Article first published as ARROW Review Season 3 Episode 13 Canaries on Seat42F.
This week’s Arrow
on the CW is appropriately named “Canaries” because it features scenes
with the two Canaries, Sara (Caity Lotz) and Laurel (Katie Cassidy)
throwing down. But the excellent episode is so much more than that. It
also finds Oliver (Stephen Amell) trying to rejoin a group that has
moved on without him, sees the return of an old foe, and exposes a
couple of key secrets to important characters that have been kept in the
dark too long. In short, it’s heavy on the serial storytelling and has
some very dramatic moments.
Without Oliver, Diggle (David Ramsey)
assumes a mantle of leadership that allows Felicity (Emily Bett
Rickards), Roy (Colton Haynes), and even Laurel to make their own
decisions. Oliver’s non-democratic reign is over, and that’s how it must
be because no one can adequately replace him. After this taste of a new
way, though, no one wants to go back into the box Oliver tries to place
them in, and that throws Oliver off, who assumes he can just come back
in and pick up without missing a step. The dynamic of Team Arrow is off in “Canaries” and a new one must be forged.
It’s gratifying to see Oliver quickly
relent to what the others are doing. A year or two ago, he would not
have done so. This was his mission, and the others were simply
supporting him. Now, they are on their mission, and he is only one of
many components, not the component that the others revolve around.
Oliver could easily get angry at having lost what he dedicated himself
to, but instead sees the value of the others and doing things their way
for a change, and so (mostly) readjusts. He’s a little slow to switch
from protector to teammate with Laurel and Thea (Willa Holland), but at
least he’s trying.
Oliver’s reaction may not be expected, but even more surprising is how Thea takes the news that Oliver is the Arrow.
Oliver long expects her to be mad that he’s keeping secrets, and Diggle
firmly advises Oliver not to tell Thea, lest he lose his sister. But
Thea is more mature than she once was, and she sees that this particular
secret, unlike the others in the past, is for a good reason. She is
grateful to Oliver for protecting her and the city, and happy to know
the truth.
Both of these things are happy, easy
resolutions to conflict, which is not what hour-long television shows
usually do. Most programs will seek to draw out the fights between
characters because dramas need drama, and that’s fair. Watching ARROW
make the opposite choice throws me off a bit, in a good way. It shows
this series isn’t stuck in entrenched paths and will find its own way.
Plus, ARROW has plenty of stuff for the characters to fight against and
fight about without making everything a chore. Our heroes have been
through enough, and they deserve this break, as do the emotionally
drained viewers.
A consequence of Thea learning about
Oliver is that her eyes are opened concerning Malcolm (John Barrowman).
Knowing Malcolm has long been aware of Oliver’s secret persona casts new
light on his motivations, and helps Thea see Malcolm as the others do.
He is no longer someone she is loyal to, which is a relief. Thea will
work with him reluctantly because Oliver convinces her they need
Malcolm, and because she is almost killed. But the daddy / daughter days
are done.
One reveal that does not go so smoothly
is Laurel finally coming clean to Quentin (Paul Blackthorne) about
Sara’s death. Her father isn’t angry, as she imagines in a terrific
scenes under the influence of Count Vertigo’s (Peter Stormare) drugs.
Instead, he’s broken, Blackthorne wonderfully conveying the pain of a
man who has lost his child twice. Even better is when Quentin gives
Laurel an out to the truth, letting her know he knows she’s taken up the
Canary mantle, but she bravely pushes on to the full story, as she
should have done months ago. This is the natural ending to the arc, and
it is incredibly moving.
Lots about “Canaries” goes right. While
the fights between Laurel and Sara are a little tame because they are so
one-sided, I find it hard to find fault with the rest of the hour.
ARROW clearly knows what it is and the writers get these characters’
voices. The story is consistently interesting and surprising, and where
there are plot holes, they tend to be small ones. Now, if only they
would ditch Oliver’s persistent flashbacks, which dare I say seem close
to the end, this series would really jump near the top of my favorites
list.
ARROW airs Wednesdays at 8 p.m. ET on the CW.
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