With the Crisis on Infinite Earths crossover, the CW Arrowverse achieves one of those DC Comics’s successes—they promise they understand, they promise they get it, they promise they’ll do it right, then it’s terrible. Not just regular terrible but also profoundly inept in some manner. See, you know, DC Comics’s comics for the last… twenty years? Twenty-five? Depends on if you want to see “Zero Hour” as the last chapter of the old or first chapter of the new. And Warner’s even done it with the movies–Batman & Robin and Justice League being the most obvious examples. They say they know what they’ve got, then they show they don’t. The fail the project’s potential.
Like, I hoped it would be better than the regular production values on “Supergirl.” It’s worse. Melissa Benoist gets to play second fiddle to Tyler Hoechlin and Elizabeth Tulloch’s “Superman Family” backdoor pilot, which is fine because Hoechlin and Tulloch are a hell of a lot less obnoxious than the regular cast this episode. Even though it’s a regular “Supergirl” director (Jesse Warn), somehow Jesse Rath’s totally different. Like no one’s on the same page with the character, actor, writers, director, and it makes his every expository deliver simultaneously exasperating and enraging; the show doesn’t have to be so bad, why aren’t they trying to at least not make it its worst. They ought to be showcasing their strengths.
The show’s shockingly inept at introducing the other heroes, which kind of makes sense since you’ve got to spend time with the regular cast since you’re not paying them all to crossover… but maybe mix it up a bit. Ruby Rose and Katie McGrath doing something has a lot more potential entertainment value than McGrath and Chyler Leigh sniping at each other over McGrath’s supervillain potential. Brandon Routh and David Harewood doing something would beat Routh playing second fiddle to Caity Lotz (who gives the episode’s best performance) and Harewood still having his stupid wisdom lines.
Nicole Maines and Azie Tesfai only show up to herd people out of the waterfront area, which has become the show’s biggest and stupidest action trope now. Is it a Vancouver fun run or something, shooting “run from the huge waterfront in the Kansas City stand-in city” every week?
Basically no one gets anything good. Hoechlin and Tulloch excepted. Hoechlin even gets to be sad about Benoist’s long-lost mom dying because guest star Audrey Marie Anderson (who’s terrible and going to be in all of the crossover episodes, which is really bad) didn’t have enough energy in the Dilithium crystals to save her. It’s a poorly plotted episode. Like, I get there needs to be a bunch for Stephen Amell because it’s his last crossover but they pad they heck out of his scenes. He and future daughter Katherine McNamara have the same conversation at least twice, maybe more, and when it gets time for Amell and “Flash” Grant Gustin to have their big crossover moment they don’t get one because there’s not time, there’s already the “Superman Family” pilot in session.
Worse, it’s cheap. They fight the “shadow demons,” which were the “Crisis” comic disposable baddies but they’re like medieval-ish ghosts… like, cheap CGI model ones. All the action sequences with them are terrible, even worse than the “meet Batwoman” action sequence the show goes with. Warn’s never been a good director but they really should’ve gotten someone else.
They also should’ve hired a good composer special for the crossover. The music is truly horrific.
The CW’s Crisis on Infinite Earths is off to its most inevitable start… it’s a shitty DC event crossover.
And while the opening cameos with Robert Wuhl (from Batman 1989) and Burt Ward (from “Batman: The TV Show), along with the clip from “Titans?” They set up a false expectation of competency. Maybe not technical prowess, as the green screen shots are terrible, but they at least suggest the crossover gets its entertainment potential.
Then it fails. Over and over.
Outside convincing me to maybe try “Superman Family” and to reassure me I’m not missing anything on “Arrow,” the show’s greatest success is providing a solid jumping off point.