White House, where we are matched with a good vs. evil Wonder Woman. It's really unfortunate that they completely shit the bed with her character a few minutes later with her awkward transformation into the Cheetah (even though the film NEVER calls her by that name), rendered in horrible looking CGI that would make that Cats movie from a while ago look great in comparison. That's why that fight scene was so dark too for audiences wouldn't be able to make out how bad that character looked. (Laughs) Patty Jenkins is 2 for 2 in terms of shitty climatic battles in these two Wonder Woman films - first with Ares and now this shit with Cheetah. 

Maxwell "Max Lord" Lorenzo differs in this iteration from the comics and other mediums, such as his recent portrayal on the CW/CBS's Supergirl. I couldn't help but laugh at Pedro Pascal's portrayal here as there were moments where I could hear nothing but Trumpisms and others where it sounds essentially like he was still reading lines from The Mandalorian. If Hollywood ever wanted to do a "proper" reboot of RoboCop, I could totally see him as one of OCP's dirty politicians or various "oil salesmen" on those parody commercials in that continuity. I remember reading various articles prior to this film's release that Pedro Pascal stated that the comparisons to then-President Donald Trump were not intentional, but you cannot watch this film and not see it. There are a lot of points, especially at the heights of Lord's delusional behavior, that precisely mirrors the former President's irrational behavior. 

I'm not going to lie, but Pascal's performance makes for a charismatic villain, but he makes for an underwhelming one by the time the film comes to a close. It's really a double-edged sword. Lord is known to play both sides of the coin when it comes to heroism and villainy in the comics and we saw that here too. For everything that he did while acting as the Dreamstone, he still had enough good in himself to see the error in his ways and renounce his own wish to save his son - the only person who liked him just the way he was when he had nothing. It's just a darn shame that Patty Jenkins and the crackpots who wrote this screenplay don't have any sort of an imagination. 

Lord and so many others had the Dreamstone's infinite power at their disposal but no one thought of just wishing Wonder Woman dead at their feet?

Some suggestions in that scenario...

"I wish this bitch would leave us alone..." - White House Secret Service guards

"I wish I had something that could beat this chick..." - TV station guards

(Laughs) Or how come Bruce Wayne didn't wish for his parents back in this continuity? That would have made for one hell of an Easter Egg. It was hilarious when they did it in Justice League Unlimited. 






This whole Dreamstone ordeal screws up the DCEU continuity even more with a lot more plot holes between this film and Batman v. Superman: Dawn of Justice and Justice League. 

At the end of the film, everyone renounces their wishes (why should they really though?) and the nukes and walls disappear "Phantom Menace" style (a trope that the Marvel Cinematic Universe is often heavily criticized for), but the fact of the matter, the ENTIRE world remembers this incident and are dimly aware of Wonder Woman's presence in this world. Remember that it was firmly established in Batman v. Superman that she had remained "hidden" from the world until present day DCEU. Sure, she went out of her way to knock out a few cameras in a few fight scenes in this film, but the public were aware of her existence. I seriously doubt that her existence would be completely swept underneath the rug after roughly two decades when Superman made his existence public. That's just asinine to think of, especially after the global awareness that was established here. 


Busting up a few surveillance cameras is all well and good, but you have hundreds of eye witnesses of your exploits here, Diana. People aren't just going to forget seeing an Amazonian warrior goddess beating the tar out of some criminals.  



I'm no expert on the character of Wonder Woman, but I know a shitty depiction of her when I see it. The best thing Patty Jenkins and Gal Gadot did in the first film was highlighting and showcasing Diana's love for all living things that defined her heroism. The original film's "fish out of water" theme took that and ran with it to make audiences fall in love with this live-action depiction of this iconic heroine. That's why I understand why a lot of people have "blinders" up about any sort of negativity or any negative connotations about these films whatsoever. On the other hand, I don't sympathize with those people either who hide behind the delusion that this depiction of Wonder Woman does no wrong within Patty Jenkins' jaded vision. 

Explain to me this... Why would Wonder Woman be so selfish to put her own wants over the needs of so many, especially at the cost of this world that she loves so much? She foolishly casts aside her godly powers in order to keep the farce of Steve Trevor's revival alive until he talks enough sense into her until she is essentially forced to renounce her wish during the film's climax. She was willing to die to keep that lie alive. One could excuse her selfishness in this film as she is one of the only people who never spoke their wish aloud, but it's selfish nonetheless - something that I couldn't ignore as very uncharacteristic for her character. She comes off as foolish or rather stubborn in her ways as how Batman comes off in both Batman v. Superman: Dawn of Justice and Justice League. 

I won't deny that Diana, or rather Gal Gadot, shows more range of emotions in this film than she did in the first film, but why did we have to rehash the "fish out of water" theme from the original film with Steve Trevor? If they wanted to keep Chris Pine around then they shouldn't have killed Steve Trevor off in the first place. This film just makes that decision even stupider in hindsight. 

Speaking of Steve Trevor, can we talk about how fucked up that it was that he was occupying the body of another man? Diana was completely fine with him stealing the life of an innocent man for she could have her boyfriend (of whom she maybe spent a week or two with in the previous film) back? It was even more messed up that Diana was having sex with this guy while Steve Trevor was inhabiting his body and living in his apartment while everyone else sees her with this other guy instead of Steve. 


I'm convinced that Patty Jenkins just saw a photo of Diana's Kingdom Come golden armor that seems to pop up in the comics every few years one way or another and said, "I DUNNO WHAT THIS IS OR WHAT SENSE IT WOULD MAKE IN MY FILM BUT WE GOTTA GET THIS IN THE MOVIE SOMEHOW BECAUSE IT LOOKS SO GODDAMN COOL!"


Another question for my readers... If Wonder Woman had Asteria's Golden Eagle armor had the entire time throughout the film then why the fuck didn't she use it until the film's climax when she knew it was bulletproof and could protect her from harm when she was losing her godly powers?

(Laughs) I can't forget about the moment where Diana and Steve are in the airplane together though... I gave them a pass on Steve somehow having the knowledge to fly a modern airplane after not flying one since World War I, but I drew the line at the stupidity of Diana being able to make the airplane invisible when she was already losing her powers this far into the film's runtime. That fact that she could even use that ability that was never brought up again and one that she said that she clearly didn't master was downright comical that she pulled this feat off just because the plot demanded it to move forward. 


If Wonder Woman can fly on her own, then why does Diana need to swing from lighting bolts?



Here's a better question though... Couldn't Diana fly in the last film? If so, then why the fuck would she need a goddamn airplane in the first place? Between the first film, this one, Batman v. Superman: Dawn of Justice, and Justice League, it seems like every director has selective memory when it comes to her utilizing that ability. 

I can't condone that Diana blatantly kills Cheetah in the film's climax. One can argue that Barbara brought it onto herself, but when that live wire hit the pool of water that they were in, Diana stood there and held her in that water until she was incapacitated. Barbara would be fine after all of the wishes were renounced in the film's climax, but who knew that would have magically brought her back to life? There was no way that Wonder Woman would have had the foresight that Barbara would revert back to her human self after that and be perfectly fine. To say that the film goes out of its way to protect innocent bystanders, Wonder Woman didn't hesitate to engage in lethal force in that scenario. To say that Diana was standing in that water wearing a goddamn metallic, yet highly conductible suit of armor and wasn't fried to death along with Cheetah is puzzling too. 

(Sighs) Between the waste of Cheetah here, Max Lord, and even Simon Stagg earlier in the film, it seems like a massive waste of time for these characters. Dr. Poison was criminally under-utilized in the first film and the Cheetah was regulated to a minor appearance here. Given the ending of this film, it's very unlikely that we will see that character - or at least that version of her - again in this continuity anyway. Same goes for Max Lord. 

I did enjoy the minor Easter Egg of Lynda Carter appearing in the mid-credits scene as Asteria though. That was a nice little callback for her. 

I will applaud this film for one thing though. It's the first and only DC Extended Universe film that resolved it's core conflict without violence. Plus, this film went out of it's way for no innocent lives/casualties would be avoided. That "destruction porn" as how most people referred to the utter destruction of Metropolis during the climax of Man of Steel was how a lot of people frowned heavily on the DC Extended Universe and the films that followed - including this one - go out of their way to remedy that mistake. (Laughs) Remember that they used the destruction of Metropolis as the catalyst for the conflict between Batman and Superman in Batman v. Superman: Dawn of Justice? That hesitance for violence in this film proves to be a costly mistake though. All of the fight/action sequences were all revealed in the trailers for this film, outside of one minor sequence. For a film clocking in at roughly two and a half hours, you would think that they would use some of that runtime for a little bit more action, but nope. It's almost to the point where I think Patty Jenkins is allergic to action scenes due to the sheer lack of them in this lengthy film. 

I wanted to like this film - I really did, but at the end of the day, it turned into another misstep for the DC Extended Universe. And here I thought they were finally turning this ship around following the successes of Aquaman and Shazam!, but nope. The failure of this film is merely going to put more pressure onto Warner Bros. to take more drastic measures to potentially fix this continuity. Justice League: The Snyder Cut is going to be a temporary Band-Aid, even if it's regarded as a success following so much hype and anticipation. If that film is anything short of brillaint then I think all remaining faith for any sort of DC Comics-based cinematic universe is out of the window. 

As of this posting, Patty Jenkins and Gal Gadot are already confirmed to direct and star in a third Wonder Woman film, with two more potential sequels and/or spin-offs to boot. Jenkins is also pegged to direct a Star Wars series for Lucasfilm/Disney as well. I'm sorry but I don't see her brilliance at all. Cool, you want to have more female directors, but that doesn't excuse her from having stupid ideas and mismanaging these characters. Maybe she can prove me wrong with another sequel, but after WW84, I'm convinced that these superhero films isn't her strong point. I'm definitely not racing out to see the next installment on release day. 

Patty Jenkins expects viewers to be in awe at the pomp and circumstances of this film and completely dismiss its shortcomings for another dose of her own brand of so-called female empowerment when this film does little more than to "empower" the top brass at Warner Bros. and Jenkins' own egos that this plot was a very good idea in the first goddamn place.

Watch It or Don't Bother?


If you enjoyed the first Wonder Woman film by Patty Jenkins, then you're not going to see anything wrong with this entry that continues Diana's adventures, but for everyone else, I humbly suggest that you stay far, far, far away from this one. 

Sure, it's free to watch on HBO Max, but by the time this was over and all said and done, I wanted those two and half hours of my life back. It's hard to hate on Gal Gadot's bright smile that could melt the hearts of even the coldest of hearts and the stellar ensemble cast, but the writing for this film is utter garbage.

Wonder Woman 1984 stands as another example of the lack of proper planning and long-term storytelling that Warner Bros. and DC Comics have for the DC Extended Universe. In the grand scheme of things, this film does more to add more plot holes and inconsistencies to an already muddled up continuity. 

I'm sure that I may have missed some points, but ScreenRant has a hilarious video parodying the sales pitch to the Warner Bros. executives. 



If you want to see a better Wonder Woman film, there's two animated feature films that are definitely worth your time than giving this your time of day.