valkyber

For those who remember comics in the '80s, there was a frequent 'head to head' feeling about post-Crisis DC and a Marvel trying to unscramble the eggs in its New Universe basket. Out of this emerged a Task Force X with a high turnover and, on the Marvel side, the Strikeforce Morituri of Earth-1287.

This dark, "the mission is all that matters" take on the Suicide Squad brings back memories of how we were brought to care for characters who were not long for this world, and to recognize the sacrifices people make, both for their community and nation. There is an individuality here that I have rarely (on screen, at least) seen invested in these tertiary characters from the JL's various Rogues' Galleries, and Amanda Waller for once comes across as someone even the Batman cannot safely assume is contained.

There are a very limited number of core story ideas, so it pays to steal from the best. This other arrangement of Shaw lifts its thematic framework entire, but turns the original Higgins' bungalow with its interloper into the ground floor of what could become a family home, if our reluctant flatmates can get their act together. In a.manner never made explicit by one main character to the other in Pygmalion or MFL, these two people can assist each other to scramble free of the ruts into which they have trudged, and neither one has the whip hand which society (in GBS' original) bestows on Henry Higgins. A surprising number of the supporting cast also have a vibrancy which says they will still be here when the camera leaves.

I have enjoyed this ride, and felt the 21st century was present but not overwhelming in this update of an essentially escapist piece.

The general arcs of the final double-header were fine and brought closure where it was needed, but I do wish the very last scene were not so blatantly a pick-up shot thousands of miles from the heart of the series. The characters grew as much as mainstream television allows, and the ending was - fitting.