Birds of Prey
Prey For The Hunter

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If I Should Fall From Grace With Claude

And then, for the third episode in a row, Dinah shows up to save the day. She doesn't even have to do anything; her presence just doubles Claude's metahuman migraine. He lets go of Helena and staggers off the ledge towards Dinah. "You subhuman bitch!" he spits, which, if you ask me, is a much worse insult than "Zipper Girl," but Dinah holds her ground. And Gibson strolls up, adding even more to Claude's pain. He says something like, "In fact, you the bitch," or something lame like that. Maybe, with his photographic memory, he should read Bartlett's so he comes up with a cleverer comeback next time. Oh, and here's the rest of the gang from the bar, sending Claude into agony. Hey, there's Barbara. Luckily this empty rooftop in the barren industrial area of New Gotham is wheelchair-accessible. But, guys, Helena was almost thrown off a ledge. You want to pick up the pace of your rescue here instead of sauntering in one at a time all dramatically? I mean, really. Helena staggers towards Claude, prompting Barbara to launch into her "we don't kill" speech -- and you know that when that dilemma is faced, the hero will spare the villain's life, but the bad guy's going to die anyway. In this case, Claude tosses himself off the ledge in slow motion.

Hospital. Jesse wakes up, grunting and moaning, just because the little baby got shot. Helena's there, in the shadows. "If you want to know if I killed him, I didn't. He jumped." She says she isn't sure if she should thank Jesse for not shooting her, or beat him for drawing a gun on her in the first place. He starts to defend himself, but she ignores him and tells him to listen. "Metahumans are just like people." Uh, doesn't that acknowledge that they're not people, then? "Not all metas are bad. Just like not all cops are good."

And that's just about enough of this heavy-handed lecture. I'm going to the next scene, after letting you know that Helena says she won't tell Jake her name since he hasn't "earned it." Oh, and he tries to apologize, but she's already gone.

Obligatory Clocktower end scene. Moral: "It's not what you are. It's who." What a lucky break that everyone's plotlines revolved around that, hey? Oh, and Helena's over wanting to be like other girls. And to wallop us in the face just a little bit harder with the theme, the caterwauling singer is belting out lines like, "I'd rather be anything but ordinary, please."

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Birds of Prey

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