Arrow 2.17: Birds of Prey
Written By:
Mark Bemesderfer and A.C. Bradley
Mark Bemesderfer and A.C. Bradley
Directed By:
John Behring
John Behring
It's no secret that I didn't enjoy the Huntress' previous appearances on Arrow. In fact, her last two outings were total misfires, characterized by weak plotting and horrendous acting. Thankfully, "Birds of Prey" salvaged a lot of goodwill where the character is concerned. Jessica De Gouw's acting felt more nuanced (at least in that final prison scene), and having her butt heads with Sara and Laurel made the proceedings a tad more exciting.
Helena's vendetta against her father provided an exciting backdrop for the Black Canary to swoop in and save the day. Originally, I was displeased with the reappearance of Sara on the show, but I can't deny that the Canary has been a welcome addition with her special brand of vigilantism. Interestingly enough, the island flashbacks were a perfect parallel to Sarah's present day journey. We discovered that after Ollie was taken captive aboard the Amazo, Sara made the difficult choice of taking out the ship's engineer, Hendricks, and giving him up to Slade for her love's safe return.
This decision was undoubtedly a turning point in the young Lance's journey, and it signified the moment in which she finally "let the darkness in." The present-day hostage crisis compellingly contrasted this arc as Sara ultimately decided not to take the Huntress' life (after some convincing by Laurel). This act conveyed some enormous growth on her part and cemented Black Canary as a true heroine.
"Birds of Prey" was also a terrific hour for Laurel, who not only managed to kick a little bit of ass during the hostage crisis, but was also able get her job back through some nifty (and devious) blackmailing. Here's hoping Laurel continues to take on an active role as the season comes to an end. It surely feels like the writers are setting up a storyline in which Sara is killed off by Slade in an act of retribution and Laurel takes over the Black Canary mantle. Or is that just too obvious?
And of course there's that marvelous ending with Thea walking alone late at night and getting picked up by none other than Slade Wilson. It's about time the little Queen got some meaty storylines, and I have no doubt that our favorite villain will be dropping the paternity bombshell sooner rather than later. The timing couldn't be more perfect, with Thea having lost faith in anyone being honest except for her brother. Fireworks are coming people, and I can't wait!
Our Grade:
B+
The Good:
- The Huntress has her first strong appearance
- Sara has her most heroic moments
- Laurel seems herself for the first time in ages
The Bad:
- Sara's fate seems a little too obvious
Nadim S. is a regular contributor of review for Critical Myth; The Critical Myth Show is heard here on VOG Network's radio feed Monday, Wednesday & Friday. For more commentary from Nadim, go to NadsReviews.com. You can follow him on twitter at @nadsreviews.