It’s a curious thing, isn’t it? When a show like Arrow hits its stride, especially as it barrels towards a season finale, you expect the pedal to be firmly to the metal. But then comes an episode like “Genesis,” Season 4, Episode 20, and suddenly, the pace shifts. It’s like the writers decided the audience, and the team itself, needed a moment to catch their breath.
From the outside looking in, it might seem a bit jarring. Just last week, Oliver Queen was laser-focused on taking down Damien Darhk, a mission that felt all-consuming, especially after Laurel’s funeral. Then, in “Genesis,” the directive seems to be… take a break? It’s a creative choice that, for some, felt like the episode was stretching on for an eternity, even if the actual runtime was perfectly normal. The stakes, at least initially, felt oddly subdued, a stark contrast to the impending doom we’d been led to expect.
Yet, despite this perceived lull, there were moments that genuinely worked. The decision to give each member of Team Arrow their own distinct storyline allowed us to see them in new lights and settings. Diggle’s personal journey, delving into his complicated family dynamics, offered a compelling emotional anchor. Meanwhile, Oliver and Felicity’s excursion to Hub City to learn about magic, while perhaps a bit tangential, was certainly an interesting detour. And Thea’s… unusual vacation? Well, they certainly tried to inject some creepiness into it, even if the premise itself raised a few eyebrows. Who vacations in a suburban cul-de-sac when a Caribbean resort is an option? And the lack of other people? That should have been the first red flag, not the looping nature sounds.
The core of the A-plot, of course, revolved around Oliver and Felicity’s quest to understand magic. With Darhk wielding such formidable powers, Team Arrow was clearly outmatched. Their visit to Esrin Fortuna, a magic user referred by John Constantine, was meant to equip Oliver with the means to fight back. However, Fortuna’s assessment – that Oliver’s inherent darkness made him unsuitable for warding off magic – felt like a bit of a narrative curveball. It’s a shame, too, that they opted for a new character rather than tapping into the rich tapestry of DC’s existing magic-wielding roster, like Zatanna or Madame Xanadu. One can’t help but suspect these established characters might be being saved for bigger, cinematic moments.
This brings us to a recurring point of contention for many viewers: the writing. While the actors often do a commendable job with the material, the dialogue can sometimes feel… off. It’s a sentiment echoed by many who watch the show week after week. The frustration isn’t about enjoying complaining, but about the desire for the show to be more consistently enjoyable. When the dialogue feels clunky or forced, it can detract from even the most compelling plot points.
And then there’s the peculiar resolution to Oliver’s magical training. After being told he was too dark, he somehow manages to repel Darhk later in the episode by focusing on positive thoughts, manifesting briefly with what can only be described as yellow cat eyes. It’s a moment that defies the logic established earlier. If that was the solution all along, why didn’t Fortuna suggest a more positive outlook? It’s moments like these that make you scratch your head, but also, perhaps, find a strange sort of humor in the absurdity of it all. Sometimes, you just have to take a deep breath and appreciate the sheer, unadulterated weirdness.