New Luchadors Enter The Temple, While Others Fight To Stay Alive!
Lucha Underground is having quite the amazing week as the cult wrestling promotion as been picked up for a third season! After the amazing announcement, the hit-show on the El Rey Network followed their premiere with another exciting entry. The second episode featured new luchadors fighting for a place in the temple and a lucha legend making his debut.
Below are the 5 best moments from the 2/4/16 edition of Lucha Underground:
1. Pentagon Jr Confronts Prince Puma
-Since losing the heavyweight title during last year’s season finale, Prince Puma is a more focused adversary. The once peaceful champion has since turned on the light and showcased a new attitude. This new attitude was showcased during his interaction with the devious Pentagon Jr. Pentagon thanks Puma for helping take out champion Mil Murtes last week; Puma is having none of this from Pentagon. The two face off in a cheesy action movie style face-off after Pentagon tells Puma they will tag together against Muertes lackies known as “The Disciples of Death”.
2. Killshot Vs. Johnny Mundo
-The two incredibly gifted athletes face off this week in the first match of the evening. Killshot, in the mask, & Mundo, in the fur, have similar high-flying styles so the two seemingly worked together wonderfully. Not often does the opening match of a TV show get the crowd so hyped but these two men managed to do so! With a big spot following another big spot, the competitors barely had time to catch their breath before they were doing another dangerous move. The highlight was Mundo’s reversal of Killshot’s attack allowing for Mundo to pick up the win this week! But his night was far from other after the match…
3.”The Machine” Cage Returns To Challenge Mundo!
-After spending the promo trading insults & catchphrases, Brian Cage returned to The Temple to show Johnny Mundo he is really the most gifted athlete in the whole promotion. The self-proclaimed “Swolverine” Cage made his way down to the ring to give Mundo a piece of his mind but Mundo ran away the first chance he had. While Cage was distracted with the looming Mil Muertes, Johnny snuck back into the ring, trying to attack Cage. “The Machine” was having none of it and easily disposed of Mundo.
2. “Darewolf” PJ Black Debuts…Then Loses. -In his first match in Lucha Underground, PJ Black faced off the big bag man named Willie Mack! Formally known as Justin Gabriel to WWE fans, PJ Black debuted to the shock of the Lucha crowd. While he was allowed to shine during the match, it was Willie Mack who picked up the pin-fall. Will PJ Black be able to recover from this losing debut and will this be the start of a feud between the two men? Next week will hopefully answer these questions and be a better week for the “Darewolf”.
1. Pentagon Jr. Outshines Prince Puma! -Pentagon Jr. has slowly turned into one of the most beloved wrestlers in the entire company; much to the anger of Prince Puma. This was very evident during the main of event of this week’s episode. As Puma & Pentagon faced off against Mil Muertes’s ‘Disciples of Death’, Pentagon took every chance to show-off his power & popularity! The arm breaking masked man stole the pin from Prince Puma after constantly stealing spots from Puma. The two confronted each other after the match but the two were an even match. Very excited for the match up between these two luchadors!
*Bonus*- Rey Mysterio Debuts In Lucha Underground! -In one of the best moves of his career, the former WWE superstar has finally found his way to Lucha Underground! His segement wasn’t enough to warrant a full spot but it’s worth noting as the future of The Temple has become a bit more mysterious.
Did you enjoy this week’s episode of Lucha Underground? This season is starting to build up to a wild climax and with all the new faces, who’s gonna be the Lucha Heavyweight Champion by the end of the season?
For the first time in “Smoke And Mirrors,” viewers got to catch a glimpse of what Agent Carter’s life was like before she enlisted. From a flashback to Peggy Carter’s childhood to a flashback to the event that made her want to become a spy and points between, we learn Peggy’s origin story. This fleshing-out of Peggy’s long-term motivations is juxtaposed by flashback sequences showing the origins of Whitney Frost, AKA Agnes Cully. And, though Frost is no Arnim Zola, I’m glad Agent Carter now has a real villain to contend with rather than having to continue battling it out with henchmen such as Rufus Hunt. On top of the character development of both Peggy and Agnes though, we were also treated to some good acting, including a tense scene between Peggy and Vernon Masters, portrayed by That ‘70s Show’s Kurtwood Smith, but more on that later. All in all, I thought this was a good episode. Now, consider yourself warned, spoilers abound:
Spoiler Territory
A young Agnes Cully getting some words of discouragement from her mom
Based on the flashbacks we see, it’s obvious that Peggy Carter and Whitney Frost had very different upbringings. And, though both characters were taught and ultimately rejected their appointed social roles as ladies in the early 20th century, their rejections of those roles sends them down very different paths. Frost becomes a manipulative socialite while secretly moonlighting as a mad scientist. Carter becomes a tough-as-nails intelligence officer who helps train Captain America, and kisses him once. The following of these different paths results, in this episode, in Peggy tranquilizing and psychologically torturing the aforementioned Rufus Hunt, and Whitney gaining the ability to absorb living beings’ essences. In other words, don’t mess with either of them.
Unfortunately, that’s exactly what Vernon Masters attempts to do with Peggy and the rest of the SSR when he interferes with and ultimately blocks a raid on the Arena Club. The raid, organized based on information Carter and Sousa were able extract from Mr. Hunt, was meant to provide a link between the Arena Club and a group of conspirators seeking to dominate the world. The conspirators, says Hunt, call themselves the “Council of Nine,” and meet regularly at the Arena Club. Masters’s suspiciously timely interference in the raid is the final piece of the puzzle for Peggy: she realizes that Masters must be either a stooge of The Council or a co-conspirator himself. So, not wanting to give Mr. Hunt’s name to The Council, she refuses to tell Masters her source.
This scene between Carter and Masters is an example of where the show goes right. Kurtwood Smith and Hayley Atwell paint a picture of emotional intensity with only the expertly timed delivery of their lines and a few insincere grins. In fact, this episode is chock-full of scenes with this level of acting, including the sexually charged opening scene between Agent Carter and Dr. Wilkes, and the “Jarvellous” comic relief supplied by an accidentally tranquilized Jarvis.
Agent Carter’s de facto villain strikes again
The ending of this episode of Agent Carter, though, didn’t live up to the rest of it. Although we see Whitney Frost use her newfound powers (again) to eliminate Rufus Hunt, who Souza purposely freed and covertly fitted with a listening device, the episode doesn’t provide any new information to the viewer. Instead, it ends the same way as last week’s episode, with a shot of Whitney Frost’s glistening scar that grows every time she uses her powers. I wonder if that scar will turn into a … “Masque” of some kind … ?
AMC released a featurette Thursday, ‘A Look at the Final Episodes of Season 6: The Walking Dead.’
The cast and crew of the show talk about what fans can expect from the second half of the season. Norman Reedus is the first cast member to speak and he doesn’t look too happy.
“There’s some large things that happen to us in the back half. We don’t all survive and we don’t all take it very well,” said Reedus.
Andrew Lincoln commented that the introduction of Negan is the part of the comic that he was looking forward to portray on television.
“The Governor was magnificent and David did a beautiful job playing him. But Negan is horrific. He is this incredible tyrant and this very charismatic, funny, brutal beyond words sociopath. I’m interested in the relationship between Negan and Carl and Carl and Rick. There’s a very complicated, extraordinary psychology between those characters. I’m just thrilled that we are getting to a place where it feels very deep, dark, thrilling and dangerous,” said Lincoln to TV Insider.
The Walking Dead returns to AMC on February 14 to start the second half of season six.
Super Bowl 50, like every other Super Bowl (at least the last 40 or so), is only partly about the game. The majority of the event is a massive media platform for advertisers and companies to push their products for a hefty price. That includes movie studios.
There are only a few confirmed movie trailers for Super Bowl 50 thus far, and a few more suspects. Most of these we’ve seen more than enough of, a couple we’ve only caught glimpses, and one hopeful in particular we haven’t seen anything from at this point.
Fox has grabbed two 30-second spots during the game, and one of these will undoubtedly go to Deadpool since the Marvel flick opens a few days afterward. The other is likely going to one of two other Fox tentpoles for 2016: Independence Day: Resurgence,or X-Men: Apocalypse. I’m pulling for Apocalypse to be honest.
Disney released a TV-spot for Alice: Through the Looking Glass earlier this week, which will probably pop up during one of their purchased ads during the game. Here’s that spot, if you are a masochist and want to watch it:
Surely one of their spots will go to Captain America: Civil War. We’ve only seen one (incredible) trailer to this point, so maybe we’ll get a few new glimpses of the picture, which hits theaters in May. There’s also the chance The Jungle Book, Zootopia, or Finding Dory will pop up in one of the ads.
Paramount bought one commercial slot, and that will likely go to the Teenage Mutant Ninja Turtles sequel, Out of the Shadows.
But the biggest mystery/excitement surrounding movie trailers at Super Bowl 50 involves Universal’s 60-second spot. This mystery is dwindling as we near the game, however, as it’s almost certain now the first footage of Bourne 5 will debut the one-minute commercial. The official title will obviously accompany the Bourne 5 spot, so keep your eyes peeled…
Last night, Martin Scorsese was sitting down with Jimmy Fallon on The Tonight Show, and he tried his hand at a subtle Robert De Niro impersonation.
De Niro has to be one of the most impersonated actors of all time, and there’s plenty of straight up mimics out there from the likes of Bradley Cooper and a number of other A-listers. Martin Scorsese’s isn’t really the curved-mouth frown impersonation we all know and love. It’s more just cool to hear the legend talk about his favorite scene from Goodfellas:
See… not really an impersonation so much as a cool moment. Still worth watching.
Joel and Ethan Coen, aka The Coen Brothers, have maybe the most distinct crucial characteristic which makes one a Great Filmmaker: voice. Being able to dazzle with technique and wordplay isn’t necessarily enough to enter this pantheon. The Greatest Filmmakers create universes within which their characters operate and are easily distinguishable from any world another director might create. The extended beauty of The Coens’ works is that while their contributions to the pop vernacular are obvious even to the neophyte, they have equally great work which extends beyond what is their accepted realm of genius.
While the Coens are the second entrants breathing this particular Monkeys Fighting Robots rarefied air, our first entry, Michael Bay, might have asphyxiated directly out of the womb if it weren’t for Joel and Ethan Coen. The most interesting characteristics of Mr. Bay’s work are when he’s attempting to ape the notions of what it means to make a “Coen Brothers’ Movie” (Mr. Bay’s films take such a hard left turn from actual Coen aesthetic that it’s unfair to call him a ripoff but credit must be given where it’s due). Idiosyncratic collections of characters put through the wood-chipper of mundane, yet extraordinary life are the meat and potatoes of Coen Universes.
Each Coen Universe is immediately recognizable whether it be through the weekly bowling league you and your buddies enjoy (The Big Lebowski), your pregnant wife going about her job because she believes in duty and keeping busy (Fargo), trying to come to terms with the fact your art is passing you by without asking permission (Inside Llewyn Davis) or stealing a baby to raise as your own whilst running from a biker maniac who might actually be a demonic minion of Satan (Raising Arizona — ok maybe not that last one). The people living these lives aren’t that far removed from ourselves. They might be the hyperreality of what it means to have PTSD or a song in your heart but their plights are the same as ours. The extents of the circumstances in The Big Lebowski or Inside Llewyn Davis help to illuminate the truth of what it means to be looked upon as an outcast or a talent who is being overlooked.
The Coens have become known for their humor and for excellent reason with Fargo, The Big Lebowski, Burn After Reading and Oh Brother, Where Art Thou? being prime examples. Their genius has garnered even more critical acclaim when they look into the deeper and darker recesses of the human condition. No Country For Old Men secured the Coens much Oscar gold (if you take that sort of thing as credence) but, more importantly, placed a populist, consumable sheen on material that isn’t easy and never lets the audience off the hook. The Coens previous work also tells us this (Donny’s ashes being blown back into The Dude’s face in TBL is funny but also darkly realistic) but when placed within this realm of true evil and not giving us easy answers of what that evil actually is or how, if even at all, you can actually defeat it resonated deeply with audiences. The fact that No Country probably isn’t even their greatest film is another testament toward the longevity of the Coens’ relevance.
Outside of the Coen Brothers’ typical directorial work, they’ve turned in some interesting scripts for movies you might never recognize as their work. Did you by chance realize the Coens are nominated for an Oscar this year? They helped pen Steven Spielberg’s latest work, Bridge of Spies and I would dare anyone to point out to me a blatantly traditional Coen tic in that film. I’d love to also see the list of films they’ve worked on without credit.
Essays and dissertations and think pieces galore could be made from any single one of the Coens’ films including their “lesser” work (Intolerable Crueltyand The Ladykillers being fair, yet still interesting examples). Delving deep into why things go where and how the camera acts as perverse instigator and what the plight of the unwilling hero truly means and blahblahmetaphorblahbiddyblahblah isn’t what makes Joel and Ethan Coen’s films important works of human art. It’s Nicolas Cage loving a baby he can’t possibly take care of in Raising Arizona. It’s the lovable simplicity of Brad Pitt in Burn After Reading. It’s Rooster Cogburn’s (Jeff Bridges) unwilling paternal instinct in True Grit. It’s the MUSIC of Oh Brother, Where Art Thou? It’s the hideous absurdity of Barton Fink. Joel and Ethan Coen create skewed windows into our own lives with their films and it is a beautifully joyous ride each and every time.
The Coen Brothers’ latest film, the comedy Hail, Caesar! opens this weekend. I can’t wait to add a Channing Tatum performance into the Coens’ pantheon of great characters.
”Undisputed Collection of Greatest Filmmakers” is a semi-regular column that attempts to place today’s working directors into a pantheon of greats, only surrounded in fellowship by talent of equally unparalleled measure. This collection is non-refundable.
Check out the previous directors enshrined in this collection (with more to come!):
Steven Soderbergh has been retired from filmmaking since the Liberace docudrama Behind the Candelabra aired on HBO way back in 2013. Since his retirement – where he clearly decided to take a break from filmmaking – Soderbergh directed 25 episodes of his incredible period drama on Cinemax, The Knick. He also executive produced Magic Mike XXL and has a new series, the adaptation of his film The Girlfriend Experience, coming to Starz.
Last night and this morning, a whole mess of reports came out saying Soderbergh was getting back behind the camera to direct either Logan Lucky or Hillbilly Heist, and that Channing Tatum would star. Other names like Matt Damon and Michael Shannon were thrown out too. Some say Soderbergh is flat out denying the claim, others say his denial is involving casting rumors, and around and around we go. Soderbergh is definitely being coy with the news on his own Twitter feed:
So news that Steven Soderbergh is possibly coming out of retirement to direct one of two new films needs to be tweaked a little bit. If it happens, this is Soderbergh’s next project… not some triumphant return to filmmaking after a decades long hiatus. This guy ain’t Terrence Malick. He’s prolific, always moving and viewing and thinking and creating. Hell, he’s probably been busier in his retirement than he was for decades behind the camera.
This idea he retired is an insult to retirement. I kid of course, I never wanted Soderbergh to walk away from filmmaking to begin with just like every other movie fan. He is easily one of the most curious, inventive, and unique voices to have emerged in the early 90s. Even when he misses, it’s never boring. Hopefully this news comes to fruition and he does come out of “retirement” to direct one of these films.
If not, I guess I’ll just wait for his next project…
As a fan of both shows, this was very exciting news indeed. It opens up a few questions about what the story line will be and why Barry will appear. For me, the most important question I could think of was “Does this mean that Arrow will crossover at some point?”
The logistics of this happening are quite complicated due to schedules, but it could be so good if they make it happen.
They would need to make sure the storyline was right something the fans can get behind. I’m not thinking that it would happen this year, I think next season would be more effective. Especially if at the end of the Supergirl/Flash crossover, there could be a hint of a possible big bad on the horizon.
This is just my geeky side taking over, but picture a team up next year that sees Supergirl, Flash, Arrow and Legends of Tomorrow all working together.
Arrow would be on its fifth season next year, which would be the end of the flashbacks showing how Oliver became the vigilante we met in the first season. There is something quite fitting about the idea of it going out with a big finish and that could be a super cross over event.
A two-hour special should just about do it and the man who has a large say in all this is Greg Berlanti. Berlanti is the writer/producer behind the shows I’ve mentioned, and probably has some surprises for fans in upcoming episodes.
For now I will wait with to see how the Supergirl/Flash crossover happens. We have been given a sneak peek at what the episode title is. Take a look at this.
This picture was released yesterday just after the crossover announcement. People were talking about the fact it could mean we are going to see more versions of Earth in the near future.
I really like the idea of Supergirl being from Earth Three and that’s why no-one has mentioned her yet. Ultimately, that is pure speculation, so far now I will happily wait to see what comes up in “Worlds Finest.”
What are your thoughts on what could happen?
How would you like to see the crossover take place?
Hitting theaters nationwide this weekend, Universal Pictures brings us Hail, Caesar!, a comedy written/directed by Joel and Ethan Coen that’s both laborious and utterly confusing thanks to a poorly constructed premise.
The Coens will bring butts to the seats this weekend, but so will the all-star cast. The cast led by Josh Brolin, George Clooney, Ralph Fiennes, Jonah Hill, Scarlett Johansson, Coen staple (and wife of Ethan) Frances McDormand, Tilda Swinton, and Channing Tatum. It reads like a slam dunk on paper but translates into a mess on screen.
Hail, Caesar! depicts 30 hours or so in the life of Eddie Mannix (Brolin) and on this day, he has some problems. The studio boss wants Mannix to promote singing cowboy Hobie Doyle (Alden Ehrenreich) from B-western star to romantic comedy leading man, much to the confusion of Hobie himself. The aquatic musical star DeeAnna Moran (Scarlett Johansson) is newly pregnant, which is making her mermaid costume painful to wear, and on top of that, she’s not sure if she’s interested in marrying the father of her child. This sort of refusal would result in a PR nightmare for a studio that prides itself on its All-American image. A pair of twin gossip columnists (both played by Tilda Swinton) are demanding answers to very sensitive questions about the studio’s biggest star Baird Whitlock (George Clooney). Finally, and most crucially, Whitlock himself has been kidnapped from the set of his Biblical epic, by a group of disgruntled Communist screenwriters who call themselves “The Future” in their terse ransom note.
What works in ‘Hail, Caesar!’ are those moments where the focus was on the screwball happenings transpiring on the set at Capitol Pictures. Tatum’s dance number in the sailor outfit is the type of humor that resonates. The number, reminiscent of Gene Kelly, is a well-manicured mixture of pelvic thrusts and lively dance moves, the kind of offbeat comedy we’ve come to expect from the Coen comedies. But for every moment like Channing’s dance number, there is a handful that falls flat. An example of this was Tilda Swinton’s character (the twin gossip columnists) which were meant to be a play on the sensationalist media that was running rampant in Hollywood but instead her moments on screen were only awkward, tedious, and rather pointless.The Coen brothers are sending up 1950’s Hollywood, but they’ve made a collection of parts that don’t make a cohesive picture.
What doesn’t work are the numerous character arcs. Between Tatum, Clooney, Brolin, and Swinton, we get upwards of five or more stories going on at the same time. On top of this, ‘Hail, Caesar!’ also attempts to tackle the topic of communism with a character arc involving the screenwriters being disgruntled communists. When a film has so many different characters all involved at the same time in ends up diluting the connection that the audience has with the movie. It just ended up being too much, and the slowly the film fizzled into white noise. An oddball sense of comedy and strange characters have long been the Coens’ trademarks, but the movie takes itself so painfully seriously at times that it stifles the laughter.
Hail, Caesar! could not decide what sort of movie it wanted to be. At times it seemed the Coens were making a film noir while at other points it veered toward the slapstick. Between the in-jokes, the numerous characters and storylines, and the inconsistent tone of the movie, Hail, Caesar! is suffering from an identity crisis.
With the second half of The Flash season 2 underway, it’s about that time that we see the story ramp up, inevitably leading to a whirlwind climax that is sure to excite many.
That first step was taken in this weeks episode, with “Fast Lane” beginning to create more drama for the entire cast and crew. In what looked to be the first three dimensional conflict for each and every character, we saw distress and rejuvenation throughout Central City.
Following the departure of Patty, Barry seems closer to becoming a true hero than ever. He is quick, strong and ready for the next task, be it another meta-human or a run in with Zoom. He’s ready, he’s waiting and he is growing.
To be honest, this was the most excited I have been to see Grant Gustin fully develop his role as Barry Allen. While he isn’t the prime Flash that doesn’t get shaken up week after week, he was close to a competent and confident hero that Central City has groomed. Without his best girl in the same city, he seems as focused as ever to defeat Zoom and close the breaches that litter Central City.
*Cue Heath Ledger’s Joker voice* “And it’s all part of the plan.”
Obviously the lying undertone is the fact that Zoom wants this. He patiently waits for his powerful adversary to reach his peak in order to rip it all away from him.
Secretly contracting the help from Harrison Wells through the use of Harry’s daughter, Wells begins to show his true face, and it bears a striking resemblance to the former Harrison Wells (nee Eobard Thawne). Designing a device that taps into the Speed Force through Barry, Wells is able to sap the pure energy out of Barry and harness it in a jet injector. In keeping with Newton’s Third Law, “for every action, there is an equal and opposite reaction,” when he takes away just a small fraction of the Speed Force, Barry seemingly slows down. When Wells meets up with Zoom, we see him hand the injector over and Zoom take this newfound speed and add to his power. Like that first cup of coffee in the morning, you can see a stronger Zoom replenished from the Speed Force.
The first time he noticed, was against his newest foe – Tar Pit.
In a flashback of two years ago, we see a criminal known as Joey Monteleone get into an argument with some thugs, who end up dropping him into a vat of tar at the same moment of the explosion at S.T.A.R. Labs. As we have learned, if you were basically alive and touching some sort of particle within the blast radius, you were likely mutated into a meta.
Flash forward to the present, when the same tar is unearthed, a tar covered arm materializes, as well as the revenge plot.
The ability to wield tar came as an easy thing for Monteleone, as he had no issues with his first victim in Daniel Burge. Encasing him in a tar tomb, Burge was basically cooked alive, whilst suffocating in the process. If that doesn’t double as an extremely successful anti-smoking campaign, I don’t know what will.
Following the introduction of the newest villain, we turn the tables back to Barry. In an effort to crack this whole Zoom and the breaches dilemma wide open, he goes into hyper-work mode. Much to Harry’s dismay, he reluctantly agrees to letting Barry help. It is now that we see an all-too-familiar Harry, who makes his intentions known, that he will betray Barry when the time comes. Little did Barry know, his plan was already in action.
Amongst the drama, no one has more than the West family. Francine has passed away, Wally is still a wild card of emotions, Joe is doing everything he can to earn Wally’s trust and Iris is sticking her nose in Wally’s business. Desperately wanting Wally to open up and stop his moonlight street races, she opens up an exposé on the street racing scene, targeting the head of everything – Clark Bronwen. She even goes as far as showing up to Bronwen’s office and letting him know that if he doesn’t shut everything down, that she will release it and let the whole world in on his night life.
As far as drama goes, that was basically the gist of everything going down with all the main guys.
What I really liked from this episode was that for once, it seemed that Barry came out on top no matter what. Usually, the first one or two face offs result in the baddie-of-the-week is just a little too strong for the Flash. However, Barry really took the whole hero thing to a new level and holding strong against someone he really didn’t know. His first encounter was mainly just Barry saving Clay Stanley from suffering the same fate as Burge, and Monteleone just running away.
It was after this “fight” that Cisco noticed that Barry was slightly slower than before, and by 2% as confirmed by Caitlin. Clearly with no idea what was going on, the team begins to question each and every possibility, even though their answer lurks around S.T.A.R.
The third encounter was with Wally in a race, with Joe and Iris there to try and stop him. In a drag race, Tar Pit surfaces, attempting to go after Bronwen. With Wally’s life in danger as his car climbs a wall of tar, Iris quickly calls Barry, who races over just quickly enough to pull him out of the car. Barry then watched as Wally’s car tumbled backwards, with the car and shards of glass hurling towards Iris. Despite never having trouble with speeding over and saving the damsel in distress, his lagging speed throttled him, not allowing him to reach his peak. In the flurry, a shard of glass just out of Barry reach plunged into Iris’ chest.
With a nearly lifeless Iris in Barry’s arms, Joe yelled to get her to the hospital. This was a dynamic moment for the entire West family. Outside of Iris’ pleas for Wally to stop the racing, he finally saw the ramifications of just how deadly it can be. And all it took was his sister hanging on to life at that moment to finally get it through. Later on, you can see the impact and his ability to finally open up to Iris, staying at her bedside in the hospital.
Reeling from his diminished speed, Barry, Cisco and Caitlin began shooting ideas for why he is slowing down. Sickness, tiredness, all these ideas and yet no definitive answer. That was, until, Wells showed his true nature.
To be completely honest, I did not expect Wells to come forward as early as he did with his secret motives. His disdain for wanting to work with Barry, despite his constant effort to learn and help; his secret meetings with Zoom and most importantly, his want to have his daughter back, I really figured that he would keep his lips shut for at least a few more episodes. Instead, he came right out and revealed everything.
The timing was nearly perfect, however, as Joe walked into the lab right as show and tell was happening, and burst right up to Wells and delivered a hook to the jaw that cleared him off of his feet. Tearing him off the floor, Joe threw Wells into one of the cells, striking a deja vu scene from last season. Wells pleaded his case, asking to be sent home back to Earth-2 and stating that it was his battle to fight.
In the long run, they could have just as easily sent him back and called it a day, but a remarkable thing happened. Barry showed a sense of sympathy and understanding, which in my eyes was a major step in his good character. Obviously he is upset at what has gone down over the past few months, but he knows that if it were anyone else in this situation, that they would be doing the exact same thing with no second thoughts about it. So he does what he knows is right, he forgives him.
Like I said, this was a shocking thing. It was only a few episodes ago we saw Barry pouring his heart out from the other side of a window, forgiving Wells for all that his doppelgänger did wrong. It seemed like the show was set up to just constantly leave Barry’s trust in ruins, which is why I was pleasantly surprised when he took a human route to this. He instilled a sense of family that has been strained between them all, determined to solve this as a team and save Jessie from Zoom.
With that, they went right to work. Problem one, defeat Tar Pit. Problem two, figure out a working solution to the breaches.
The first problem came easily for the group, as really they just needed a way to draw Tar Pit out so they can ice him over and defeat him that way. It was simple, use Stanley as bait, wait for Tar Pit to show his face and blast him. Problem one, check. Problem two require some pages being turned, several hundred in several seconds, to be honest. Ignoring his constant annoyance with his rapid reading, Barry was set on catching up and figuring out a way to create a particle that has yet to be solved. But it would take an already discovered solution, figured out by a familiar face (Earth-1 Dr. Wells) to do it.
Thus, we have our first breach bomb. Causing an implosion within the breaches, Barry and Harry successfully recreate the research and close one of many breaches that are scattered across Central City.
This was one of the most exciting episodes to have watched in the short two seasons this show has been running. It drove home a, what I think, missing concept that is the whole teamwork thing. For once, they are all on the same page, and that page has them heading to Earth-2 in next weeks episode! For once, Earth-1 seems to be on the right track, so it is time for the team to tackle Earth-2 Team Flash-style.
