The BarrometerA Barrometer rating of 1

Third-episode verdict: Arrow (The CW/Sky1)

In the US: Wednesdays, 8/7c, The CW
In the UK: Mondays, 8pm, Sky1
In Canada: Wednesdays, 9pm, CTV2
in Australia: Nine Network. Air date to be confirmed

And we have another winner from the Fall 2012 season. Arrow, somewhat unpromisingly based on a comics strip character virtually no one has ever heard of and who isn’t that much cop anyway, on a network with minimal viewers and that’s been almost exclusively targeting young women with the likes of Gossip Girl and America’s Next Top Model for years, has managed to turn in the closest we’ll probably ever get to Batman Begins: The Series.

As I noted in my review of the first episode, the show has its flaws, not the least of which is its entire premise, for which we can blame the original comic – a millionaire playboy, Oliver Queen, running around town, redistributing wealth and fighting crime after learning survivalist skills on a near-deserted island, with only a bow and arrow as a weapon. It also has an embarrassing voiceover, which ruins from the outset almost any real sense that the show might have some decent writers behind it.

But so far, it’s proven to be a remarkably good and tense watch. Stephen Amell is proving surprisingly charismatic as Oliver Queen, sometimes very Zen, sometimes very party boy, as the role needs it; it has excellent action sequences; the residual Smallville visual resemblance left behind by director David Nutter in the pilot episode has fortunately been exterminated; it has strong characters, both male and female, and it’s doing well at developing its supporting cast; it’s slowly dripping through back story and format, without descending into the formulaic; Dinah Lance, former Arrow girlfriend, and, judging by the third episode, still set to be the future Black Canary is being served well, as is Thea Queen, Oliver’s sister; there are some genuinely exciting cliffhangers; and it’s keeping most of the possible comic book implausibilities to a minimum.

True, some of them are still feeding through. Oliver Queen, stranded on an island for five years, not only has the physique of a protein-shake addict eating five whole chickens a day, but is somehow gifted with a computer hacker’s ability to search police databases and do forensic analysis – yet still needs to go to IT support to recover data from a damaged computer. Comic book villains China White (Martial Law‘s Kelly Hu) and Deadshot (Michael Rowe) turned up in the second and third episodes respectively, with Hu having to endure a white wig while Rowe got wrist guns and a targeting monocle – while that’s nothing compared to what their comic book characters have, it did somewhat ruin the show’s attempts to be gritty and realistic. There’s also the backstory involving Queen’s mother, which is feeling a bit silly already.

We also have Paul Blackthorne, who while a decent enough actor in shows like The River, The Dresden Files and The Gates, here seems to be having trouble believing the whole thing, never quite immersing himself in the role – something Strictly Come Dancing‘s own Colin Salmon is managing to do marvellously as the Green Arrow’s new step-dad.

But despite these failings, the show is just about as good as you’re going to get from a comic book show on The CW, easily trumping Smallville and pulling off the almost unimaginable feat of making Green Arrow look cool.

One to watch, if you like a comic book action show with at least a bit of thought put into it.

Barrometer rating: 1. Of course, the Barrometer might be biased since John Barrowman’s going to be a recurring star, starting from the fifth episode.

Thursday’s “Ming Na joins SHIELD, Conan O’Brien on Arrested Development, Vikings fight Scots and Syndicate casting” news

Film

Trailers

UK TV

  • Sky Arts buys ‘Spanish Downton AbbeyGrand Hotel [subscription required]
  • Alison Steadman, Mark Addy, Siobhan Finneran, Natalie Gavin confirmed for series two of The Syndicate

US TV

US TV casting

New US TV shows

New US TV show casting

The Weekly Play

The Wednesday Play: The Night Gallery – They’re Tearing Down Tom Riley’s Bar (1971)

In a different age, Rod Serling would have become one of America’s most famous popular playwrights. Instead, Serling is best known as the man who did the introduction to every episode of The Twilight Zone. Where’s the justice in that?

Serling wasn’t just the narrator of The Twilight Zone – he was its creator and wrote many of its most famous episodes. He was also the man who turned French author Pierre Boulle’s satirical novel La planète des singes into the sci-fi film classic The Planet of the Apes

After The Twilight Zone ended, he went on to create and introduce the similar anthology series Night Gallery. This aired from 1970 to 1973 on NBC in the US and was initially part of wheel series Four In One, which included McCloud, SFX and The Psychiatrist. Each week, Night Gallery presented an individual fantasy play, usually original, sometimes an adaption of a classic story by a famous author such as HP Lovecraft. The tales were usually macabre, usually written by Serling and always featured a painting and Serling in its introduction.

While few of the episodes achieved the ‘classic’ status of some of The Twilight Zone‘s, there were some notable Night Gallery plays. They’re Tearing Down Tom Riley’s Bar was considered by Serling one of his two greatest works and was nominated for the Emmy for Outstanding Single Program on US television in 1971.

In this tale of ‘paint, pigment and desperation’, former WW2 paratrooper Randolph Lane (William Windom) has spent the previous 25 years selling plastics and not feeling particularly special. His company doesn’t value him, he has to fight every young upstart on the way up, and then there’s the guilt: his wife Katie died years ago of pneumonia and he wasn’t there to help her or take her to hospital.

And now, 25 years to the day that he started work Pritkin’s Plastic Products, he gets fired without even a gold watch for compensation. Worse, a company is getting ready to destroy his favorite drinking spot, Tim Riley’s Bar – the very place where Randy’s homecoming from Europe was celebrated, where his Dad sang ‘It’s a Long Way to Tipperary’ to him, and where Katie and he used to go together and gaze into each other’s eyes.

But in true Serling style, this is no ordinary play and there are ghosts. All the same, there are no scares, nothing truly supernatural, only the horror of the passage of time and the inevitable sense of aging too quickly. It is about, as Serling says in his opening narration, “the quiet desperation of men over 40 who keep hearing heavy footsteps behind them and are torn between a fear and compulsion to look over their shoulders.”

I would say enjoy – but prepare to be moved, at the very least, by one of America’s best writers – in any medium.