Random Musings: Revisiting Leave It To Chance


Leave it to Chance #1

Chance Falconer is a typical 14-year-old girl doing typical 14-year-old girl things. You know, hanging out at the mall; having slumber parties with her friends; playing with her pet miniature dragon, St. George; fighting monsters.

Okay, maybe she’s not that typical.

Chance lives in the community of Devil’s Echo and is the daughter of that town’s occult investigator, Lucas Falconer. A Falconer has always protected Devil’s Echo and Chance is ready to begin her training. But her father decides it’s not a job for a girl; he’ll wait until a grandson comes along and train him.

Chance is having none of that; and along with George, she gets involved in paranormal goings-on, sometimes deliberately, sometimes not.

Leave It To Chance was an excellent, but sadly short-lived all-ages series (with an obvious appeal to girls) by James Robinson and Paul Smith that ran for 13 issues, starting in 1996.

Chance is intelligent, resourceful and quick-witted. But she’s also headstrong, which more than once results in her father saying three little words:

“You did what?!”

In the first issue, Chance frees the dragon she’ll later name St. George from a cage because she doesn’t understand why her father has to return him to his own dimension; and she doesn’t like the fact that the process could kill the creature.

She also recognizes that the dragon is terrified, which is probably the tipping point in her decision. In issue two, George saves her life and the two become inseparable from that point on.

Leave it to Chance #2

In the first four-issue storyline, Chance decides to prove herself by investigating a case involving a comatose shaman and his missing 7-year-old daughter, while Lucas Falconer handles an out-of-town matter. Of course, she doesn’t mention her plans. Nor does she suspect that she’ll find herself caught up in political corruption and the return of a long-banished toad god as a means of revenge against both Devil’s Echo and the Falconer family.

In addition to being intelligent, resourceful, quick-witted and headstrong, Chance is also impetuous. As she’s attacked by the one behind all the troubles, she says to herself, “oh yeah. Now I remember. I was supposed to call for backup.”

Chance helps save the city, but her father is not happy with her involvement and asks her what she was thinking.

“To be honest, there wasn’t a lot of the time to think. Not about the danger,” she replies.

“Apparently so.”

Soon after, Lucas Falconer decides that maybe he’s a bad influence and sends Chance away to a boarding school. No way could she get into trouble there.

He wishes.

Her first night at the school, Chance uncovers a smuggling operation being led by a pirate ghost. With help from her friends, she exposes it. And in response to her father’s, “well, what do you have to say for yourself this time?”, Chance insists that she had to investigate and that he would have done the same.

He reminds her which of them is supposed to act that way and makes her promise there will be no more monsters, ghouls, magic or danger.

“Leave that sort of thing to me.”

“I will, Daddy,” she says. “I promise.” She then silently adds, “unless I can’t help myself.”

Chance explains what happened at the school

Trouble finds Chance, even when she’s not looking for it. In issue nine, the classic horror movie monsters the Pharaoh, the Count, Man-Monster and the Howler emerge from the screen of a revival movie house into the real world. Lucas Falconer is called in to investigate. As he talks to city officials in his front hall, he says, “any little girls who might be listening in… this isn’t your affair. I expect you to stay at home.”

For her part, Chance decides to do a good deed for her friend, police officer Margo Vela, and bring her some soup while she’s on a stakeout. As Vela subsequently explains to Lucas Falconer: “She was bringing me soup. The monsters attacked. One thing led to many.”

“Yes, that seems to be my daughter’s lot in life,” he replies.

In 1997, Leave It To Chance won the Harvey Award for Best New Series and the Eisner Award for both Best New Series and Best Title Aimed at a Younger Audience. Eleven issues are collected in three trade paperbacks. They (and the individual issues) are well worth keeping an eye out for at your local comic shop.

For myself, I’m sending a Leave It To Chance collection to my cousin for her 15th birthday. I’m confident she’s gonna enjoy it.

Copyright 2014 Patrick Keating.

Random Musings: Through the Time Doorway into the Land of the Lost



What comes to mind when you think of Saturday morning TV? So-called “kiddie fare”? Both live-action and animated shows meant to entertain children as they scarfed down their (probably much too sugary) cereal? Yes, there were (and are) such shows, but an excellent science fiction series also aired on Saturday mornings, beginning in 1974— a series initially story-edited by David Gerrold and which had scripts from Gerrold, Larry Niven, D.C. Fontana, Walter Koenig and Theodore Sturgeon, among others.

That series was Land of the Lost.

Produced by Sid and Marty Krofft, Land of the Lost ran for three seasons (the only Krofft show to run that long), and concerned the adventures of Rick Marshall (Spencer Milligan), his son Will (Wesley Eure) and daughter Holly (Kathy Coleman (and in season three, the kids’ Uncle Jack (Ron Harper)), in a small, enclosed universe which the Marshalls called the Land of the Lost. This place featured, among other things, three moons, dinosaurs and a race of xenophobic creatures called Sleestak, described as both reptilian and insect-like.

The Marshalls entered this small universe when their raft plunged over a waterfall and they fell through a time doorway. Though some fans dispute this (it was debated from time to time at the now defunct Land of the lost.com website), I’m among those who believe the “rules” of this enclosed universe require a balance. For X number of people to enter, X number must leave (or vice versa).

Land of the Lost was the best Saturday morning TV series ever made. What made this show— which was remade in 1991 (and focused on a family named Porter) and more recently adapted into an ill-considered comedy film (a comedy?! WTF?)— such a great series? First, Gerrold— who in many ways was the series true creator— hired science fiction writers, people who understood the genre.

Second, the language of the small ape-like Pakuni (singular: Paku) was developed by UCLA linguist Dr. Victoria Fromkin. It was a language, not just random gibberish.

Third, Gerrold had a strong story arc that first season, with an underlying subtext of discovery running through those first 17 episodes. In the second episode, “The Sleestak God”, the Marshalls (and we) discover the Lost City and the Sleestak. But it isn’t until the sixth episode, “The Stranger”, that we begin to learn anything about the people who built the city.

Will and Holly discover a pylon in the first episode, “Cha-Ka”, but the Marshalls don’t learn more about these obelisks (some of which deal with the operation of the Land of the Lost; some of which contain time doorways) for several more weeks.

Grumpy contemplates a pylon.

Grumpy contemplates a pylon.

In the fourth episode, “Downstream”, the Marshalls discover the river returns to its source (the first indication that they’re in a small, enclosed universe); but it’s not until the 16th episode, “Hurricane”, that they see a visual example of the nature of the closed universe. They look through a pair of binoculars and see the backs of their own heads.

Land of the Lost also paid attention to tiny details that other Saturday morning shows might have ignored. In the opening credits, as the mist of the time doorway clears and the Marshalls find themselves in a small clearing with an angry tyrannosaurus Rex (whom Holly later names “Grumpy”) standing over them, we see that both their raft and their clothes are wet.

How many other Saturday morning shows would bother with such a detail for a quick shot in the opening credits? Probably not many. In most other cases, they’d put a raft on the set, put the actors in the raft, say “action!” and start rolling the film, unconcerned about making it look as if it had just been in the water. Yet the people behind Land of the Lost took the time to add that little touch of realism that viewers might not have even noticed.

Season one ends with one of my favorite episodes, “Circle”, written by Gerrold and Niven. The Marshalls discover that they’re at the center of a paradox. They’re in the Land of the Lost, but they’re also on the waterfall. Yet there’s no mist of the time doorway. If the Marshalls died in the falls, they couldn’t be in the Land of the Lost now; and how could they be in the Land of the Lost if there was no time doorway over the falls?

My theory? Somehow the universe “hiccuped” just as the Marshalls went over the falls and they ended up “jumping a time track” and finding themselves in the Land of the Lost before they actually arrived (The Doctor Who episode “The Space Museum” (1965) explored a similar theme).

The Marshalls and Enik (Walker Edimiston) ponder the paradox in "Circle."

The Marshalls and Enik (Walker Edimiston) ponder the paradox in “Circle.”

The time doorway is locked on the waterfall scene, replaying the Marshalls’ plunge over and over again. Rick eventually figures out a solution to the paradox. If the doorway is opened so the Marshalls on the waterfall can enter, then the Marshalls already in the Land of the Lost can leave and the doorway will no longer be fixed on that one scene. In fact, once the loop is broken and the raft falls, the Marshalls in the Land of the Lost must leave, because the Marshalls on the raft would remain suspended on the waterfall until they do.

Gerrold has said “Circle” was written with the Marshalls both getting out and coming in for the first time, in case Land of the Lost only got a single season. That way there’d be both a resolution and a continuous cycle of episodes for the rerun market.

What happened to the Marshalls who left? They either popped out of existence like soap bubbles or, more likely, merged with their past selves, who subsequently experienced a great deal of déjà vu during the events of the first season. Everything happens as before. Except the events of “Circle”, since there’s now no paradox.

Land of the Lost was a great show, but it also had its flaws. Season three, which saw the departure of Rick Marshall and the arrival of Uncle Jack, wasn’t as good as the first two seasons, with writers ignoring much of the internal logic that had previously been established (Gerrold had left by then); but even the third season had its (few) bright spots.

Even with its flaws— as I’ve said elsewhere— the original Land of the Lost was Masterpiece Theatre compared to the remakes.

If you buy or rent the DVDs, get the individual season sets from Rhino, which contain various extras, including actor and writer interviews. Seems the “complete series” DVDs, packaged in a replica lunchbox, doesn’t have those features.

You can also watch Land of the Lost on the Memorable Entertainment Television (ME TV) network. According to their schedule, it airs Saturdays at 7:30 a.m.

Copyright 2014 Patrick Keating

Random musings: Happy Birthday to Bill Cosby



Today, July 12, the great Bill Cosby— my favorite stand-up comedian— turns 77-year-old.

One of the great things about Cosby’s humor (and this was emphasized on the back of his album Why Is There Air?) is that he tells stories, not jokes punctuated with punch lines. What’s more, his delivery of lines that would be neutral statements if taken out of context is such that he brings the house down.

And his routines remain timeless.

To the best of my recollection, I first encountered Cosby’s humor when I checked one of his albums out of the library around 1982 or so. I think it was When I Was a Kid. I own all but one of his comedy albums (Sports) and I can recite many routines by heart, even ones I haven’t heard in years.

A few of Cosby’s comedy albums include Bill Cosby is a Very Funny Fellow, Right!; Wonderfulness; Why is There Air?; I Started Out As a Child; To Russell, My Brother, Whom I Slept With (which Chris Rock singled out for praise at the Kennedy Center for the Performing Arts in 2009 when Cosby was honored with the 12th annual Mark Twain Prize for American Humor); Bill Cosby Himself and Revenge.

Among my favorites of his routines are the “Noah” trilogy, “Noah: Right!”, “Noah and the Neighbor” and “Noah: Me and You, Lord.”; “Superman”; “Oops”; “Neanderthal Man”; “The Lone Ranger”; and “Chicken Heart.”

And that’s just scratching the surface.

Cosby’s comedy even found its way into I Spy, the 1960s series he co-starred in with the late Robert Culp. There’s a scene in the episode “The Honorable Assassins” in which Alexander Scott (Cosby) and Kelly Robinson (Culp) make oblique references to Cosby the comedian. In the scene, the two men wake up in the middle of the night, ready to set out on a journey, only to discover several snakes on the floor of their room. This prompts Scott to tell the snakes to get out of there, leading Robinson to say that it reminds him of a comedy record.

“Yeah? Well, it’s not too funny now,” Scott replies.

They’re alluding to the “Chicken Heart” routine, which relates— among other things— how, before they went out for the evening, the young Cosby’s parents told him that invisible poisonous snakes around his bed would bite him and make him dead until morning if he got out of bed (to go into the living room and listen to Lights Out on the radio). Indignant, the young Cosby shouts, “snakes, you get out here! This is not your room, this is my room! Now you get out of here!”

Other I Spy episodes made reference to characters in Cosby routines (such as “Old Weird Harold”), but “The Honorable Assassins” had the character of Alexander Scott commenting (without naming names) on the humor of the real Bill Cosby.

Some of the humor from Cosby’s comedy albums— including a funeral for a goldfish— also found its way into his popular 1980s series The Cosby Show. Though, to the best of my recollection, there was never an instance where the character of Cliff Huxtable made an oblique reference to the real Bill Cosby.

On the other hand, in the “My Spy” episode of the 1990s TV series, Cosby, Cosby’s character, Hilton Lucas, falls asleep while watching an I Spy marathon and dreams that he’s Alexander Scott. Robert Culp guest-starred in the episode as Kelly Robinson.

If you don’t already own a Cosby comedy album, you’re missing out on some great stuff. And if you get a chance to see him live in concert, you should definitely do so.

Happy birthday, Mr. Cosby.

Copyright 2014 Patrick Keating.


Random Musings: Remembering Bob Hastings


(Bob Hastings at the 1999 Cincinnati Old-Time Radio and Nostalgia Convention. Photo by Patrick Keating.)

Bob Hastings died June 30 at the age of 89.

Younger audiences might know him best as the voice of Commissioner Gordon in Batman: The Animated Series, but Hastings had a long and varied career. He voiced Archie Andrews on radio for about eight years after he got out of the Army Air Corp in World War II and was a frequent guest performer on the radio series X-Minus One. He also co-starred in the adventure serial The Sea Hound and was a regular on the children’s show Coast-to-Coast on a Bus. To name just a few of his radio credits.

His TV roles included the voice of Clark Kent/Superboy in the 1966 Superboy animated series; Lt. Carpenter on McHale’s Navy; Capt. Burt Ramsey on General Hospital; Tommy Kelsey on All in the Family; and guest spots on shows such as Captain Video and His Video Rangers (in which his brother, Don, played the Video Ranger); The Twilight Zone; The Incredible Hulk; The Rockford Files; The Dukes of Hazzard; and Remington Steele. He also did various voices on animated series over the years.

Hastings was also a frequent guest at the annual Cincinnati Old-Time Radio and Nostalgia Convention (now the Cincinnati Nostalgia Expo). At the 2003 convention, I had the honor of watching him perform in a radio play I’d written for that year’s convention.

I first met Bob Hastings at the 1999 Cincinnati OTR convention and interviewed him for an article on the continuing appeal of old-time radio. It appeared in Zoom! Magazine, the in-flight magazine of Vanguard Airlines, in 2002. He told me the beauty of radio is that an actor can play any type of character.

“That’s all we did in those days,” he said. “We all did different kinds of accents.”

One thing he told me that didn’t make it into the article was that working on an animated series is the same as working on radio, except for the set up.

“The big difference, actually, is in radio you stood opposite each other and you played,” he said. “When you do these cartoon series, everybody has his own little spot, so you’re never looking at the actor you’re working with.”

Hastings also said there were little partitions between the actors; and that both he and Mark Hamill (who played the Joker) liked to stand up during tapings.

“If everybody’s there, you just do the whole show. Just like you would regularly,” he said. “Otherwise somebody reads the part of the person who isn’t there. It’s radio. I loved radio. The best actors I ever worked with were radio actors. By far, because you had to be an actor.”

Hastings started as a singer. In 1939, he commuted from New York to Chicago to sing on the radio show National Barn Dance until his voice changed on the air. He still sang as an adult. In 1967, he released an album called Bob Hastings Sings for the Family.

The late Hal Stone, who played Jughead on Archie Andrews, wrote in his autobiography, Aw… Relax, Archie! Re-laxx! (page 213), that Hastings was once hired to be one of the celebrities making appearances at the Universal Studios tourist attraction; and that he became known as the “mayor” of the Universal Studios tour.

The Cincinnati convention is a casual affair. Hastings and other radio actors mingled with the other attendees. In fact, the convention’s casual nature could lead to some fun moments. One year Hastings performed the lead in a re-creation of a detective program. When his character demanded some information, one of the other performers ad-libbed Jughead’s “relax” line from the opening of Archie Andrews.

Hastings gave him a look that was beyond priceless; but pro that he was, he continued on with his lines, unfazed.

In his autobiography, Stone wrote that Hastings, “didn’t become afflicted with the ‘smell me, I’m a star’ Hollywood nonsense.” That’s certainly true. In this age of “reality” shows and people who are famous for being famous more so than for any significant accomplishments, it’s good to know that at least one “celebrity” was as ordinary and down-to-earth as the rest of us. I put “celebrity” in quotes because I doubt Bob Hastings ever used that word to describe himself.

Rest well, Mr. Hastings.

Copyright 2014 Patrick Keating


Random Musings: Life on Mars is a police procedural with a few twists.



Manchester Police Detective Chief Inspector (DCI) Sam Tyler (John Simm) is hit by a car in 2006 and wakes up in 1973. By all indications— the papers on him and in a car near where he awakens, his clothing, statements from others, etc.— he’s a denizen of 1973, Detective Inspector (DI) Sam Tyler, recently transferred from Hyde.

For Sam, who finds himself working with DCI Gene Hunt (Philip Glenister), Detective Sergeant (DS) Ray Carling (Dean Andrews), Detective Constable (DC) Chris Skelton (Marshall Lancaster) and Woman Police Constable (WPC, later DC) Annie Cartwright (Liz White), 1973 might as well be another planet.

Life on Mars ran for two seasons of eight episodes each; and the creators made a deliberate decision to end it at that point.

“Maybe to go out on a high is not the worst thing in the world,” co-creator Ashley Pharoah said in “The End of Life on Mars” documentary on the DVDs.

Co-creator Matthew Graham added that they knew how the series would end and that he was worried about stretching it out.

John Simm agreed that you should leave the audience wanting more.

In the opening narration, Sam rhetorically asks, “am I mad, in a coma or back in time?” Throughout the series, context clues point in each of those directions.

It would seem unlikely that Sam’s a 1973 resident gone mad, since we first see him in the actual 2006, not that year as someone from 1973 might have imagined it. Plus, he references things that no one in 1973 would have known about, including mobile phones, the theatrical version of The Fugitive and Robocop.

Suggestions that Sam might be in a coma come from his hearing the occasional voice talking to or about him over the radio or his seeing people on TV turn to the camera and speak to him.

The fact that the world of 1973 has more detail— and consistent detail at that— than anyone could dream up suggests that he has, in fact, traveled back in time.

As Sam tries to figure out the reason he’s in 1973 (or appears to be), he continues to function as a police officer, albeit one step down in rank from his 2006 position. He struggles not only to adjust to a department where modern investigative techniques either haven’t been adopted or don’t yet exist, but also to get his co-workers (especially Gene) to embrace things like tape recording interviews with suspects, forensic science and conducting investigations more with one’s mind than with one’s fists.

He butts heads with both Gene and Ray (Gene’s protégé), but he and Gene do come to learn something from the other. Chris and Annie also embrace some of Sam’s ideas regarding police work. Sam also is instrumental in getting Annie promoted, though she still faces a great deal of chauvinism from her fellow officers.

Annie is also the only one to whom Sam tells his tale of being from 2006. She doesn’t believe she’s just a figment of his imagination, of course.

In the opening narration, Sam speculates that if he can work out the reason he’s in 1973, he can get home. In the final episode, he’s reached a conclusion as to whether he’s mad, in a coma or back in time, which leads to his taking certain steps to resolve his dilemma. Steps that could have significant consequences for the others.

That episode had a few surprises, but I suspect a lot of viewers never expected anything like the final scene. In “The End of Life on Mars” documentary, Executive Producer Claire Parker explained that they’d chosen that ending as a nod to the fact that Life on Mars wasn’t an ordinary series.

“Just when you think you know what’s going on, something else will hopefully surprise you and make you smile,” she said. “And that’s hopefully what we did with the end of the series.”

Life on Mars also offers a subtle commentary about our own times.

“Everybody’s in their own insular world, even when [Sam’s] on the bridge and everybody’s on the phone,” director S.J. Clarkson said in the documentary, regarding a particular 2006 scene. “And when he’s sitting down in the courtyard, everybody’s walking past him. Nobody’s paying him any attention. Which is so different from the world we’d created in 1973.”

Her comment doesn’t just apply to the fictional Manchester of a TV series. Look around next time you’re out and about. Chances are you’ll see people paying more attention to a small, rectangular plastic device in their hands than to those around them. In many ways, the world of 1973 might as well be another planet compared to today, but at least back then people interacted with each other face-to-face.

Not only is Life on Mars peppered with David Bowie songs (including that one), but it also contains several references to The Wizard of Oz. These include Gene calling Sam “Dorothy” several times and making a specific reference to the Wizard. There’s also a character called Frank Morgan, the name of the actor who played the Wizard in the 1939 movie.

A 17-episode U.S. version aired in 2008 and was set in New York. It also had a different ending. Which is fine, because it was its own thing and didn’t need to emulate its British counterpart in every way.

Two bits of irony regarding Life on Mars: First, in the fifth episode of the first season Annie asks Sam, “no more funny stuff? You know, the whole time travel, out of body experience thing?” He replies, “I’ve been to see Dr. Who, and he prescribed me some pills.” The irony? John Simm would subsequently be cast as the Master in Doctor Who.

Irony the second? Sam was named for Rose Tyler, companion to the Doctor’s ninth and tenth incarnations. When the original surname of Williams was rejected, Graham asked his daughter for her input regarding a new last name. She suggested “Tyler.” He later learned she’d chosen it because she liked Rose Tyler from Doctor Who.

Life On Mars is a well-written and well-acted series that would make a good addition to anyone’s home DVD library.

Copyright 2014 Patrick Keating

Random Musings: Orphan Black is an engaging mystery


If you haven’t been watching Orphan Black (Saturdays at 9 p.m. on BBC America), you’re missing out. This is an excellent show and its star, Tatiana Maslany, brilliantly carries off playing multiple characters (each with a different look, attitude, body language and accent).

Now in its second season (the season finale airs tonight), Orphan Black concerns a group of women who, until very recently, had never known of each other’s existence: Sarah Manning, a young British woman with a criminal past who was trying to start a new life; uptight “soccer mom” Alison Hendrix; PhD candidate Cosima Niehaus; religious fanatic Helena (no last name given); and corporate powerhouse Rachel Duncan.

These very different women— all played by Maslany— are shocked to discover that they’re clones and caught up in the machinations of corporate, medical and religious groups.

Well, most of them are shocked. Rachel always knew the truth and Helena, believing herself the original and that the others are abominations, killed a number of clones before the events of the series began.

Fortunately, Sarah, who has learned that Helena is her biological twin, has managed to curb Helena’s murderous impulses. They’ve even been on a road trip together.


    (Helena and Sarah bond on a road trip. Photo courtesy BBC America).

    The first season opened with Sarah watching a woman who looks just like her step in front of a subway train. Grabbing the purse the woman— Beth Childs— left on the platform, Sarah decided to step into Beth’s life as a way of “disappearing.”


    (Beth Childs about to commit suicide. Photo courtesy BBC America)

    Too bad for her Beth turned out to be a cop facing a disciplinary board for the shooting of an unarmed civilian.

    That was just the start of her troubles. Sarah’s scheme to impersonate Beth— reinforced by the realization that Beth had $75,000 in the bank— led her to become embroiled in the “Clone Club.”

And not just her. The revelation that Sarah is a clone has affected her daughter, Kira (Skyler Wexler); her foster brother, Felix Dawkins (Jordan Gavaris); and her foster mother, Mrs. S., AKA Siobhan Sadler (Maria Doyle Kennedy), who clearly knows more about what’s going on than she’s telling.


(Sarah, Felix, Alison (on monitor) and Cosima discuss their mutual concerns. Photo courtesy BBC America).

    And, of course, the other clones’ lives have been turned upside down as well. Alison, believing her friend Aynsley Norris (Natalie Lisinska) was aware of her status as a clone and monitoring her, stood by and allowed Aynsley to die when her scarf got caught in a garbage disposal.

    She later learned that her own husband, Donnie (Kristian Bruun), was her monitor. A fact that has put a considerable strain on their marriage. One made worse by the fact that Donnie was in the dark about the true nature of the “sociological experiment” he believed was taking place.

Beth’s partner, Art Bell (Kevin Hanchard), now knows about the clones and has become an ally. As you might imagine, he was less-than-pleased when he learned that Beth was dead and that Sarah had stepped into her life.


(Sarah-as-Beth talks with Art. Photo courtesy BBC America)

Unfortunately, Art’s current partner, Detective Angela DeAngelis (Inga Cadranel) is proving herself anything but an ally. She has taken it upon herself to investigate Alison, who, aside from resembling Sarah and Beth, has done nothing illegal so far as the police are concerned. DeAngelis has even recruited Sarah’s abusive ex-boyfriend, Vic, (Michael Mando), currently in rehab with Alison, to dig up dirt on her, with the promise that his own criminal charges would go away. Donnie Hendrix recently confronted the two, warning DeAngelis— who is clearly acting outside her authority— to stay away from his family.


(Donnie Hendrix photographing Vic with Detective DeAngelis. Photo courtesy BBC America).

    Frankly, DeAngelis deserves whatever happens to her.

    Even as all this is taking place, the clones struggle to understand the nature of an illness that threatens to kill Cosima and which has already killed a clone named Jennifer Fitzsimmons. And would have killed a clone named Katya Obinger if Helena’s bullet hadn’t gotten to her first. Unfortunately for Cosima, Rachel is more than willing to withhold treatment in order to get what she wants from Sarah. In last week’s episode, Rachel even went so far as to impersonate Sarah to kidnap Kira.

Several mysteries abound in Orphan Black. We still don’t know why Beth committed suicide or how many clones there are. Or whether anyone will learn that Donnie Hendrix accidentally killed Dyad Institute Director Dr. Aldous Leakie (Matt Frewer). Or even whose side Paul Dierden (Dylan Bruce), Beth’s boyfriend and monitor, is really on.

Even if some of these questions are answered in tonight’s season finale, I’ve no doubt even more will be raised.

    If you like mystery stories, Orphan Black is a hell of a good one.

Copyright 2014 Patrick Keating


Random Musings: Thoughts on tonight’s Arrow season finale.



(Arrow title card. Photo courtesy the CW.)

The second season finale of Arrow (based on the DC Comics character Green Arrow) airs tonight on the CW, with Oliver Queen (Stephen Amell), who operates in Starling City as the vigilante known as the Arrow, going up against his former friend Slade Wilson (Manu Bennett).

A lot has changed since the mid season point. Police officer Quentin Lance (Paul Blackthorne), recently restored to his rank of detective, is now a staunch supporter of the vigilante he’d once been determined to capture. He doesn’t know the Arrow’s identity, but his daughter, Laurel (Katie Cassidy) does. Lance insisted she not tell him.

Laurel also knows that her sister, Sara (Caity Lotz), is the vigilante known as the Canary (called the Black Canary in the comics).

And hours before she died, Oliver’s mother, Moira (Susanna Thompson) revealed that she knew his secret.

We haven’t learned how Moira learned the truth, but Wilson told Laurel. He also told Thea Queen (Willa Holland), that Malcolm Merlyn (John Barrowman), not the late Robert Queen (Jamey Sheridan), is her father.

Merlyn, who precipitated an attack on a poorer section of town called the Glades at the end of the first season— and whom Oliver believes to be dead, returned last week and confirmed the truth.


(Malcolm Merlyn confronts Thea Queen. Photo courtesy the CW).

Thea wanted nothing to do with him and shot him.

Prior to the series’ opening episode, Oliver had spent five years marooned on a hellish island. There, he befriended Wilson, an Australian intelligence agent, who helped teach the then-callow youth how to survive. At one point, Wilson suffered severe injuries and Oliver made a desperate gamble to save his life. He injected his friend with an experimental chemical called Mirakuru, created by the Japanese during World War II. The fatality rate was high, but survivors gained enhanced strength.

They also underwent drastic personality changes, including bouts of rage. At one point during their time on the island, a Mirakuru-affected Wilson held a gun to Oliver’s head before regaining his self control.


(On the island, Oliver Queen helps a Mirakuru-affected Slade Wilson remain calm. Photo courtesy the CW.)

That wouldn’t last, however. Wilson regarded Oliver as his enemy once he discovered that Oliver had chosen to save Sara Lance instead of a woman named Shado (Celina Jade), when a man named Anthony Ivo (Dylan Neal) had held a gun to the women’s heads and made Oliver decide who would live.


(Anthony Ivo demands that Oliver choose between Sara and Shado. Photo courtesy the CW.)

Wilson also suffers from hallucinations of Shado urging him to exact revenge. He recently recreated Ivo’s actions by abducting Oliver, Moira and Thea, taking them into some woods and demanding that Oliver choose whether his mother or sister would live. Moira made the decision for Oliver, offering her life in place of Thea’s. Wilson ran her through with his sword, severed Thea’s bonds and walked away, promising that “one more would die.”


(Slade Wilson kills Moira Queen. Photo courtesy the CW.)

Moira had been running for mayor against Alderman Sebastian Blood (Kevin Alejandro), a friend of Oliver’s and an ally of Wilson’s (though none of the Queens had known that at the time). Moira’s death propelled Blood into the mayor’s office. Oliver subsequently told him that he was the Arrow and Blood informed Oliver that the “one more” to die would be whomever Oliver loves most.

I’m guessing Wilson will kill Sara. After all, Oliver saved her rather than Shado. Also, since Dinah Laurel Lance is the Black Canary in the comics, Sara’s death would move Laurel one step closer to taking on that role in Arrow.

During their confrontation in the woods, Oliver learned about Wilson’s hallucinations. Wilson acknowledged that Shado wasn’t his, but Oliver’s. However, the fact that Oliver chose to save another woman enraged him all the more.

Oliver told Sara— and others— that he did choose her, but when Ivo threatened the two women, it looked to me as if Oliver had charged straight at him. Either way, he was faced with an impossible choice. Even if he was in love with Shado, he’d known Sara for years— possibly her entire life— and had been involved with her.

If I ever happen to be at a convention attended by Manu Bennett, I’d be interested in getting his take on this question: If Slade Wilson had never been injected with Mirakuru, would he still have held Oliver responsible (more so than Ivo, in fact) for Shado’s death? I’m guessing he wouldn’t.

Wilson’s vendetta extends to destroying Starling City. With Blood’s help, he’s created an army of men and women— including several escaped prisoners— who’ve been injected with Mirakuru and who’ve attacked the city. When Blood realized Wilson meant to destroy his beloved city, he delivered a serum that’ll reverse Mirakuru’s effects to Oliver. Wilson had him killed for doing so.

A few weeks ago, Oliver was determined to find a cure and “save” his former friend. Last week, he used it on Roy Harper (Colton Haynes), Thea’s boyfriend, whom Blood had injected with Mirakuru earlier in the season; but given recent events, Wilson is past saving in Oliver’s mind.

I’ve written before about how the Slade Wilson of Arrow compares and contrasts with his comics counterpart, the mercenary known as [Deathstroke the] Terminator. One significant difference is that the Wilson of Arrow would kill millions to achieve his goal. In the comics, Terminator took out a reluctant contract against the Teen Titans (to fulfill his late son’s obligation). He also has a code of honor, despite being an assassin. In Tales of the Teen Titans #55 (July 1985), written by Marv Wolfman, he has this conversation with Gar Logan, the Titan called Changeling, as they eat lunch together in a diner:

Wilson: “You called me a villain. Never thought of myself as that. I’m a mercenary. A soldier for hire.”

Logan: “You kill people.”

Wilson. “I’m a soldier. I don’t steal or kill for personal gain. I have a strict code of ethics.”

And later, as Wilson gets up to leave:

Logan: “I keep thinking I should stop you.”

Wilson: “But the courts won’t imprison me [he’d been found not guilty of kidnapping a man]. Look, my crimes are locked inside my head… And you’ve expunged yours from your soul. I think you’ll be doing a helluva lot better than I will. Take care of yourself, kid.”

I doubt Wilson will ever have a conversation like that with Oliver. Which is a tragedy, because he’d once been a good man. In a first season flashback to the island, Wilson, Oliver and Shado prevented a man named Edward Fyers (Sebastian Dunn) from firing a missile at an airplane and starting a war.

Government agent Amanda Waller (Cynthia Addai-Robinson), aware of the danger a Mirakuru-affected army poses, has given Oliver only hours to administer the serum. If he fails, she intends to bomb the city to stop Wilson’s army. I think we can safely say that Oliver will succeed in delivering the “antidote” (most likely in aerosol form) to Wilson’s army, but it’s an open question as to whether Wilson himself will be cured.

My guess: he’ll be restored to normal and will redeem himself by making some noble sacrifice.

If not that, he’ll either die fighting Oliver or be imprisoned. But he’ll no longer have his enhanced abilities. If he did, he could just synthesize Mirakuru from his own blood again. And that’d be a redundant storyline.

Arrow’s too good a series to re-tread the same ground.

Copyright 2014 Patrick Keating.