The END of the DC New 52

This week Blair gives us his opinion on the recent news that DC is making some pretty drastic editorial changes in June. Some of these changes sound pretty good, but as Blair explains, some could be better. - Jim

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Last week, DC Comics made a surprise announcement regarding their plans after the Convergence crossover event. And to hear DC tell it, the era of The New 52 is over. According to DC Co-Publisher Dan DiDio,

 “in this new era of storytelling, story will trump continuity as we continue to empower creators to tell the best stories in the industry.”

“Story will trump continuity.” What does that even mean? Does that imply that writers now have a greenlight to trample over other stories as they see fit? We kind of already had that at DC and at Marvel. Even within some of the biggest crossovers at both companies, consistency of story and character can be pretty non-existent. 

The ability to ignore continuity is something that comic creators have begged for in the past... not that it ever stopped them before. And I won’t shed any tears over the loss of the New 52... especially since it’s not actually going anywhere. DC later put out a statement that clarified that the 2011 reboot continuity is still in effect.

The bigger question is whether DC’s newest shake up can lure back lapsed readers and regain some of the sales momentum from the early days of The New 52. For me personally, I don’t think it’s enough. I see a lot of buzzwords in the announcement like “inclusive,” "contemporary," and "accessible;" which in theory sound like good ideas. But in execution?

Bleeding Cool’s Rich Johnston has characterized DC’s latest moves as a response to the success of the Batgirl of Burnside creative reboot by Cameron Stewart, Brenden Fletcher, Babs Tarr. To be sure, that book has been a success story for DC that brought renewed interest to Batgirl and Tarr’s artwork has been very pleasing to look at.

But as a template for the DC Universe, I don’t think that this Batgirl title should be the guiding light. I really wanted this to be something that I could get behind, but the title character as written by Stewart and Fletcher doesn’t seem like Barbara Gordon to me. Under their pen, she’s kind of a ditz, and she’s a lot less competent than she used to be. I understand that imperfect characters are more interesting than perfect heroes, but Barbara Gordon has lost a lot of the defining characteristics that made her so likable to me in exchange for character traits designed to make her seem younger and more hipster. 

I’ll give Geoff Johns this: at least his recent Superman run felt like a Superman story that could have been at home in almost any era. 

 His Clark Kent and Superman had an innate consistency with the core of his character that the new Barbara Gordon lacks. It’s not like we have this problem with Batman. He was one of the few characters to enter The New 52 largely unchanged, and Scott Snyder has been a very solid writer on that book. 

As much as I’d like to see the DC Universe I grew up with make a full time comeback, I know that’s never going to happen. You won’t see Wally West as a full grown married man with superpowered children outside of Convergence. James Gordon isn’t getting his white hair back any time soon and the only Justice Society sticking around will be the Ultimates-lite version hanging around on Earth 2, not the originals from WW II.

Will we ever see the Original JSA Members again?

I miss that pre-Flashpoint world. But I’m not so desperate to get it back that I’ll buy anything with the characters that I loved just because it’s in front of me. 

There are some encouraging things in DC’s announcement. I think that having Bryan Hitch back for a second run on Justice League of America could be a lot of fun... depending upon how well he can write. One of DC’s tactics to lure the big name artists appears to have been offering them the chance to write their own titles. That’s one of the reasons that David and Meredith Finch are co-writing Wonder Woman. 

But I still have to wonder how committed DC is to this current course of action. This feels less like a fresh start and more like one of Marvel’s annual “let’s relaunch everything!” initiatives. 

Believe it or not, I’d actually like to see DC succeed in bringing in new readers and new audiences. I just want to be able to enjoy the comics with them, rather than see some of my favorite characters twisted and contorted into something that I no longer recognize. 

- Blair

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The End of The Marvel Universe

This week Blair gives us his opinion on the recent news that the end of the end of the Marvel Universe has been made official: Note - there may be one than one post on this topic this week as this has been a widely discussed event among many of the contributors to his blog. - Jim

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I am not happy. 

In fact, I’m pretty pissed off about this week’s news that the Marvel Universe as we know it coming to an end. The 616 Marvel U is being smashed into the 1610 Ultimate Marvel Universe to form the basis of a new Marvel Universe once Secret Wars is over. And it looks like this may be the dreaded Marvel reboot that the longtime fans have feared for years.

It doesn’t help when Marvel Editor-in-Chief Axel Alonso uses this analogy to describe the results “Imagine two pizzas: They're going to combine toppings, some toppings are going to drop off. And that is the Marvel Universe moving forward.”

Yeah... I don’t want that. At all.  

I understand the ridicule that comes with being a grown man who loves superhero comics. But I am so far past caring about that at this point. I’ve loved superhero comics my entire life, but I’m more of a Marvel guy than a DC guy. DC has a lot of amazing and iconic superheroes, but I’ve always identified more strongly with the Marvel characters. 

Marvel also had the advantage of never having a reboot. At least, not a complete reboot. Every few years, Marvel creators tend to retcon out some aspect of its backstory that no longer makes sense in a modern context. That’s why Tony Stark now became Iron Man in Afghanistan instead of Vietnam. That’s why Mr. Fantastic and The Thing weren’t actually World War II buddies with Nick Fury once the ‘70s and ‘80s happened.  

It’s a rolling timeline, and fans came to accept that because it meant that most of Marvel’s history was intact. We could overlook the fact that decades of stories were being condensed into an unrealistic ten to fifteen year time frame because it meant that our Marvel Universe never went away. For better or worse, everything in Marvel counted... unless it was unnecessarily retconned by later writers. 

Having come to DC Comics largely after Zero Hour, I didn’t feel the same way about Crisis on Infinite Earths and the big changes that it made to DC’s comics. But for the old school DC fans, it must have been like the gut punch that I felt when The New 52 jettisoned most of the non-Batman or non-Green Lantern stories. That’s the problem with dumping so much history for  a reboot. I loved the DC characters just the way they were. However, I don’t feel the same connection to their new incarnations. They may look the same (with some newer costumes that are uglier than their old costumes), but they are most definitely not the same. 

That was one of the reasons I never really got into the Ultimate Universe beyond The Ultimates and Ultimate Spider-Man’s early years. The first 25 issues of those Ultimate titles felt like something fresh and special, which I largely attribute to Brian Michael Bendis and Mark Millar bringing something new to the table. However, at no point did I ever want the Ultimate Universe to supplant the Marvel Universe. If you were a comic fan 14 years ago, you may recall that as a constant rumor that never came to pass. Unless it’s happening right now.

The thing that really bothers me about this is how unnecessary it is. It’s not like Marvel needs an excuse to slap a new # 1 on every one of their books. They do it almost every two to three years, and it’s rare for any title to hit # 50 in this era. As for accessibility for the fabled new readers, that was the initial goal for the Ultimate comics line. And it actually worked for a few years before it was bogged down by the weight of its own continuity. If they try that again now, history will only repeat itself.

When Millar left the Ultimate books, the line never recovered. Bendis has kept Ultimate Spider-Man going, but the only thing still worthwhile in the Ultimate Universe is Miles Morales. That’s it. Do we really have to go through Secret Wars just to transfer Miles to the regular Marvel Universe? Because you know that’s gonna happen. Most of the Ultimate Universe’s greatest heroes have already been killed off (mostly by Jeph Loeb), and I was okay with that because it wasn’t in the “real” Marvel Universe and a lot of those characters never resonated with me in the way that their 616 counterparts did. 

It possible that Marvel is playing us all and the changes to the Marvel Universe will only be cosmetic. Maybe most of what we love about Marvel will be more or less the same after Secret Wars is over. All we know for sure is that this will lead to another round of multiple relaunches and numerous tie-in one-shots and miniseries. 

But the powers that be at Marvel sure seem to enjoy making the fans feel angst about the fate of their comic book universe. Perhaps they’re right to do so if it means bigger sales and it finally brings in new readers. However, I am extremely apprehensive about the whole thing. 

Alonso is fond of saying that Marvel’s history isn’t broken and the company doesn’t need to reboot even while he hints that this might actually be a reboot. To that I say, “you break it, you bought it.” I’ve come to realize that the characters’ histories are part of the reason that I care so deeply about them. Without their backstories, a lot of the same creations felt like empty ciphers in the Ultimate Universe.

If the same thing happened to the Marvel Universe, it might mean that I finally have to divorce myself from this side of the hobby that I love so much. I really and truly do not want to do that. Avengers and Secret Wars writer Jonathan Hickman has signaled his desire to take some time off from Marvel after this event to focus on his creator owned comics. I think Hickman is a very talented writer, and I just hope he doesn’t burn down the castle on his way out the door.

That’s how I feel about it. Unleash your opinion below!

- Blair

Arrow Season 3 Midseason Report

Editor's Note: Today Blair Marnell continues his CW Superhero midseason reports with a look back at the first half of "Arrow" Season 3. - Jim

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I wasn’t always a fan of “Arrow,” especially in the first season. 

Although “Arrow” has been pretty good in terms of action since the beginning, the dialogue was beyond atrocious during the early days as the show reveled in its CWness. There was Stephen Amell’s apparent allergy to shirts, Oliver’s doomed love with Laurel Lance (Katie Cassidy), and the most CW characters of them all: Oliver’s sister, Thea (Willa Holland) and their mother, Moira (Susanna Thompson).

That’s not to say that there weren’t episodes I enjoyed during “Arrow” Season 1. It just wasn’t fully clicking for me. It didn’t help that “Arrow” killed off Tommy Merlyn when Colin Donnell was easily one of the best actors on the series. It took most of the first season for “Arrow” to find itself, but I didn’t really get invested in it until early in the second season when the following line was said: 

“Ra's al Ghul has ordered your return.”

Now, it’s just a name, right? A little Easter egg for the DC fans and viewers of the Christopher Nolan Dark Knight films who remember that Ra's al Ghul just happens to be one of the greatest Batman villains of all time. It didn’t necessarily mean that we’d ever get to see Ra's al Ghul on “Arrow,” but the idea that he was out there really expanded the world of the show.

Green Arrow doesn’t have the greatest rogues gallery in the comics, which is why “Arrow” has so liberally borrowed other villains from the DC Universe. John Barrowman was a terrific choice as Malcolm Merlyn, but Slade Wilson aka Deathstroke (Manu Bennett) was the only other adversary who really registered on the show... and he’s more of a Teen Titans villain than an enemy of Green Arrow. At least that was the case before Identity Crisis came along and tried to spark that rivalry between them. 

The point is that there was no clear choice for “the big bad” of “Arrow” Season 3 except Ra's al Ghul. It really had to be him, because the show had foreshadowed his appearance for almost a full season. If Fox’s “Gotham” had cockblocked that, it would have killed that momentum. 

That said, I’m not entirely sold on Matt Noble as Ra's al Ghul. The midseeason finale of “Arrow” Season 3 gave us our best look to date at Noble’s incarnation of the character. He’s not bad in the role, but I’m not blown away by this casting choice. 

From this point on, there are full spoilers ahead for the “Arrow” Season 3 midseason finale! If you’re still reading after this paragraph, I’m assuming that you’re up to date with the show.

One thing that I loved about the midseason finale was that Oliver Queen was completely outclassed in the unnecessarily shirtless in the snow duel with Ra’s. The Demon’s Head easily disarmed Oliver and stabbed him with his own sword before kicking Oliver off of the mountain to his apparent death. But if anyone thinks that Oliver is really dead then they haven’t been reading enough comic books. 

The downside of Noble’s performance is that he didn’t demonstrate the force of personality behind Ra's al Ghul. This is a world class adversary who could teach James Bond villains a masterclass on truly epic villainy. Ra's al Ghul is the hero of his own story. He wants to save the Earth... but he’s willing to kill nearly everyone on the planet to achieve that goal. In “Arrow,” that same sense of purpose isn’t coming across. Ra’s is just the leader of the League of Assassins, and it’s not clear if he has any larger agenda beyond that. 

There needs to be more animosity between the Arrow and the Demon’s Head. Their conflict just isn’t personal enough to resonate. Malcolm Merlyn is still coming off as a bigger villain because he represents a very real threat to Oliver’s family by his corrupting influence on Thea. It may go against all sense of logic and reason, but Thea’s murder of Sara Lance (Caity Lotz) is actually a great way to continue Oliver’s feud with Malcolm. 

Unfortunately, Thea doesn’t really have any agency in this storyline. Thea doesn’t know that she killed Sara because Malcolm drugged her with some previously unmentioned wonder plant that made her susceptible to suggestion. The “Arrow” writers really dropped the ball by not hinting at that plant’s existence until the episode that they sprung that explanation on us. That is the definition of cheap writing from the seat of your pants and making it up as the story goes along. 

In theory, an Evil Thea is something that could have been a lot of fun. But the show wants to have it both ways, by not fully committing to making her a villain and by keeping the old Thea around... and giving her the most annoying character ever as her new love interest in the form of Chase (Austin Butler). Seriously, I’d pay good money to see Chase get brutally killed by an arrow.

 It’s the same story with Laurel. The “Arrow” producers have been trying so hard to make Laurel happen for three seasons that they can’t step back and realize that it just isn’t working. The only tacit admission of their failure is the way that the writers have reoriented Oliver’s romantic feelings from Laurel to Felicity (Emily Bett Rickards). Personally, I hate the “Olicity” shipping, but it is the pairing that the majority of the show’s fans seem to gravitate towards.

If the “Arrow” creative team had really been listening to the fans, they wouldn’t have written out Caity Lotz’s Sara Lance. She was the Black Canary that we didn’t have to wait three seasons for. Lotz was more convincing as a heroine and she had more charisma than Holland or Cassidy combined. Instead of signing Lotz as a series regular, they killed off the wrong Lance sister because the creative team is still trying to make the audience love Laurel and accept her as a heroine.

But I think it’s too late for that. The next couple of episodes are supposed to put Laurel in costume as Black Canary, but Cassidy is working against three seasons of bad writing to try to change the audience's perception of Laurel. And let’s be honest, Cassidy’s performance hasn’t exactly been great. 

Compared to “The Flash,” “Arrow” has seemed strangely unsure of itself this season. Brandon Routh has been a fun addition to the cast as Ray Palmer, but The Atom feels even more out of place on “Arrow” than The Flash does. More than anything, I think that “Arrow” has lost its sense of direction. The only plots that have been driving this season forward have been Sara’s murder and Laurel’s supposed evolution into a heroine. Oliver Queen is being poorly served by his own show and even John Diggle (David Ramsey) has been reduced to the guy who’s trying to get Oliver and Felicity back together as a couple... just because he cares for them.

That my friends, is about as CW as The CW gets. 

Regardless, a strong cliffhanger can make up for a lot of shortcomings. “Arrow” definitely had one of those in the midseason finale. The challenge for the show will be to deliver a resolution for that cliffhanger that doesn’t take a cheap way out. I’ll accept the existence of a Lazarus Pit, but even that’s a little too easy. 

I think the “Arrow” creative team can make adjustments after some of their misfires, but first they need to realize where they’ve gone wrong. Sometimes, that’s the hardest thing to figure out.

The Flash: A Midseason Report

Editor's Note: Today Blair returns with some interesting thoughts on the Flash and the midseason finale: The Man In The Yellow Suit. - Jim

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There's so much that can go wrong with a comic book inspired TV show that it's refreshing when a series is good out of the gate.

The Flash is a very good series. Someday, it may even be a great one.

I give a lot of the credit to Geoff Johns, the long time comic book writer who has ascended to the post of DC Entertainment's Chief Creative Officer. That means he actually has a say in how these DC characters come to life in live action.

It was Johns who added the tragic element to Barry Allan's back story with the murder of his mother, Nora Allen at the hands of a time traveling Reverse-Flash.

At the time, I was not happy with that change. The Flash is not Spider-Man! It gets really annoying when Spider-Man's tropes are given to other heroes who previously had their own identity.

But the inherent problem of Barry Allen is that he is the most boring man alive. At least that's how he comes off in the comics, even in The New 52 reboot. But on The Flash TV show, Grant Gustin's Barry Allen actually feels like a living, breathing person. And this time, the Spider-Man vibe really plays well. Even the Flash theme reminds me of Danny Elfman's Spider-Man music.

Although this is Flashback Universe's midseason report for The Flash, the primary focus is going to be on episode nine: The Man In The Yellow Suit. From this point on, there are spoilers ahead from the midseason finale. I am assuming that everyone is current with The Flash if you keep on reading.

 The Flash TV series has kept Johns' back story about the murder of Nora Allen. But more impressively, it's built up Reverse-Flash into a truly effective villain. And I have to give the show bonus points for giving that role to one of the best actors on the show: Tom Cavanagh.

From the end of the episode, we are meant to infer that Cavanagh's Dr. Harrison Wells is the Reverse-Flash. It's not a perfect fit, as Wells' actions have shown his desire to protect Barry, even if he only wants to ensure his own future. It also requires Reverse-Flash to be in two places at once. Or possibly two different people.

Wells killed Simon Stagg to protect Barry and he encouraged Plastique to kill General Elling before he could threaten Barry and others like him. On the other hand, only Wells knew that Detective Joe West had reopened the Nor Allen case. Shortly thereafter, Reverse-Flash paid Joe a visit and stole all of his evidence at super-speed before threatening the life of Joe's daughter, Iris.

The creative team of this series have done a terrific job of conveying how frightening that Reverse-Flash can be to people who don't have superpowers. Even Barry is completely outclassed and overpowered by Reverse-Flash. Any good hero needs a villain who can truly challenge them. And we've got that here.

In the midseason finale, both Gustin and Martin delivered their best performances to date. Martin is just an amazing actor. The words given to Joe West aren't always well written, but Martin sells it with such convincing emotions and gravitas that it resonates. Gustin has also been very good as Barry. This episode gave Barry a chance to pour out his heart to both of his dads and to Iris (Candice Patton) and all three scenes worked.

I am less sure about Patton's abilities as an actress. But the show hasn't done any favors for her by making Iris into Laurel 2.0 (for all of you Arrow fans). Making Iris into The Flash's cheerleader feels like tired material barely halfway through the season. And I'm already bored with Barry pinning for her heart.

Another problem with the show is that two key members of Team Flash are severely underdeveloped. Barry, Joe and Wells get all of the really juicy material while Caitlin Snow (Danielle Panabaker) and Cisco Ramon (Carlos Valdes) are barely characters at all. They exist only to give Barry exposition, scientific explanations (well, comic book science) and give him someone to play off of. The show has halfheartedly given Caitlin a tragic backstory in the form of her lost fiance, Ronnie Raymond (Robbie Amell). Comic fans know him better as Firestorm.

Despite claiming to have no idea who Caitlin is or even his own name, Robbie stalks her in this episode until she finally sees him. However, the first two Firestorm scenes have such sloppy editing that it feels like important moments were skipped over. That is not the way to make us care about Ronnie or Caitlin.

Out of nowhere, Ronnie shows up just in time to save Barry from the Reverse-Flash. In terms of the plot it makes no sense... even if Robbie only came to save Caitlin. But then how would he have even known to come? Basically, this only happened to keep Reverse-Flash as an unstoppable threat without killing Barry or his friends.

I haven't really dealt with Rick Cosnett's Eddie Thawne because he annoys me. But the midseason finale may have given him something interesting to play. Eddie realizes that the Reverse-Flash could have killed him... but didn't. If the show follows the comic here, it could mean that Eddie is Wells' ancestor... or Eddie may become a Reverse-Flash as well.

The midseason finale had some shortcomings, but this was a satisfying way to closeout the opening episodes. I am excited to see where The Flash goes from here.

- Blair

The Flash Vs Arrow

Editor's Note: Today, I am proud to present a guest post by Blair Marnell with his thoughts on the Flash/Arrow crossover episodes. Blair Marnell is the TV and Comics Editor of CraveOnline and a freelance writer for ComingSoon.net and SuperHeroHype. Previously, he wrote for Wizard Magazine, Geek Monthly, MTV Splash Page, Fan TV and Comics Bulletin.

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This past week, The CW ran a two night event between The Flash and Arrow that served as the first full crossover between each series. It’s a superhero fan’s dream.

I wasn’t around for the ‘70s, but the closest TV equivalent I can think of would be if CBS had crossed over Wonder Woman and The Incredible Hulk when they were both on the network... ownership issues aside.

CBS didn’t even give fans an Amazing Spider-Man and Incredible Hulk crossover, and that should have been automatic!

Oddly enough, CBS ran the first TV series adaptation of The Flash back in 1990. But a few decades later, it Is CBS’ corporate sibling, The CW that has become the superhero network. Both Arrow and The Flash are now the signature shows of The CW that weren’t originally created for another network.

But the thing that I found most striking about The Flash and Arrow crossover is just how much I like The Flash more than I like Arrow Season 3 at the moment. The Flash just feels like a more fully realized show at the moment and the third season of Arrow hasn’t quite found itself yet.

This version of The Flash owes everything to Arrow. If Arrow hadn’t proven to be a hit, I highly doubt that there would be a Flash TV series on the network right now. After Green Arrow was proto-Superman’s substitute Batman for half a decade on Smallville, that’s a significant step up for the character in the eyes of the general public.

One of the more obvious instances of Arrow’s influence on The Flash is the way that Team Flash was assembled before the end of the pilot episode. The Arrow creative team tried to run Oliver Queen (Stephen Amell) on his own for a few episodes before teaming him up with John Diggle (David Ramsey) and Felicity Smoak (Emily Bett Rickards) later in the first season.

For Barry Allen aka The Flash (Grant Gustin), his team consists of possible future villainess Caitlin Snow (Danielle Panabaker), possible future hero (and annoying as f*** sidekick) Cisco Ramon (Carlos Valdes) and the enigmatic Dr. Harrison Wells (Tom Cavanagh).

That dynamic shouldn’t work for The Flash, but somehow it does. Gustin has turned out to be a really good leading man and Cavanagh’s character has been the most intriguing addition to the Flash mythology. Caitlin and Cisco need better writing, but they’re bearable. Law & Order veteran Jesse L. Martin has been the most human character on the show as Barry’s surrogate father. Detective Joe West.

I’m gonna save my Iris West (Candice Patton) rant for another time. But she’s this show’s Laurel, which Arrow fans should instantly understand.

The Flash isn’t perfect, but it’s been amazingly solid through eight episodes. And the “Flash vs. Arrow” story of the eighth episode was the best one yet. The Flash writers wisely left the dead weight of Arrow aka Laurel (Katie Cassidy), Roy (Colton Haynes) and Thea (Willa Holland) off of the stage while giving Oliver, Felicity and Diggle the chance to shine on a different show.

One of my favorite parts of the episode was Diggle’s reaction to Barry’s superspeed. That was especially effective because we’ve been watching Diggle on Arrow for over two seasons and it meant more to see him freak out about it than it would have for a random character whom we had never seen before.

Rickards was also really good in the episode as Felicity was given a chance to actually be funny... which she seldom gets on Arrow. I think she’s a better fit on this series, but the Arrow creative team seems intent on following the fandom’s demand for an “Olicity” relationship.

But the most compelling part of “Flash vs. Arrow” is that both Gustin and Amell had a chance to play off of each other in comedic sequences and in a very well choreographed fight between Arrow and the enraged Flash. For TV action, that may be the new standard for a superhero fight. Remember when Smallville would give us 30 seconds of Clark Kent fighting Doomsday and then cut away? That didn’t happen here.

I have to admit that the biggest laugh of the episode for me came when Oliver and Barry took out the villain of the week so quickly that they did it during the final commercial break and he was already being locked up in STAR Labs when the show came back. 

It should be said that Arrow’s side of the crossover, “The Brave and The Bold” was not a bad episode. It was just too consumed with being an episode of Arrow that happened to have The Flash in it.

You’d think that the Arrow creative team would have used the special occasion to step away from the flashback structure for a week, but nope! We lost a few minutes of valuable screen time to Oliver Queen learning how to come to grips with torturing someone for the greater good. There is some dramatic potential in the way that Oliver has essentially absorbed the worldview of Amanda Waller (Cynthia Addai-Robinson), but that sequence was wasted in this episode.

It was also unintentionally hilarious to see how the show went out of its way to make Captain Boomerang aka Digger Harkness (Nick Tarabay) into a credible threat to both The Flash and Arrow. It’s one thing for Boomerang to fight Oliver and Roy to a standstill, but to make him tactical genius who hid bombs throughout the city just to keep The Flash off of his trail?!  

Seriously?!

And does the casting director of Arrow watch any other shows besides Spartacus? No, really. I want to know.

Once again, the best part of Arrow’s side of the crossover was the interplay between Oliver and Barry. They really are fun to watch when they’re sharing the same stage and both Gustin and Amell deserve recognition for how well they handle their roles. I still think that DC is making a mistake by not tying these shows into the movies. The DC Cinematic Universe of Man of Steel was a very joyless world. I want to see more of the TV world created by Arrow and The Flash.

Despite all of the changes made to both characters, Arrow and The Flash feel close to the spirit of the comics that inspired them. Neither show is perfect, but we should all recognize how fortunate we are to be in an era when we have two terrific superhero dramas... on the same network.

- Blair