Birds of Prey
Feat Of Clay

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Again with the killing dilemma?

Helena walks the catwalk, which is actually around this fountain thing in the middle of the room, and she tries to look all demure or something while we get shots of the men in the audience checking her out, as does Barbara, who says, "Looking good, Huntress," and Helena is proud that she's managed not to trip, like we're supposed to think she's clumsy or something. And through a single joystick mounted on her wheelchair, Barbara is moving four different cameras in all different directions, simultaneously. And after some more shots of Helena walking around, she just up and strolls off the stage, where she gets hit on by Reese, who basically talks to her breasts for the entire scene. And he's so busy smiling that I think he's drunk, and Helena thought he was supposed to be "checking the perimeter" and he says "oh, I was" to her breasts, and he keeps telling her she looks good. And he suggests that once this is all over, they should go on that first date they've been talking about, only Helena says -- and I guess that maybe she was looking preoccupied rather than demure earlier -- that once this is all over and she does what she needs to do, she doesn't think Reese will want to see her anymore, which confuses him. And I guess Helena's microphone was off because Barbara doesn't say anything about that; she just tells Helena to join Dinah backstage, so Helena scoots off.

At the Clocktower, Wade comes in with a "peace offering" and he holds up a plastic bag, and we don't ever get to know what this so-called peace offering is, and he wants to talk, and he starts to get annoyed when Barbara can't tear her eyes away from the security cams, even though she's all, dude, I'm working. "I'm just trying to talk to you, why does that have to be so hard?" whines Wade, and I believe Barbara has Alfred to thank for bringing Wade into the inner circle to basically make a nuisance of himself, and Barbara actually turns off her radio and turns away from the monitors to give her full attention to Wade, which I don't buy, not for one second.

Especially since this is of course the moment where the models and the bartender whip out Uzis and take the crowd hostage, and Chris starts making demands. And you can't help but think that maybe if Reese and the Birds had done their jobs instead of preening and flirting and whining, they might have prevented this. Anyway, Chris wants a news camera so his father, who's currently in Arkham Asylum, can see his son do what he himself could never accomplish: "The greatest artistic achievement in New Gotham history." And this southern drawl says, "No need for that, son," and this dude gets up and morphs himself into Clayface (his Catwoman-killing face, not the goopy face). And Chris is all, Dad? So wait a minute. That's Clayface's real face? And Helena knew Clayface from before, and she'd "never forget" the face of the man who killed her mom? Something doesn't add up here, but I guess that's par for the course. "Cut the crap, sonny-boy," says Clayface, who goes on to berate his son for thinking he was safely locked up and past his prime.

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Birds of Prey

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