Last week, the death. This week, the fallout.
When Laurel returns to the Arrow Cave with Sara’s body, the team sets out to find her killer. They learn that it’s the work of Komodo, another archer who’s in the city carrying out some assassinations.
Laurel learns from one of Komodo’s intended targets that the victims are all connected to a big oil field deal that someone was trying to stop. When Oliver manages to defeat Komodo, Laurel shows up with a gun to exact her own revenge. Oliver stops her.
But Komodo, it turns out, did not kill Sara. They vow to keep searching for the real killer. Oh, and Laurel wimps out on telling her dad. So, that may suck later on.
In Hong Kong, Oliver discover that Waller wants him to kill Tommy, who is in town searching for Oliver. Oliver must find a way to keep Tommy alive while satisfying Waller. So he kidnaps Tommy, convinces him that Oliver is really dead, and gets him to stop looking and go home.
And finally, in Corto Maltese, Thea is learning from her bio-dad how to be a fighter.
What Hit the Target
The opening scene reminds me how Arrow, despite its faults, really gets the beats right. The way each person reacted – especially Oliver’s silent movements – was spot-on perfect. The show again took time in its busy schedule to have a great, long scene between Felicity and Oliver. These are the kind of moments that sets it apart from its too-fast-paced or trying-too-hard comic competition.
Seriously, I love Ray Palmer already! He’s kind of a fun variation of Oliver – impulsive and bold and smart but unafraid and unashamed to be who he is. His turn from arrogant, wooing know-it-all to perceptive friend was brilliantly played by Brandon Routh. Welcome to the fold, Mr. Routh!
Oh, that funeral scene, that was a killer (pardon the pun)! It was so wonderfully appropriate that they buried her there! (Although isn’t someone going to notice in the morning?)
This series is one of the few shows that I truly believe plan things out well in advance. Seasons 1 and 2 have a really nice, cohesive story arc about Oliver’s journey to darkness and back into light. And it’s all very circular with both his island storyline as well as Deathstroke’s descent from light into darkness. The current storyline involving Palmer’s plan to change Starling City into Star City explains one of the first mysteries of the series – why did they change the name of Green Arrow’s city for no apparent reason? Was it all planned out to have significance later on? Or am I giving television writers more credit than they deserve? I’d like to think the former.
What Missed the Mark
I know that Starling City is in pretty bad shape right now, but I find it implausible that (a) Laurel – covered in blood and distraught – managed to transport a dead body with arrows protruding out of it across town, and (b) no one noticed?
I’m sure there are many people who will have liked the motorcycle duel scene between Komodo and Arrow. I, however, found it oddly silly. And it was just dimly-lit enough that I had a little trouble telling who was who.
Question: The man in front of you is shot dead by an arrow through the window. Do you (a) duck and cover or (b) run to stand exactly in front of the window and stare at the shooter? If the show is ever going to convince me that Laurel deserves to be Black Canary, they have to avoid idiotic moments like that.
In another shining example of Laurel’s lack of common sense, she goes to her father’s busy workplace in order to tell him that his daughter was brutally murdered? Instead of… oh, I don’t know, someplace private?
The Final Tally
It was only fitting that this episode be slower and more pensive than the premiere, as everyone deals with Sara’s death. There are great character moments between just about everyone involved, as well as a pair of bookend group scenes that are just heartbreaking. That the entire Komodo plotline was a giant red herring was a little annoying, but I’m glad that something as mundane as a business deal was not the cause of Sara’s death.
And finally, for the Quote of Week, I’ve chosen a beautiful, sad moment of self-reflection to fit the episode’s mood:
“John? I don’t want to die down here.”