Swamp Thing: The Futility of Saving a Good Thing
DC’s best show, Swamp Thing, creeps to its death with no one to save it
Swamp Thing, the only good television show DC has produced in decades was abruptly canceled after just one episode. Despite glowing reviews and a small but devoted following, hopes for its survival and saving are unfortunately as futile as the idea of DC making good television and knowing what to do with it. It’s not like I haven’t given DC TV a chance either. But after countless attempts at trying to enjoy Arrow or Supergirl, hoping that one of their myriad of poor crossovers would ignite a desire to watch more, my hopes are all but dead in the swamp after they pulled the plug on the only good property they have. To make matters worse, Swamp Thing is not only great, but it was great right out of the gate- gripping, dark, and intoxicating. A wonderfully violent change to the cartoonish junk that DC is associated with.
When I was a kid, I remember watching the 1990 USA Network series of the same name. I drew to it on the back of my love for the Toxic Avenger and all things mutated humans. Sure, it was kitschy, but what television show from the ’90s wasn’t? Perhaps it was waiting for the right time or the right production, but the long-dormant franchise found new life in 2019. Produced by James Wan (who does horror well, big blockbusters, not so much), Swamp Thing has proven to be the very best of superhero television. Coated in dirty swamp green hues, it is beautifully gritty, and when it dives into the subject material, it does so with the fervor- unafraid of exploring mysticism and the darkness of the human soul. The new series follows the familiar story; scientist Alec Holland is turned into the Swamp Thing after meeting his untimely demise. Over the course of the series, he battles the demons and history of the swamp while trying to understand his new place in the world, flanked by familiar characters like Abby Arcane (the terrific Crystal Reed). The cast of the new series is rounded nicely with a slew of recognized faces – Virginia Madsen, Will Patton, Ian Ziering(!), Jennifer Beals – that adds to the series’ sense of gravitas. And regardless of whether you’re a long time fan of the creation, whether you’ve seen the original 1982 movie or watched the series in the 90s, this current iteration stands leagues above- which makes its cancellation all the more infuriating.
Television that resonates, like the current love for HBO’s Chernobyl, is driven by the desire to understand the deep seeded flaws of humankind and what critics have called; “a creeping dread that never dissipates“. It’s true to the latter that as you traverse the murky episodes of Swamp Thing, the crawl of inescapable horror and impending doom is ever looming. Like the swamps in which it festers in, the series slowly wraps its vines around your feet, character by character, mystery by mystery, and before you can scream for help its dragged you helplessly into the bayou.
It’s gutting to know that these 10 episodes are all we’re going to get, made more painful by the fact that this count was already cut down from the original 13-episode run. The show’s cancellation has been attributed to money of course. Early speculation pointed to errors in accounting, but in truth, most have said that the rising cost of production and the uncertainty of the DC Universe platform itself ultimately led to the show’s demise. The difficulty of an expensive, well-produced show is perhaps, far too great of a risk for a fledgling streaming service. One whose intellectual property is already average at best, hampered by the disastrous cinematic run of their most noted ones. Their TV often leaves me wondering how on Earth they have run for so long. My attempt at watching Legends of Tomorrow was spent laughing at the pilot’s campy cartoonishness. It was so bad that the idea of watching this series would be weekly self-flagellation. I wish The Flash was good (I enjoyed the 1990s series), Supergirl could be good if it wasn’t so afraid of offending anyone, and every time I think maybe Arrow could salvage the DC’s television property I’m reminded how terrible it is (if you google “Arrow is a terrible show” you will know my opinion is not a solitary one).
I’m not alone in wanting Swamp Thing to live. Fans were outraged by the immediate cancelation, and cast and crew of the show couldn’t believe it either. Unfortunately, we live in a world where network execs and bean counters are, as expected, more concerned about the tightening bottom line and the immense amount of content already out there. Why invest so much money into a quality niche product when you trot out B-grade characters in dopey costumes for 7+ seasons on the cheap? Sure, there’s a petition out there to #SaveSwampThing, and while I’m happy to sign it, a big part of me knows that it is just not feasible to save such an expensive and complicated undertaking. There’s just a sense of futility to it all, that while you can see a network saving average, cheaper fare like Brooklyn Nine-Nine or even Lucifer (why?), the thought of saving something as big as this is just unlikely. Is there hope for another network or service to pick it up? I don’t even think spend-happy Netflix are willing to put money behind a quality product when its easier to make crap Adam Sandler movies and incredibly generic racial pandering tripe. It’s too late for Swamp Thing. The swamp has literally been drained. And that’s a damn shame.
Good television lives in the darkness. It lives in the darkness of humanity and the darkness of our imaginations. Pick any great television property and you find will find it; Stranger Things, Westworld, The Wire, Breaking Bad. And for the first time, DC has found their darkness but clearly, have no idea. To make matters worse, we will probably get 5+ seasons of that horrendous looking Batwoman show.
Perhaps in a perfect world Swamp Thing would have been produced by a competent network. Perhaps in a perfect world, comic book television would be given the chance to flourish next to noted television that becomes regular discourse in our socialverse. Unfortunately, we won’t be finding out anytime soon. Netflix’s Marvel series’ limped to their end, and now DC, with the golden opportunity to become the torch bearer of great superhero television has once again shown why they are DC.
Fans of mystery and horror will find so much to love in Swamp Thing. It is a series that isn’t afraid to dive deep into the murk, bound by great writing and distinct and memorable visuals. It’s infuriating as you watch each episode knowing it creeps slowly to its end. From the house of secrets the Swamp Thing was born, and now in a shroud of uncertainty and unanswered questions, it dies again.
Swamp Thing airs on the DC Universe streaming service.
Why Fleabag was the most important show of 2019
Fleabag will be that show that influences other shows and movies for decades to come
How is it that even among the award show sweeps, iconic jumpsuit copycats, and seemingly universal acclaim, Fleabag still seems underrated? Maybe it’s because, on paper, little about Phoebe Waller-Bridge’s play-turned-Amazon-series should have worked all that well for mass acclaim — particularly for American audiences. Half of the characters in the show are nameless. There is constant breaking of the fourth wall. And, perhaps most surprising to its success in the U.S., the show comprised only two seasons of just six half-hour episodes apiece — released an agonizing three years apart. (We typically like our TV shows abundant and delivered fast, the cinematic equivalent of a cheap dinner at a strip mall buffet.)
But paper can’t capture the brilliance of Waller-Bridge’s tale of a woman drowning her guilt and trauma in sarcasm and casual sex (and occasionally guinea pigs). Fleabag is packed with raw humanity, top-notch writing, and impeccable comedic timing.
The ingenious writing and acting of Fleabag is matched only by the show’s ensemble cast. Brett Gelman is delightfully disgusting as swarthy, pitiful brother-in-law Martin. As Fleabag’s season two love interest, the Hot Priest, Andrew Scott exudes turmoil so heavy you can feel it through the screen, as he struggles to navigate sexual desire with spirituality. Sian Clifford beautifully embodies Fleabag’s high-powered sister Claire, whose Type-A rigidity is as palpable as her deep unhappiness.
And who can forget the incomparable Olivia Colman? She is hysterical as Godmother, a self-important artist whose fixation on alienating Fleabag is only as cringeworthy as her pride on her wedding day in showing off the diverse identities of her “friends.” (“This is my verrrry interesting friend Daniel, who’s deaf. I picked him up at a student gallery opening. Utterly fascinating. Can’t hear a thing.”)
But it so much more than outstanding casting and indulgent black humor that makes Fleabag the most important show of 2019.
Fleabag will be that show that influences other shows and movies for decades to come. Fleabag has proven that you can teach an old cinematic device a brand-new trick. The show has taught us that these techniques aren’t doomed to become a shtick or a crutch. And it has taught us how compelling it can be when stories of women’s sexuality and humanity are explored authentically (see: why fewer men should be writing these stories).
But more than anything, Fleabag has raised the bar.
We have much to thank Phoebe Waller-Bridge for — Fleabag is as deliriously funny as it is heartwrenching. But we should also thank her because, in the vein of Twin Peaks, her show will blaze trails for other artists. Just like David Lynch’s groundbreaking soap-opera-tinged supernatural series paved the way for shows like Northern Exposure and True Detective, screenwriters in the coming years will owe an equal creative debt to Fleabag.
So we may clamor and beg for seasons three and four — which we will never and should never get — but we should appreciate Fleabag for exactly what it is: near-perfect television and inspiration for the amazing shows that we haven’t even seen yet.
Fleabag airs in the UK on the BBC and internationally on Amazon Prime.
Homelander is humanity’s most accurate superhero
Amazon’s hard-hitting, irreverent take on superheroes is a painfully accurate takedown of humanity
If you haven’t yet seen Amazon Studios’ hard-hitting, irreverent take on superheroes, proceed at your own risk. But if you haven’t seen The Boys yet, why not? It’s not-so-quietly the best television show of 2019 and its painfully accurate depiction of what superheroes would really be like in our world is gloriously funny and poignant. You best get on it.
With that said, The Boys IS 2019’s best television show, and while it may not be the most easily digestible show (if you prefer your superhero television to be Supergirl type corny, you’re probably in for a bit of a shock), those who venture through its visceral 8-episode first season will no doubt be left in awe. Based on the 2006 graphic novel of the same name, The Boys tells the story of a group of nogoodniks led by Karl Urban’s brute Billy Butcher, who takes the seemingly hapless Hughie (played by Jack Quaid) on a vigilante mission to avenge the death of his girlfriend. Along the way “The Boys” set out to expose the fake news facade of the superheroes in the series’ world. These so-called heroes, backed by mega-corporation Vought International, are Earth’s premier team of superheroes. On the surface, they act like the Marvel Avengers / DC Justice League team, but in reality, are just a colossal mess of frail egos and giant assholes whose appearances are kept up to keep the money-making wheels spinning.
The story unfolds in glorious violence, capped by slow-mo gory deaths, shattered limbs, and enough sex and psychotherapy to make old “Skinemax” television blush. But what’s most telling about the series is the accurate characterisation of what it means to be a hero in the real world. “The Seven” (Vought’s Avengers) are led by the very Captain America/Superman-esque Homelander; a stoic, blond, barrel-chested hero for America that waves and kisses babies on camera, but away from it, is a fragile, colossal asshole egomaniac with severe Freudian issues. The latter become one of the focal points of the series’ narrative arc and are a small but telling dimension of the layers you find within this show. He’s surrounded by likeminded assholes; sexual deviant The Deep (if one of the characters from Gossip Girl ended up becoming Aquaman), sexual deviant Translucent (if Invisible Man was a chronic sex-pest) and murdering drug-addict A-Train (if The Flash was… well, a murdering drug addict). The only one who presents with any form of likeability are Queen Maeve and newcomer Starlight. The latter, integral to the story, is a good girl Christian superhero who discovers like most of us, The Seven aren’t who they make out to be.
Over the eight episodes of the first season, we come to the sad and painful realization that if superheroes were to exist in our reality, that this would be it. Intentionally or not, this commentary is one of the most compelling parts of this series. It’s beautifully cynical, but at the same, cuts right to the heart of the truth of our society. The Marvel Universe has spoiled us with dreams of heroic saviors, but in reality, we would get and deserve much less.
Superheroes in the Marvel and DC Universes are often too good to be true; cavorting around like false prophets. In times when humanity turns against them (Batman vs. Superman, Captain America: Civil War, Spider-Man: Far From Home), they react with some level of empathy for the reactions of the general public. Superman exiles himself in Batman vs Superman while The Avengers attempt to self-police in Civil War; all are actions of self-sacrificing their worth for the greater good. Their hope is that public opinion will turn once people realize the truth. Homelander is nothing like that, and often in The Boys, his good public persona will reveal his true self the moment he faces situations that harm his likeness, value, and/or monetary worth. It’s how most people would react no matter how much they tell you they wouldn’t. In all of Homelander’s inhuman superpowers, his most telling characteristic are his most human ones; selfish, egotistical, greedy, self-absorbed. They are not positive qualities, but they are very real.
You may be thinking that this is an overly cynical view on humanity, but the old adage of the truth hurting is ever present through the series. The Boys‘ socio-political commentary isn’t even about specific politics or people- even though you can equate it to them. It’s broader, more sweeping in its assessment that no matter your political views, no matter your race or creed, you are nowhere near as heroic or “good” as you think you are. “The Boys” themselves, of course, are a band of anti-hero criminals and outcasts that help confirm that even the people “doing good” aren’t all that good themselves. As the series points out, we are all just different sides of the same coin.
It’s all just a helpful reminder that in a world filled with liars, charlatans, hacks, and grifters, there are no real heroes and those looking to become one just end up getting burned. The Boys is a compelling look into the mirror of society; refreshing, invigorating, and painfully true. It is the truth we are all afraid to face wrapped in relatable costumes and transient power. I suppose we could keep telling ourselves that we’re nothing like the people and “heroes” in The Boys, but then we’d just be lying to ourselves. It’s in part, what makes Homelander humanity’s most accurate superhero. If that’s not enough for you, then watch it for Karl Urban calling everyone a “c*nt” for eight episodes.
The Boys is streaming now on Amazon Prime.