In 2012, we were introduced to a young man returning from five years of pain and torture to his home city, where he would become a bow and arrow-wielding vigilante trying to right the wrongs of his father. Almost seven years later, we see him as a hero within an ever-expanding universe full of things that have to be seen to be believed. From metahumans, to aliens and even doppelgangers from other existing Earths. No one (and I mean NO ONE) would have seen the Arrowverse becoming what it has today. Sure it has its reputation of being a collection of cheesy dramas now and then. Sure the conveying of messages have been placed at the front by the crew members. And yes, the quality of storytelling has fluctuated between each show. But the Arrowverse still stands as one of the most successful creations for today's TV. It has caught the attention of millions of people around the world and continues to regularly impress despite the limited resources. The Arrowverse is responsible for most of CW's current success. So much so that each series has just been renewed. I thought I'd take a look at each of Arrow, DC's Legends Of Tomorrow, Supergirl and The Flash, and determine their strengths and weaknesses. I see what they have and haven't done well, as well as look at where they can go better.
GOOD
The peaks of Arrow could be seen as the first two seasons, the back end of season five and the first few episodes of the current season. Most tend to favour these periods of the show as they all have one thing in common. Arrow has the power to present its seriousness through dark and intense content. It has not been afraid to make changes or cause damage to itself for the sake of a good story, whether it be torture, maiming or even killing characters off now and then. This series has proven itself to be more than just the heart of the Arrowverse. It's the guts and muscle as well. Arrow has long been able to deliver tension through menacing antagonists and unpredictable twists. And most of all, Oliver Queen (Stephen Amell) rarely loses his spotlight. The show has long focused on bringing forth ongoing pain and trouble in hopes of continuously reshaping his character and creating something new out of him. I respect Oliver now more than I have ever did before (though his attitude having been somewhat less tolerable during the earlier years, can be a big reason for this).
BAD
When a show is as grounded as what Arrow is, there doesn't seem to be that many stories to tell. I think this now more than ever before. The show has ran for seven seasons and has just been renewed for an eighth later this year and all I'm left to wonder is whether or not there is something new and interesting to share with viewers. We've had villains wanting to destroy Star City, villains wanting to take over Star City, villains wanting to destroy the world, villains wanting to torture Oliver Queen, villains wanting to kill Oliver Queen, etc. What more could possibly be done? And now that Oliver's identity as the Green Arrow has been disclosed (which has been a key element throughout much of the show), it makes me question whether one can really forward this series for another three or four seasons without having it look like any other common crime drama. It's not like The Flash or Supergirl, both of which have wide scopes for imagination and improvement. Arrow is a very restricted show, and it's not something one can really prolong without feeling dry and repetitive. Fact is it already has felt like that many times throughout the years.
SOLUTION
Given how much the show has changed now, it is hard to return to any sort of former glory. But at the moment, it doesn't seem like there is much that needs to be worked on as new showrunner Beth Schwartz is helping create new glory. Although, this doesn't exactly mean the series can't go one better. What I believe can further help out with Arrow this season is the nostalgia. To address old wounds, revisit old characters and make something new out of older material. I believe that Arrow is in the twilight stage of its running, so now is the perfect time to start really embracing the history of the series as a whole. To hit people with the feels and truly remind them of what had them attracted to the show to begin with. Try hard in bringing season one or two back to the surface in some way, and not just by mentioning names of old characters. I mean really celebrate what has been delivered and what has been achieved. Of course, do it in a way that still keeps in touch with the current narrative.
GOOD
This is fairly original material for DC. So spacious, so adventurous and so imaginative. A crazy journey through time and space and a chance for supporting characters from other series to stand out and truly show their worth. What makes DC's Legends Of Tomorrow so well respected, is both the freedom and mystery. The fact that the show can take any established piece of material and turn it into something new and twisted to keep eyes glued to the screen. Whether it be a retelling of history or a film brought to life, this series loves to add its own icing. Promos aside, there is little to no clue where people will be taken to next. DC's Legends Of Tomorrow has also brought out the best in some characters, including Sara Lance (Caity Lotz), Damien Darhk (Neal McDonough) and especially Mick Rory (Dominic Purcell). And although both the make-up and atmosphere have gradually changed over time, the series has managed to keep its 'getaway' status when certain viewers experience troubling times.
BAD
DC's Legends Of Tomorrow faces one of the bigger uphill battles. Not only does it chew up more of its budget, but pushes itself to focus on a larger line-up of fictional characters with fewer episodes. Right now, a dozen characters are sharing the spotlight with a villain still to be touched on and many more guest stars to pop up. As a result, character development has been fairly meek throughout the first half of season four, with one of the only characters having taken significant steps being Nora Darhk (Courtney Ford). Another problem (and currently the biggest one) this show is facing just so happens to be one the series intentionally brought onto itself. After a giant wave of positive feedback from the general audience regarding the handling of season three, the writing team allowed themselves to be consumed by the widespread acclaim. Much to the point where their main aim has now become all about fishing for cheap laughs at the expense of the story's flow. Some viewers have managed to see through the excessive focus on comedy, as they witness certain characters either having been dumbed-down or left behaving in unusual ways. The writing room look to be trying too hard in placing jokes here and there, leaving a lot to be desired when it comes to the show's enforced logic. I think they need to remember that DC's Legends Of Tommorow is not a sitcom. It's an action-packed, sci-fi adventure with many fan-favourite superheroes. It's best for them not to lose track of what they stand for.
SOLUTION
The key behind a successful story in DC's Legends Of Tomorrow, primarily lies with the main characters. The Legends themselves. It's important for them to feel genuine and act like they usually do most times we see them, all while mixing them up with other characters and building up new relationships. The writing team also need to use their budget sparingly, and allow for the Legends to use their powers and abilities on a consistent basis (unless the story makes sense for them being unable to). A good and well-developed villain can help as well, as it seems only one season (that being season two with the 'Legion of Doom') has allowed room for the antagonists to not only progress to a more advanced state, but make use of the developed personalities and have them rub against each other to provide some glorious entertainment. Anything as forgettable as Vandal Savage (Casper Crump) or as underwhelming as Mallus is a small step in the wrong direction. Simply being 'silly' can attract viewers but it will only last so long before people catch on to the one-dimensional and somewhat illogical storytelling.
GOOD
Supergirl could just about be the most powerful and most relatable show of the four here. It has strengths that are very easy to notice. One of them is how it connects with audiences through emotions. Despite Supergirl (Melissa Benoist) herself being close to indestructible, we a shown a side of her that hurts like every other human or sentient being. We are shown a sister in Alex Danvers (Chyler Leigh) share her heart's greatest desires in the most tender and sympathetic of ways. We've had a couple of actors and actresses reflect on real life experiences in the show. Supergirl has long been about pain and how to overcome it. Another strength is how the series correlates with human matters in reality, from discrimination and recognition to justice and the American laws. And despite the separate lives the characters have and the different things they do, the joy and teamwork whenever the family is together remains on show. Supergirl targets the heart more than anything else, and is successful in many of its attempts.
BAD
Much like DC's Legends Of Tomorrow, Supergirl has something blocking the flow of the story. But rather than artificial comedy, it would be the one thing this series has been known for since the very first season; political viewpoints. The fact remains that Supergirl is a show that expresses a lot of politics. It always has and it will for the rest of its running, so complaining about it won't do us any favours. However there is a point of understanding here. The crew behind the scenes have for some time stuck with delivering their collective morality. While it can generate a positive aura in terms of messages, it has gone on to bring forth some obvious plot inconsistencies. That and it has also left an unaddressed imbalance. By that, I mean it has somewhat portrayed certain categories of people as inferior. Supergirl tries too hard to take the moral high ground and it unknowingly leaves a selective few too feel uncomfortable about the way they look at things. All television programs have their own audiences and not everybody will like the same one. But with this series, the idea really sticks out.
SOLUTION
Other than the obvious need to tone down the political views, Supergirl has one other major problem to deal with. That surrounds the character of James Olsen (Mechad Brooks). For most of the show's time on air, the writing team has not only struggled to find a solid spot for James, but have also had difficulty in giving life to him. Fans of Supergirl are starting to grow tired of him due to the lack of depth and flavour he carries, and I sort of notice it too. With his role as the Guardian now exposed and minimalised to the point of nearly being non-existent, James has been left as the idle chief editor of CatCo Worldwide Media and merely an extension of Lena (Katie McGrath) and her slow-progressing storyline. Not to mention the very few sparks between the two in their relationship. I have a great amount of respect for Mechad, but from where I sit I sense a strong disconnection between both him and his character. He isn't getting the right treatment. I personally think some changes need to be made so that James can become more interesting. Either that or he is written off.
GOOD
There is a reason why this series is the most popular of the four, and it's not just because The Flash (Grant Gustin) himself is the biggest DC hero used. The atmosphere just is incredibly inviting. The Flash knows how to hang onto younger audiences with its slightly less confusing use of language and terminology (although the science of it can now and then leave us puzzled). The characters each have their own separate personalities and they often rub against one another to create some very entertaining moments throughout each season (it's why they get a lot of attention during the crossovers). All of them are fairly multi-dimensional and have been given the appropriate time and space to flourish. The score has become the most recognisable and the visual effects while not overly amazing, are enough to keep a lot of us intrigued. The story is mostly imaginative and it doesn't lose track of its identity. And The Flash family is not too dark, too divided, nor has it changed too much. It's like a second family or the one you wish you had.
BAD
Unlike the other three Arrowverse series, The Flash comes across as more predictable and more risk-free. Most of the time, it doesn't like to pass its own borders. The show I feel basically swims in its own popularity and is all about the same structure as well as our favourite characters making an impression on the viewers. I also sense there isn't much breathing space with The Flash. Everything seems to be taking place in S.T.A.R. Labs or very close to it, whereas the other shows surprise you a little more with their openness (the fact that you just don't know where you are going to be brought to next). On top of all this comes the excessive family drama. Nearly every episode is flooded with low-energy problems (parenthood, trust issues, secrets and lies, etc.), which seems ironic for a show such as this one. Barry Allen has also more recently been turned into the side dish in his own show, with his future daughter Nora becoming the main course. And the 'many different versions of Wells' idea is sort of drying up. Stick with Sherloque or don't have any version of Harrison Wells (Tom Cavanagh).
SOLUTION
The quality of storytelling looks to be on the decline a little judging by the first few episodes of this season. More than ever I am noticing a rehashing of gags and other outdated story devices. Adding to this is a growing collection of unanswered questions, all coming from the show's newfound habit of breaking new rules and roadblocks that complicate the narrative shortly after setting them up. All of this leads me to thinking only one idea will solve much of the problem. That being a shake-up of the writing team. The Flash is in desperate need of a set of fresh faces within the crew that will not only plan ahead, but inspect every element carefully to ensure the final product makes sense. Perhaps a new showrunner to help relight the direction of the series as a whole. Somebody to give the next antagonist a little more personality and at least make sure Barry doesn't lose so much of his own spotlight. The Flash can't survive on 'fun' alone. There needs to be some solidity and rationality in the chain of events.
Travis "TJ James
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