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For how big a of deal "Gangs of London" has made the Wallace murder out to be, it certainly did little with its murderer. Turns out, maybe that choice was for the better as the real benefactors behind that act are far more compelling than just some guy. The reveal doesn't come without its flaws, notably an unfortunate lack of focus, but it's substantial all the same. Concurrently running with that development are several other big ones that pay off to great effect.

I'm still a little puzzled by how the action set pieces are spaced out. Knowing how Evans prefers to show the profound acts of violence in fight scenes and last time, a torture sequence, I would have assumed that the two set pieces we got in episode seven will be an escalation. They aren't filmed particularly well nor do they highlight the severity of the acts in the moment, only in their aftermath. The first one in particular is difficult to keep up with as the camera's focus keeps shifting, the geography is incomprehensible and the opposing sides aren't clearly lined up. Whether this was story purposes, time or the director's choice is anyone's guess.

On the other hand, the plot and all its other branches get their due. There are plenty of satisfying payoffs. The Albanian sub-plot is finally heating up thanks to some brilliant scenes and the Turkish front is also accelerating to new heights. However, it is beyond debate that the Dumanis and the Wallaces had it the most crushing this time around. It's a reveal with plenty of layers and the good news is, it's a very flexible revelation. Arguably, it took "Gangs of London" a little too long with too many dead ends to get here, but with only two episodes left, the players are in the right place for what looks like a big bang.

The Wallaces are at a rigid standstill trying to dig deeper into murders of all kind, past and attempted. While the tension is substantially more palpable in certain scenes and the story becoming more and more linear, episode six is a little weaker, both in terms of content and direction.

Fair warning, this episode has some very graphic torture scenes that often cross the line. The camera angles are tasteful enough, but there is copious blood and graphic detail. Overall, it is meant to heighten tension between the Wallace family and gauge answers, but the sequences prove to be just a little problematic with how far they go. Michelle Fairley, however, is the star of all these scenes and the episode as a whole. The widow/matriarch has truly come into her own and the actress's fierce performance helps sell the fact that Sean (Joe Cole) may not be in total control of the criminal empire. That's an interesting and strong new dynamic for both characters and those in contact with them.

Furthermore, the mystery of the Wallace murder is deepening, though again, this episode is a slow burn with little payoff at the end, so the revelations don't matter too much. This chapter in particular works when it spotlights how unhinged Marian Wallace's temper and iron-willed approach to cracking the case.

There is also a lack of action scenes, which isn't a huge problem, since they exist to push the story forward, but for a director-switch (this episode ushering in Xavier Gens, who will direct the next two outings before Corin Hardy steps in for the finale), it would be nice to see what they can accomplish. Director Gareth Evans is a master at gritty but stylish imagery, while Corin Hardy has a superb control of atmosphere and colours. Gens's colours feel a little more harshly contrasted and his composition less inventive in comparison with what came before. All in all, episode seven is a bit a speed-bump, but its character interplay proves itself as an outstanding component that could impact the rest of the show.

Considering how hell-bent episode four was on pushing the story further, I found it quite surprising that episode five would switch up perspectives for a flashback/side-story. While the characters mostly fall flat and are unremarkably placed into their predicament, Evans does something that no TV show has done beforehand: Deliver a coherent, isolated action-film within a pre-existing programme. A lot shows currently on air have a defining scene or episode that becomes their standard. Ladies and gentlemen, "Gangs of London" has its house-siege episode. It's big, bold and filled with good bloody carnage.

Something I noticed is that this show, more than any loves to line up a squadron of gunmen in single file and march them at their targets guns blazing, with breaks in between for reloads. I don't think I will ever get tired of seeing that. It worked so well in episode two, but that was with only a handful of coat-clad men. Here, it's a fully armed, tactical mercenary team. There are some incredible camera moves and the firefight feels authentic. Debris, glass, splinters and bullets fly as both people and constructs are ripped to shreds. There are also some shocking uses of explosives, like C4 and grenades, with special effects combining with that of the practical to work magic. I don't think I've ever seen explosives in general portrayed so realistically and devastatingly. Or do the things they do to human beings.

It's shame that this episode chooses to focus on pivotal characters by disconnecting them from the main storyline entirely, as if they were their own separate little niche. It works in the context of the episode, but the isolation is too great, with only small hooks tying it into the happenings back in London itself. Sure, the effects that are employed here are shocking, but you know maybe one or two characters, out of which neither are sympathetic in the slightest. It's a frustration that ebbs and flows as the episode progresses and mostly subsides by the time it ends.

What this particular chapter of "Gangs of London" does pretty well is that it actually sets up some potentially prominent characters, especially from its posse of armed gunmen. It's shame that its other characters (both new and familiar) do not work as well as the action scenes, but when said scenes are practically dialling normal TV and even movie levels of awesomeness up to an eleven, it's hard to pass it up.

"Gangs of London" makes good use of a streamlined story to deliver a shocking, superbly directed episode. It's times like this when the pieces all come together into one cohesive whole that propel the story forward. Better yet, there is are some serious strides here to make characters count.

Elliot (Sope Dirisu) is one such character. Fighting skills and calm demeanour aside, he's failed to fit in as a whole so far. He's doing the bidding of too many people who want vastly different things, but the way he is led around and what he ultimately does once this episode ends cements him as a more prominently positioned player. Furthermore, the Wallace family get's a chance to lean into their past a little more and mourn the loss of their head a little more, to great effect.

Whether or not the outcome of this episode will lead to further ramifications between the underworld mobs is yet to be seen, but the setup is masterful. A skilful combination of tension, camerawork and character-work. Combining both urgency and action, episode four has an outstanding sequence. It's chaotic, it's loud, it's extremely gory. Whatever stagnancy this chapter had beforehand was immediately washed away by the final act (which tends to the case with the past episodes actually).

So, with a less sporadic story and one killer third act, but with all its trademark ambition intact, "Gangs of London" finds a new high-point that looks to lead the season into exciting territories.

Episode three of "Gangs of London" pays off a pretty strong storyline and leaves room for plenty more hardships to come. While it's still a shame that its focus can't quite keep pace and some characters aren't where they should be, there is still so much ambition and layered storytelling that the momentum keeps going.

Again, it's so rewarding to see how "big" this show is trying to be. Even better to see it succeed at it. It's a complex world of mobsters, businesses and money, where survival is key. However, it is also a good thing to show that sometimes all of it is a facade to support nobler causes despite their being potential for personal gain. It's good that a series which portrays the criminal underbelly with such ferocity manages to sneak in a huge chunk of humanity.

On the other hand, it's hard to see where the players who are caught in the crossfires play into the main storyline. Elliot (Sope Dirisu) get's more action and time to contemplate his deeds, but his character seems out of place at this point. His arc doesn't seem to exist and he is constantly dragged into situations which don't reaffirm his position in the world as a whole. Of course him being a double agent, or even triple agent means he will (or in some cases others will make him) make choices that contradict the nature of said situation, but there needs to be some consistency. Not to mention he get's a rather underwhelming little side job here, which takes him on a collision course with a new character (a hitman is all I will say), who also ends up a missed opportunity.

In terms of action, there are some impressive stuff on display. The opening is riveting (although cartoonish) and the showdown between Elliot and his new opponent led to some Raid level, claustrophobic gory goodness. It's a fight that utilises the environment perfectly and has a handful of weapons involved.

Overall, the episode also ends a very strong note. A real gut-punch that pays off that little unconventional story thread I mentioned earlier. It's both emotionally powerful and beautifully shot (though I do question which airport in existence would not take notice of the deeds that took place on their runway) While there is still some course correcting to manage in terms of focus and character development, the world-building remains efficient and the fights still entertain.

"Gangs of London" continues on with a very good second episode, one that finds director Corin Hardy taking the reins from Gareth Evans. The results are quite impressive, with a strong one-two punch of drama and brutal action.

It becomes evidently clear that this show has bigger aspirations, which it doesn't hide. This isn't just confined to London alone, the whole narrative is international, with connections and grudges crossing continents. It's a bold choice and one that looks like won't be a problem for the show to explore in the future. It really does serve it well, showing off a variety of layers to its characters.

While the world-building is all well and good, the series still has some glaring issues. The pacing doesn't seem to be too streamlined and some scenes drag more than others. It's especially annoying when the story at hand doesn't develop too much further. There were at least two that just cut out midway before they were resolved.

That being said, the main focus of the Wallace murder remains intact, sharply so. Moreover, there is a hint of a deeper brotherly dynamic between the two Wallace boys, which adds an extra bit of drama. The episode's opening minutes are also pitch-perfect in terms of writing and come back to underscore the brother's relationship. (No spoilers, but props to the casting department for absolutely knocking that sequence out of the park with pitch-perfect choices)

Then again, it wouldn't be an Evans vehicle without a helping dose of grisly fight scenes and thank goodness a decent segment of the episode is dedicated to reminding us of just that. Grenades go off, propane canisters fly and guns light up the sky. It's a drawn out, loud and shockingly brutal sequence. Whoever was working the blood effects, squibs, pyrotechnics and demolitions delivered action gold here, coupled with stellar coordination.

"Gangs of London" is coming into its own and it's so great to see a show show us it has what it takes to be bigger and have a broader focus. It still needs to figure out how exactly it will balance those ambitions, but that's a detail that will no doubt be worked out. The central story arc and the development of most characters remain as precise as ever, with an amazing action sequence to top if all off.

Over the course of the past few years, I have been slowly introduced to the filmography of Gareth Evans. From V/H/S/2, Apostle and the well-loved The Raid franchise, Evans has proven he is a crafty filmmaker with a distinctly brutal approach to action scenes and composition. Gangs of London, to my best knowledge, is his first venture into TV territory and from what the first episode of Gangs of London shows off, it might be a journey well worth taking for both him and his audience.

Perhaps it's best to get the weaker elements cleared out first. Episode one is admittedly uneven at times and extremely tumultuous. There are moments where you feel Evans struggling to contain the violence in favour of dragging out the dialogue further. While the plot is made pretty clear by the end, the writing drops you into what feels like the premiere to season two. Some characters, names and deeds don't click instantly and take a little deciphering to piece together. These are just minor gripes, because even with these issues plaguing the opening minutes, there are plenty of hooks that both these characters and the plot sinks in.

At its core, however, the show feels already quite mature. It has a layered world populated with interesting, multi-faceted characters. There is also plenty for these players to do as the plot shifts its focus. Then again, Gareth Evans fans came for those fight scenes and there are a handful of them, all particularly memorable and yes, innovative and very, VERY bloody. The handheld, yet tight-framed sequences have some excellent stunt-work involved and do a good job showcasing what (hopefully) this show will deliver.

It's never a bad time for a gritty look into a seedy criminal underworld. Between said underworld being riddled with interesting characters and some grisly action scenes, "Gangs of London" is off a strong start.

What can I say? I've sat through the 2008 theatrical release, viewed the countless behind the scenes features and have enjoyed this show since it debuted all those years ago. If people would ask me to summarise Star Wars for them, I would gladly push a season of The Clone Wars their way. The worlds, cultures, politics, battles and deeds that have been done on this programme have been nothing short of special. Now, six years after cancellation, I have to say goodbye once again to a show I hold dear.

"Victory and Death" is a series finale that is full of uniquely realised set pieces, action scenes and emotional moments. Yet, its strongest piece is how it remembers what its themes are. Clones. Jedi. A relationship within a war. Arguably, that's something the show as a whole has built itself upon. Sometimes it was more subtle than obvious, but it was there. Bottom line, we have come to love the clones, which made Order 66 that much more heartbreaking. That's what Rex and Ahsoka rise above in this episode. It's why they do what they do during and after their great escape.

I don't want to spoil anything, because the final moments of the episode are some of the most haunting moments of any television offering, which is all I will say. What is so special about this chapter and The Clone Wars, is how you know the outcome of the war. You know how the Skywalker Saga ends and the galaxy will eventually become a far better place. However, there is still this lingering feeling of defeat that doesn't want to conclude. Seeing characters that this show has turned into beloved favourites move past is hard. Their paths leading them further and further away from the companionship and bloodshed that was The Clone Wars...

Eight years ago The CW came out with a soapy, gritty vigilante drama that was unlike anything ever before. It all started with one man, a bow and a lot of broken pieces scattered across timelines. Now, almost a decade later I find myself saying goodbye to a show that has made a very special place in my heart. For better or worse, no matter what questionable path the writing took or how dumb the story felt, I kept coming back. Was it the characters? The comic book feel? James Bamford's action scenes? The diabolical villains? The grim aesthetic? It was all of the above. This show means a lot to me in some intangible way and I'm more than happy to report that "Fadeout" is the series finale Arrow deserved.

What better way to reflect on the legacy of the Green Arrow than by getting his entire posse back to together? I'm surprised they were able to get this many essential characters. There were some fond reunions, some surprising meet and greets and slight humour throughout, juxtaposed with the painful passing of Oliver (Stephen Amell). Amell, though only briefly appearing in the episode, manages to sell his scenes with the same energy and dedication he has since the pilot. He is Oliver Queen and the Green Arrow and this episode makes that crystal clear.

Speaking of which, I feel like this is the umpteenth time I sing the praises of director James Bamford. His action scenes are by far and the way the most complex and brutal of any TV show currently airing. He has outdone himself consistently with every season of Arrow, delivering oner after oner. The beautiful blue fight from season five, the insane warehouse brawl of season six, the brutal shower encounter in season seven and really, all of season eight's premiere. He has outdone himself once again, one last time. The four-minute long epic of an action scene really is the show's best. An all hands on deck situation with every stunt performer from Arrow coming out and giving 120%. The camerawork and visceral energy of the sequence is brilliant, while its conclusion proves ultimately meaningful. This is a fight scene I will remember and will surely rewatch every once in a while. James Bamford, I'm going to miss your work!

Not only did the finale manage to reflect and respect, it also delivered on possible stories going forward. It's a testament to what Oliver accomplished. His legacy, is essentially the most important thing in the entire Arrowverse. Which is exactly what he created. Amell, the cast and crew of Arrow and Oliver Queen, rebirthing the universe. Everyone seems affected by the change and adjusting to a world wonderfully weirder, but devoid of the man who made it all possible. It's encouraging, but sad.

I would liken the final scenes to the ones in episode twenty-two of season seven, the finale "You Have Saved This City". I make the comparison when a particular moment was emotionally hard-hitting. While everything that came before it was fitting and tear-jerking, Oliver and Felicity's moment was a thing of beauty. Whatever you think of the two's inconsistent relationship, when they are together and their chemistry clicks, it's magic. Which is what the last moments of this episode were. Magic.

"Fadeout" was the finale that Arrow deserved. After eight long years of blood, sweat and tears, an entire superhero world is born. This episode hit right in the feels with its fan-favourite cast and meaningful epilogue, while also delivering the action scene to end them all for the Green Arrow to shine in. Even though it is clear that the huge legacy of this program will live on, we have hit the finish line on this particular one. Arrow, you will be missed.

Thank you! For all of it...

With Arrow's final eighth season practically finished, I was both intrigued and concerned for the need to include a backdoor pilot for a continuation of the Green Arrow's legacy. The results of "Green Arrow & the Canaries" have me mildly optimistic, but also worried. Not just for the future show, but for the current season at hand.

Let me explain. Here is the first thing that struck me as 'different'. The set pieces and production design felt vastly superior to the ones we have seen on the show. Seriously, the neon lights, city skylines and diverse architecture were refreshing. The cinematography was assured, the lighting spot-on and the action direction (minus some terrible music choices), pretty serviceable, especially since director Tara Miele (a director who's generally solid with fights and camerawork) was in command here. Those elements, coupled with the talent of the three leading women worked fine and admittedly, the script didn't feel overly forced either. No shoehorned empowerment or feminist overload here. That's all and well and those are essential components for creating excitement and assuredness in a future project. Bonus points for a killer title card and a nifty new font choice by the way.

Now for the issues and they are numerous. Not just concerning the episode, but its position. It boils down to The CW wanting to produce another show to draw in more viewers. The commitment of the showrunner and the entire cast and crew has been astounding this entire season, so I'm blaming the producers and the network in general for forcing an episode like this into a "best hits" run. Why are they spending so much money on this episode, when most of the money could have been diverted to say, the Crisis? Or perhaps expanding the Russian fight club in episode 8x05? Or extending the sets of 8x03? Or the bigger battles in the Deathstroke tribute chapter, 8x04? Why shift assets to a project that doesn't truly fit in when you know this is the swan song for what is essentially legacy superhero television? It just doesn't connect with me. Narrative-wise, the whole ordeal is just off. Why not dwell on the fallout of the Green Arrow's death for an episode more? Explore the changes the birth of a new universe has on Star City 2020. Lay the groundwork for a compelling future. The flash-forwards never were great. They were pleasantly shocking at first, gimmicky the third or fourth time around and annoying by the umpteenth time they interrupted the main storyline. The only reason the flash-forwards aren't remembered as truly bad, because they fixed it this season. Now that the "fix" is gone, the problems are back. So, you return with a premise that nobody liked, populate it with characters that are mixed at best and do it when the final season should be all about its main character. It diverts focus, breaks continuity, dims aftereffect and raises questions of care.

Don't get me wrong, I'm kinda interested in this show if the talent remains similar to that of Arrow. Dare I say this show has had some of the best hand-to-hand combat scenes on TV, some great acting and a handful of powerful stories. I want to see it continued and I'm optimistic that the energy is present in this episode. However, by introducing a rote formula and, might I mention this chapter stands on its own by introducing a cliffhanger ending that won't be resolved until when? When the new show premieres. It isn't too fascinating of a place to leave you and trust me, you'll wish it just went back to Star City 2020 for some juicy COIE after drama.

It kinda pains me to tear most of this episode down, because I openly defended last year's "Lost Canary", an all-female team up that I genuinely enjoyed. It had visceral energy, chemistry and nostalgic bliss. Sporadically, this episode reminded me of that. However, when it is broken down into its bits and looked at as a whole in the context of the bigger picture, it just doesn't fit. Its glitzy, but has little substance.

"Green Arrow & the Canaries" is an unfortunate case of bad timing. It shows off how the aesthetics of a future Star City can work to great effect and how a team of female superheroes can hold their own, but its existence proves that The CW may not care that much about the show they are so close to ending, rather pushy for the next big thing. Its ending is needlessly a mystery and overall, this just shouldn't belong in Arrow's final season. Granted, the people in front of and behind the camera are all giving 100%, but it's what goes on above them that's fundamentally wrong. What the network has done with this move, is provide a disservice to the fine work everyone has been doing all season.

If there is one thing that "Part 3" of Crisis on Infinite Earths prove is that its emotional aspect and writing matters more than its cosmic action scenes. Because they have been downplaying those for like 2 episodes now. I know, I know, the final two are coming in a month or so, but it's really the heartfelt conversations that carry this crossover. That and some stellar cameos. Come to think of it, all of them are fantastic. And in a way, so is Crisis so far. But not without its many faults.

I really appreciated the fact that the writers didn't throw the Kara (Mellisa Benoist) and Kate (Ruby Rose) sub-plot out the window. The two have great chemistry and a compelling Paragon storyline to fulfil. While both of them are different, it was good to see both nearly have at each other and later resolve it. I've never been a huge fan of either of their shows or characters, but in Crisis, they work magic. Seriously.

As for Barry (Grant Gustin) and his Earth-90 counterpart (John Wesley-Shipp), it was their time to shine. Barry was sidelined too much and got the emotionally hard-hitting moments here. While Iris's (Candice Patton) dialogue with her husband felt stilted and inconsequential, everything that went down inside the super treadmill was great, dramatically speaking. The set did feel cheap though and the way it revealed Cress Williams' thundering superhero felt like a disservice to his character. Instead of bolts and furies, a golden spark from behind a cheaply lit object. Williams did get some hefty material to deal with and I could easily see him buddying up with the Flash in the future.

Overall, while the scene maxed out its interactions and goodbyes, it highlighted how much The CW may have hit a budget problem. Whether it's the cinematographer or the director, sometimes it seems like they don't know where to place a camera. Some angles and props don't look entirely clean or organic. The colours are sometimes too vibrant or too flat. It's a problem I've had with this crossover from the get-go. It feels a little less stylish and moody than for example the murky, dark-red aesthetic of Earth-X.

The smallest, yet arguably most critical part of this episode was the restoration of Oliver (Stephen Amell). Having David Ramsey's Diggle and Mia (Katherine McNamara) go on a spiritual quest with Constantine (Matt Ryan) didn't disappoint. In fact, it amounted to one of the most surprising and pleasant cameos period. I won't say the name, but he is on Earth-666. I'll leave it at that. It's just plain awesome. The sub-plot also sets up an intriguing and thoroughly justified new arc for Ollie. Yes, even with no stories left to tell, the Green Arrow still has THE role to play. Good, that is how it should be.

Oh yeah and there is a new superhero on the rise with a certain new scientist. I'm interested, but carefully optimistic on that front.

Now was for the final moments of tension. I'm still a little unsure of why they chose to use Lyla (Audrey Marie Anderson) to carry out intergalactic genocide. You have the Anti-Monitor. A menacing, hulking, merciless baddie who looks terrifying. What would you have preferred? Lyla tossing a few guys around and scissoring Diggle or the Anti-Monitor leaping through a dark portal and beating Superman into submission. I rest my case. The scene does set up a shocking cliffhanger though, as Earth-1 is reduced to atoms and the Paragons are the last players left standing. That's a good twist, even if we didn't get the Anti-Monitor kicking ass.

"Part 3" of the great Crisis is strong, if not as strong as one would hope it be. There are emotional moments that tug at the heartstrings and some action scenes you may not find that impressive. There is also a sore lack of an Anti-Monitor here, which adds to the final admittedly awesome twist being less impactful. The plot progresses with some great cameos and developments both external and internal, but there is a lack of action. And a defining aesthetic to back it all up. It's been a treat watching all these characters converse and evolve. Now it's time send them to battle. January can't get here sooner...

What "Part Two" lacked in epic action it made up for with dramatic heft. Seriously, what an emotional wallop this episode was. A definite improvement over the previous instalment focus-wise.

Let's just get this out of the way first. Frickin' Brandon Routh as Kingdom Come Superman and frickin' Kevin Conroy as Bruce Wayne. Absolutely fabulous in every way. I thoroughly enjoyed the way they integrated Routh's Superman. From the costume, to his tragic backstory to his Clark Kent. It's perfect. And yes, I did enjoy the Batman twist. It's weird having Conroy's voice in live action, but a menacing exo-skeleton Bruce Wayne works fine in my opinion. Conroy is still the best Dark Knight there ever will be, so I'm happy he got his chance. His untimely demise and darker backstory may raise some eyebrows, but I personally appreciated the narrative choice. It worked in the context of the mains storyline. Also, having Tom Welling back in an extended cameo alongside Erica Durance was excellent. The dialogue between Welling and Cryer's Lex Luther amounted to a rarely compelling moment. The creators made the return of Smallville matter with a minor, yet moving touch to Welling's Clark Kent. It's no more than four minutes, but man is it thoughtful and empowering.

Kate (Ruby Rose) and Supergirl (Melissa Benoist) were without a doubt the focus and they didn't disappoint. As much as I dislike the writing on Batwoman, I enjoy Rose's performance. She's eased into the American accent and nails those crucial emotional moments, especially when paired with Bruce or Kara. She was fantastic here and without a doubt the MVP.

In terms of action, the Superman vs Superman punch-out was nifty. If not as technically impressive as Elseworlds, it managed to channel some Man of Steel levels of destruction. Nothing else really on the fighting front. I get it. Big crossover, TV budget and the second episode needing to slow down to get everyone up to speed. But when you have a stellar action director like Laura Belsey on your hands, you better use her. Arrow made the same mistake in season four and season six. Crisis almost, kinda duplicated that fault here.

There was also the odd choice to bring Ollie back in a Lazarus Pit. You know, I'm fine with that as long as Oliver is back and kicking. Just please don't make this a meaningless subplot. I hope it turns out to be one last reflective, deep exploration of identity and heroism for the Green Arrow. Because that is how it should be, if nothing else.

"Part 2" of Crisis may not advance the plot by much, but it gets mileage out of its cast, strong cameos and sheer dramatic material. It's a contemplative episode that works amazingly well. That being said, it's light on action and some fans may find some storytelling choices either logically flawed or just plain odd. Whatever the case, the crossover is heating back up again with some clever twists and the reveal of the great threat. I'm happy with where this is going...

I'm mighty impressed with how well The CW has been building up Crisis on Infinite Earths. Especially on Arrow's end. And now that the inevitable end has inched that much closer, did the first episode of the great Crisis live up to expectations? To some extent, yes it did. But with a mega-crossover come some pretty glaring issues that may hinder it otherwise. Hear me out now.

The scope of this event is pretty large. You have several big heroes and cameos left and right, a big battle and huge CGI structures. That's all well and good for what the budget of the creators can gather. Yes, the space reapers that go poof in one hit feel cheap and the action doesn't always stay consistently in focus, but having several costumes and gadgets in use at the same time still works very well. Don't get me wrong, I absolutely enjoyed the action and adored the brief, couple second appearances of fan-favourite stars and characters from across the DC Universe and beyond. It really shows how thoughtful the writers and producers are in giving good fan service.

While there is plenty of hearty drama to go around between several core characters, I did feel as if Barry (Grant Gustin) was underused here. In a way, so was Oliver (Stephen Amell), but we will get to that shortly. There is still this back and forth with trusting the Monitor (LaMonica Garrett) that just shouldn't be there. Moreover the constant jumps between characters and earths means you quickly loose the dramatic impact of certain conversations. There are strong ones and those weakened by the editing. It's really up to you how to digest them.

That's where episode one of this massive event falters. It's not that delicately paced and struggles to find breathing room for everyone and everything. Which is why I felt that the shocking death of Oliver was a little unjustified. Promo images and other sources indicate he will be around for another few rounds. Yeah, yeah dropping your bow and running into a horde of galactic space demons while uttering a battle cry is cool, but you don't see 50% of it. And it's not the fitting farewell the character deserves. Is it heroic? Absolutely. Was Ollie's farewell emotional? Yeah. Would it serve the story well for Ollie to bite it so quickly? No, not at all. If it's a bait, I hope they find a way to resolve it with logical consistency. If not, then well, way to go wasting a hero's sacrifice. I'm conflicted, because Arrow has made it clear that "there are no more stories about the Green Arrow to tell". Surely this isn't the end. I guess they are underlining this statement by pulling this card, but not like this. Not like this.

It's honestly just cool to see all these colourful, lovable characters band together in the midst of a crisis. And not just any crisis, this is THE ONE. If its narrative structure is to be taken out of the equation, is a DC fans dream come true for so many reasons. "Part 1" of this epic crossover event may not hit all the right notes with action or emotion, but it makes some bold moves, has awesome cameos and sets up an exciting conflict. Really, this episode didn't work for me 100% because of the way it ended. I just didn't like the fact that the writers would bait us with such a weird ending, let alone a bait involving the one and only Green Arrow.

It's strange to think back at how Arrow started. No team, no Crisis, no Green Arrow. Just an island, a broken man and his bow. This where a hero's journey started and will begin its conclusion. "Purgatory" isn't the the most outstanding episode the show has ever done, but it's an important one all the same. I write with such seriousness because, well, this is it. The last proper, mostly true-to-form chapter of Arrow ever. Gosh, it's tough to say goodbye before the intergalactic end hits.

As much as I would have liked the return of familiar season one island baddies and an ally to be logically justified and for them to have proper motivations, but hey, space god's work in mysterious ways. Best to not question their full plan. I did appreciate how nostalgic the return of the OG Deathstroke was and how Yao Fei (Byron Mann) played a crucial dramatic role, even if both characters (and others) seemingly slipped into nothingness once the episode concluded.

However, when it came to emotional material, I would compare the farewells and heart-to-hearts, I would say this is as great as "You Have Saved This City", which might feature the best dialogue on any Arrowverse show period. The somber, sad goodbyes between pretty much everyone were further bolstered by Stephen Amell, who, yet again continued his hot streak of weary sternness, muscling and crying his way through it all. Amell's dramatic presence and ability to play both brooding hero and loving father is something I will never get tired of. Katherine McNamara and Ben Lewis also turn in exceptional performances as Mia and William respectively.

In terms of action, well, this was James Bamford's time to shine and shine he did. The final showdown between the island mercenaries and Team Arrow easily ranked amongst one of the most stylishly executed and visceral stunt scenes the show has done this season. It isn't Bamford's absolute best (that is still held by The Slabside Redemption and the Blue Fight in season five), but it's still epic as anything. The explosions and slow-motion also helped the battle from slipping into murkiness.

Overall, I would say this is Arrow's finale episode. More so than last season, we know what will come and we know what the characters must do. Crisis is here and the red, thundering skies signified it breathtakingly. "Purgatory" might not be Arrow's absolute best episode ever, but it's still strong and emotionally hard-hitting. If this is how the show wants to go out, at least it made it memorable and fitting. Consider me satisfied.

If any of you thought that Arrow peaked with this finale season in its first chapter, "Starling City", this episode is the reason why. Or more specifically its formula. What the last two-three episodes have largely failed at is the delicate balancing act of Crisis build-up, spectacle and heart. "Starling City" had all, with nostalgia, top-notch action and set pieces along with a huge push towards intergalactic annihilation. "Reset" works because it nails this juggling act. And it does so with excellence.

The much-anticipated return of Paul Blackthorne's Quentin Lance did not disappoint. This is the Quentin we know and love. A stern, duty-bound father-figure to all. This was more than just an extended cameo though. Lance was this episode's biggest factor to success. Without the emotional, heartfelt hellos and goodbyes shared with Oliver (Stephen Amell) and Laurel (Katie Cassidy), I don't think "Reset" would have worked as well as it did.

Stephen Amell was, once again, in fine form. Oliver has been getting more and more exhausted and sad every episode. Heck, even his hair is unkept. It's amazing to see that Amell can turn in such powerhouse performances at every turn. It's both amazing and sad. Amazing, that his character has endured so much and still finds ways to see the right path and sad because, well his inevitable demise is edging closer.

It was also a treat to see David Ramsey have a second go at directing. I enjoyed sections of his first attempt last season. I still don't think it was the best episode for him to tackle, but there were several little kinks that he did that I hadn't seen others do. Here, oh boy! The fluid, almost dance-like camera movements help sell the convoluted, fast-paced story. And that warehouse fight! What a oner! Arrow has done a lot of ambitious and cool fight scenes in its 8 year run, but I haven't anything quite like this. Definitely a favourite!

We also got the Crisis momentum we needed. Although I would have preferred LaMonica Garrett's imposing mutton-chopped space god instead of Lyla (Audrey Marie Anderson) foretelling the catastrophe, we now fully grasp The Monitor as a character. Moreover, we know what his endgame is. And that of his nasty twin too...

"Reset" is destined to be a classic Arrow episode. It's just spectacular and memorable. Its formula is familiar, but done to perfection and its use of Paul Blackthorne leads to some of the most emotionally satisfying moments of the show. David Ramsey's unique directorial talents are on full-display as he brings us an immaculate action sequence to shake things up. And what is set up for next week look absolutely bonkers!

It's shocking how quickly the tables have turned for the better on Arrow this season. How the show's weakest link has turned out to be its strongest asset past the mid-point of this season. Now, as Oliver (Stephen Amell) and company travel back to Russia for a bloody Bratva stroll down memory lane, we are left wondering just how much more we can get before Crisis rolls around to rock our multiverse.

"Prochnost" was undoubtedly the briskest episode of the show to date. It zigged and zagged a lot. Not just in locations and with its many characters, but with its tone. On one hand you have Oliver, weary of a looming cataclysm trying to connect with both his time-displaced kids. On the other you have Laurel (Katie Cassidy) doing her best to hold her redemption arc down and then Anatoly Knyazev (David Nykl) cracking a funny one-liner. It's all over the place. When you factor in the Russian fight club element, things get even more intense.

Speaking of intensity, it's was kind of fitting for accomplished director Laura Belsey to take the reins this episode. The showrunners and producers massively underestimated her talents as a director in season four and squandered her talents again in season six. It's good to see her in her element, especially when it comes to those satisfyingly brutal brawls. Considering how intense episodes like "Kapushion" and "The Slabside Redemption" where, I could have used with a bit more blood though. Or bone crunches.

The family drama was also a great element that continued to yield its rewards after that killer twist from a couple weeks back. The dialogue and the emotions hit the right notes. I dare say I actually like the future team of heroes now. When paired with their dad or other members of Team Arrow, they shine and make sense as characters.

Roy Harper's (Colton Haynes) return was welcome, but completely unnecessary in my opinion. At least in the context of this particular episode. He had no thematic connection to the Russian happenings and his little stint with Diggle (David Ramsey) really wasn't that enjoyable, minus that slick yellow-green lighting that illuminated the two in some truly cinematic ways.

I also found that the Crisis aspect was sorely lacking. Moreover, the whole idea of "we have to stop the Monitor" dimmed out quickly. That development never made too much sense at all. Why not have Oliver just do as he is told when he knows so much is at risk? Send him to another Earth, that worked amazingly well in the premiere.

The ending though, once again is a pretty neat one, so keep your eyes and ears open...

So, while imperfect with its tone and uninteresting with its re-introduction of Roy Harper, "Prochnost" hit the right emotional notes with the Queen-Smoak family and did it with a dash of brutal Russian fisticuffs along the way.

One of the most fascinating parts of "Present Tense" was the fact that it didn't fully deliver on the homages it planned on. It totally bummed the Deahtstroke tribute act in my opinion. Alas, Manu Bennett is an irreplaceable part of Arrow. On the other hand, the flash-forwards are finally, FINALLY fixed.

With the game-changing twist of Team Arrow 2.0 being transported to Star City 2019, the show really made the most of its extended cast and their complicated family dramas this week. This was some of the best dialogue written to date. Whether it was Oliver-William, Diggle-Connor, Curtis-William, Mia-Laurel, the dialogue landed and meant something. The acting was also spot-on, with the displaced 2040 characters strengthening their game significantly. No more annoying flashes forward to a bleak Star City for meaningless, dull side-missions. Bringing all the major players together in one room and one mission really worked.

Now, in terms of the Deathstroke treatment. Wasn't great, but serviceable enough I guess. The conflict felt rushed and minor in comparison to the far-superior dramatic material going on elsewhere. The action scenes weren't particularly memorable either. They were quick and admittedly, a tad choppy at times.

There was also an annoying final scene that just felt worthless. I won't spoil who is involved, but the twist comes with a head-scratch. It would be familiar ground for the show and the character in question. Their arc is near-complete. I would prefer it kept that way.

"Present Tense" ultimately squanders the Deathstrokes and their new leader with limited action scenes and zero care devoted to its true threat. On the other hand, it absolutely nailed the merging of 2019 and 2040. The family drama propelled the episode forward with shocking and touching revelations. It just felt right and made sense considering the weight of the twist at hand. Yes, this episode is imperfect in a lot of ways, but come on. The flash-forwards are finally fixed and over for the foreseeable time the show has left.

I made a point in last week's episode "Welcome to Hong Kong" about the manner Arrow revisited that particular time period. Season three, flashbacks or otherwise didn't really amount to quality time with Oliver Queen. Though the trip back to Hong Kong managed to salvage its story thanks to powerful emotional moments and strong action, the cracks are a little more noticeable in "Leap of Faith", as season eight takes another stab at season three, only this time it stumbles a little.

Starting with the good, Willa Holland made a welcome, if random return as Thea Queen. While her presence served little purpose in the long-run, she did provide the bulk of the drama here, leading to many heartfelt and saddening scenes with Stephen Amell, who turned in another fantastic performance this week, especially in the episode's final minutes.

The return of Lexa Doig's Talia also fuelled the nostalgia further and allowed for unresolved questions and tensions to subside between her and Oliver. That and some exploration missions too gave Talia some much needed space.

As for the overall storyline, I cannot say it measured up to what we got before. The tedious "Indiana Jones" treasure hunt felt logically flawed. Moreover, the crypts and rooms of Nanda Parbat were way too clean and neatly arranged, while the visual and emotional callbacks to League related season three material felt a little rushed. Not to mention Kyra Zagorsky's Athena still ranks amongst Arrow's more mediocre baddies and her presence was as lackluster as one would expect. Thankfully, there were some more strong fight scenes to help distract on occasion and some admittedly decent set pieces.

Furthermore, we learned nothing meaningful or shocking about The Monitor. Then again, what is there to know? If Oliver or his team have accepted the looming Crisis and are actively working for Mar Novu, why are they now questioning his intentions? Why are we distrusting this godlike being when the alternative option would end in oblivion for all? Why does Oliver care all of a sudden? It just didn't really connect in the end.

Then there is Diggle and Lyla's little debacle. On one hand, we got good setup for their future and vital information on where their family will go next. On the other hand, their little stint abroad wasn't very fun or creative in the slightest. The flash-forwards also continued to be annoyingly poorly-written and tedious for the most part, though more action and two major shockers will undoubtedly declutter and perhaps mend this troubled storyline for the better. Yes, "Leap of Faith" pulled off one of the best cliffhangers in Arrow's eight year history. I'll leave it at that. It's really, really cool.

"Leap of Faith" re-visited season three once more with diminishing returns. While the return of fan-favourite characters and some good action elevated it, logical inconsistencies and a dull storylines dragged it down a bit. It's final twist was its true saving grace and is something you won't see coming! Avoid spoilers for that one!

Arrow clearly established in its premiere that the nostalgia-driven storylines merged with Crisis on Infinite Earths progression can make for winning results. "Welcome to Hong Kong" further reinforces that statement by piling on more action and drama as it returned to a pivotal season three conflict.

I approached this episode with slight trepidation though. Season three's flashbacks were some of the more forgettable and bland elements of the show in general. Inevitably, some recycled plot points from that era didn't translate flawlessly here, but thankfully there were more compelling character interplays that helped smooth those areas over.

Katie Cassidy's Earth-2 Laurel had what I consider to be one of her strongest outings yet. Seasons six and seven never managed to bring her the convincing redemption storyline she needed so desperately. With the destruction of her universe, the seeds have finally been sown for that to happen. Cassidy's acting was on-point. Fierce, desperate and ultimately sad with just enough hope left to fight another day for what is right.

Stephen Amell also delivered another fine performance. Oliver is now burdened by the loss of an Earth and his "family" over there. His distrust of The Monitor (LaMonica Garrett) only makes sense, but is justified by the core reason he fights so hard to get what the cosmic god wants. His family.

The episode was also brimming with callbacks to season three, including the return of a critical plot device and not one, but two classic characters making one last appearance. One of them was of course Rila Fukushima's Katana. Though her role relatively minor, she helped bring out the emotional notes the episode needed to hit.

As far as action goes, "Welcome to Hong Kong" continues the insanely fast-paced, brutal set pieces that "Starling City" put together. The fights still feel fresh and visceral, with Antonio Negret (a director with a particularly good action resume) capably and stylishly tracking each punch and kick, with some subtle choreography and location nods to past Hong Kong fisticuffs.

One major weakness were the flash-forwards. Charlie Barnett's JJ and Joseph David-Jones's Connor Hawke had their rather compelling brother moment, but nothing else that happened in the future mattered in any major way. No action, no serious plot progression or team building. Arrow has struggled with this story arc since the mid-point of season seven and it needs to find a concrete purpose for future Team Arrow.

"Welcome to Hong Kong" is a superb sophomore chapter in Arrow's final run. While it's return to an uninteresting point in the show's history may warrant skepticism, the emotional weight of the premiere and the looming Crisis carries the episode through without a hitch, with top-notch performances from the main cast. The return of familiar faces and cool action scenes bolster it further, but the show needs to fix these flash-forwards. And they better do it quickly.

Arrow has had a rather bumpy ride throughout its 7-year run, but it made a promise last year. A promise to deliver a final eighth season that will send this flagship series out with a bang. If "Starling City" is any indicator, it may be a one big boom that we see the Emerald Archer end his story. I loved this premiere so much, I don't want this season to end.

The best part of this episode is how it manages to juggle on both nostalgia and ambitious storytelling. The callbacks made to season one, which were clearly done with the best intentions in mind, landed without incident. They were sweet moments of drama coupled with some clever twists to keep the narrative fresh. Stephen Amell was in fine-form and really, all the expected and unexpected characters brought their A-game. The cinematography also did a fantastic job of replicating several scenes from Arrow's early run, even down a particularly visceral moment from a recognisable action scene.

Speaking of those, James Bamford directed this episode. That should be a good indicator of what you should expect. The fight scenes were some of the most brutal, stylistically strong and naturally-flowing sequences the show has ever done. That's a statement. These are masterful scenes that ooze energy and dedication, don't miss a second of them!

The flash-forwards seemed to take a back-seat for the better. They didn't reveal anything huge in terms of story, but served up a compelling team conflict and some good action all the same.

"Starling City" works as both a premiere to kick off the final season and an epic standalone event. It's a love letter to the fans containing plenty of creative storytelling, twists, epic action and good setup for what is to come. Season 8 of Arrow got a memorable start, one that proves this show is aiming for bullseyes.

You know, for what an absolute mess season eight of Game of Thrones was, nobody can deny that a lot of preparation, money and energy went into. Entire city sections were built, thousands of props sculpted and painted and plenty of other intricacies like ash and snow had to be manually added. If you followed the "The Game Revealed" short BTS films that accompanied this season of GoT, you may find "The Last Watch" a little less fast-paced and well-produced, but for what it's worth, its a pretty satisfying documentary that examines some pretty neat areas of the show that few people would consider.

The main problem with it is that the camera chooses to linger on crew members a little too long, while not giving nearly enough insight into a given field of investigation. In some cases, these accounts are interesting and even eye-opening, because you get a personal side to this massive blockbuster production that grounds it. Other times, it may be a bit of a slog. In terms of editing, it isn't much of a masterpiece either, choosing to cut off at odd moments to transition to an all-new location.

When the doc decides to show us some never before seen snippets of footage from behind the camera and some directorial insight from David Nutter and Miguel Sapochnik does it flourish. In fact, we follow a Stark soldier extra, some producers, makeup artists and even the snow SFX manager. It may seem random, but that's a good thing. It's personal, down to earth. It's easy to interpret the show as it is, a TV titan that is anything but fantasy.

Of course, the stars of the show also get the spotlight occasionally, but this isn't really about them. It's about everyone behind them. Most of them anyways, who made this journey possible.

If anything, "The Last Watch" makes me just a little more disappointed in the show for ending on a such a sour final stretch. Because so much work evidently went into it. So much dedication and time. So many logistics had to be juggled and yet the plot faltered because of poor pacing an awful writing. It's a little sad even if you think about it. As a documentary, it's imperfect, but as an experience, it's an extended glimpse into the world of filmmaking that we rarely get. It has the final say, if you will. Game of Thrones is over. There won't be any more like it. That is because it had such an awesome production team behind it .

Game of Thrones reaches its conclusion in what could have been a finale for the ages. While the cast remained in top-form and the cinematography was on-point, the payoffs to years of intricate storytelling just weren't there and came in the most unpredictably disappointing and irrational forms, ending a great series on a thoroughly dissatisfying note. (At least a certain critter got the love he so craved right?)

Reflecting back on season seven of Arrow, I can see that there were a lot of themes going for it. Redemption, family and heroism all stood high as threads for the writers to explore. In a way, they never got around to fully committing to either, which raised some questions entering the finale as to how it can all connect. While there were still inconsistencies of note, "You Have Saved This City" was a beautiful way to end a lot of other unfinished storylines.

Perhaps this episode's biggest flaw was not being subtle enough with its script. Too often did I find that exposition and setup was being done to connect past and present. Sea Shimooka's Emiko Queen was also a waisted opportunity, as was the Ninth Circle. That's not to say that it didn't work in other places though as I will point out later.

Because an Arrow finale screams for action scenes, it was fitting for fight scene master and veteran director James Bamford take the reigns. You always know when a Bamford fight scene kicks in. It's fast, brutal, creative with the camerawork and is done to a killer score. Ever since his debut in season four, he has been a prominent creative force that I think should garner more appreciation.

Oddly enough, it wasn't the action in 2040 Star City or the present day that sold me on this finale. It was the interactions between characters during the restful moments that truly elevated it. The way the episode was written clearly showed that several storylines are to be concluded in a couple of months. Maybe a few of them were a little too ominous, but time will tell.

Now comes the part that really get's you. You could argue that the final 10-15 minute-stretch is a little rushed and I will not defend that. What I will stick out for is the sheer amount of emotion conveyed throughout those moments. Arrow introduced two big cliffhangers, one tragic and one more bittersweet.

The somber conversation between Oliver (Stephen Amell) and Felicity (Emily Bett Rickards) brought me to tears. Never in the show's seven year history has that happened. It was natural, superbly written and reflected the long, bloody journey they have made together. It was a tragic ordeal that hurt. I may not remember this finale for everything that came before this moment, but I certainly will for that dialogue.

"You Have Saved This City" had big action scenes to drive home that finale feel, but ultimately, it was Oliver and Felicity that brought a tearful ending to a good year of Arrow. This was an important finale that was imperfect in some areas, but balanced those flaws out with one hell of an ending.

Like the bells of King's Landing had the ability to save thousands, the penultimate chapter of Game of Thrones' final run had the potential to redeem what little goodwill the season had left. "The Bells" went big, extremely brutal and chaotic, featuring some stellar visuals, but overall, was once again subject to the anti-climactic, logically flawed and ultimately dissatisfying narrative choices that have plagued this entire year.

Emotionally charged and grisly in equal measure, "The Whirlwind" had the right amount of action, but its real punch came from a tear-jerking farewell and a final 30-second sequence that will leave fans cheering.