Jessie Robertson reviews the third episode of Arrow season 3….
Flashbacks are a funny business; their main goal is to illustrate character traits, both past and present and to service the plot going forward, to show a character’s motivation or a link in the chain previously unknown. Where they don’t work is when it feels like they’re killing time, as has been the case with a few of the island flashbacks in the previous seasons. Season 3 has said “Ah, Now we see,” as flashbacks so far, are few and far between. I wouldn’t think we got more than 3 minutes of them in tonight’s episode, which were even all training flashbacks, which are so by the numbers now but seem completely necessary to include. Of course, they needed a lot of time to set up rich boy Oliver’s training sequences because he is the star of the show and not need as much time to devote to Thea’s.
This episode was like hitting the timer on the New Year’s Ball in Time Square, the countdown has begun and while it seems sometimes the show moves at a Flash’s pace, tonight was a whirlwind of plot beginnings needing lightning digestion to catch-all of them. Even when Layla asks John to go with Oliver to Corto Maltese, it’s done in such a casual way, you’d think she asked him to get a gallon of milk next time he goes out.
Stephen Amell has two scenes in which he shines particularly (not counting the fighting scenes, which he has down cold.) When he has heart to hearts with both Thea and Laurel both came off very earnest; a sentiment Amell isn’t asked to use in many scenes. But the guy’s lived in these shoes for three years now and it’s nice to watch him use all of his acting muscles, and he pulls it off, especially with Thea, in the place both of them are at in their lives, even her reactions feel completely real and sincere. I could almost see relief through Oliver to Amell’s face getting to unload something he’s not shared with anyone else.
The Corto Maltese setting was such a huge contrast from the usual look of the show as everything was so bright and wide open, but it was a good one, I think. I did find myself wondering, when Argus turncoat Shaw went to make the drop, how many of these dealings are in broad daylight? And then a shootout takes place? (Which by the way, the montage of Oliver making bows out of his hotel room amenities was quite awesome) Even Ray Palmer’s energetic disposition gives the show a lighter tone as well, and he continues to be a bright spot, even if he’s only in a scene or two every week.
If you are re-watching, or haven’t watched yet, nearly every character gets a close up where you realize something’s brewing in their head and it’s kind of a behavioral study in its own right: Merlyn has he gives Thea his blessing, Roy when asked if he’s okay, Diggle while looking at baby Sara, Laurel when staring off from her father’s questions, and Palmer when he finds what was on those files.
Other Notes:
– Did Diggle really just describe himself to Shaw as Layla’s divorced baby-daddy?
– Felicity has her own executive assistant, and his name is Gerry Conway, longtime DC Comics writer
– “Are we favor friends, are we even….friends?” Felicity to Laurel when she needs a favor
Jessie Robertson
