Superhero TV: Few Hits, and a Few Misses
[Warning]: Spoilers ahead for Gotham, Flash, Arrow, Supergirl, DC’s Legends of Tomorrow, Legion, Luke Cage, Lucifer, Preacher and Iron Fist.
No wonder after the inception of Arrow that we have now a slew of superhero/comic book TV shows fully capable of filling one’s watching diet. These shows have broadened their horizons to include multiple personal and political elements that have made the genre more mature, and in this case, recommendable to the mainstream. Something Smallville, 90’s Flash, or early superhero movies weren’t able to achieve because of their niche appeal.
The 3rd season of Gotham started it out very slow, it was apparent that producers weren’t too keen on advancing the plot quickly to the point where the existence of the series was moot. Bruno Heller pitched the concept originally as being a non-canon prequel to Batman. A pre-Batman Begins if you will. The goal is that if you are interested enough in the lore of Batman, and you haven’t had enough from the movies, maybe you’d like to explore an alternate extended origin story of all the villains and heroes, told mainly from the perspective of James Gordon. Now if Bruno Heller sounds familiar to you, he was the showrunner, executive producer, and writer for “The Mentalist”, a procedural through and through that focused on the character of Jane. We see beats of that every now and then, but as the Batman mythos begs the existence of an actual Batman in it, the series kept following a very textbook “Flash” approach to things, in which episodes are compartmentalized, and a villain is behind bars in the course of one or two episodes, with a main plot taking course throughout the whole season. That of course changed with the 2nd Season introduction of overarching plots panning the length of only a half-season. So, the last season of Gotham, while technically is 23 episodes, it’s split in two parts. The first one called “Mad City”, which introduced Mad Hatter and proto-Joker into the mix, and “Heroes Rise” which at the very end of the season confirmed my suspicion from the announcement trailer: Bruce Wayne finally embraces his destiny as a vigilante. Whether his role will be established as Batman during the course of the next season is a question we’ll soon have the answer for, but to that which there is no point in speculating since WBTV and FOX haven’t made their plans clear on when Batman was going to appear; in full contrast to what Arrow has done, by establishing a plan right before production.
A theme Gotham explored in this season is the struggle with inner pain. There’s the Tetch virus which on top of making an individual super strong, it makes them want to go after the thing they desire most even if they have to kill, sounds familiar? Captain Barnes saw that happening by becoming the Executioner, because he was sick of the constant outpour of outlaws into Blackgate and Arkham Asylum, the virus turned him into a walking talking zombie semblance of a fascist, he exacts judgement with no remorse. To Falcone’s son, it was an ill-induced jealousy against Gordon for supposedly trying to take away his fiancee, soon-to-be-wife from him. All reckless behaviors driven by the deepest, darkest recesses of their souls. The virus was often touted by infected people as “freeing”, and “liberating”, which to people living in the Hell that is Gotham is completely unsurprising. Somewhere, there is a metaphor that could be fully applied to right-wing America. The anger is deep seated, it just needed a trigger to be fully unleashed, and that’s what happened with the infected, and the unfortunate class of Gotham. Once the virus was unleashed on a larger scale, everyone went on a looting rampage to get that precious item they looked at with googly eyes and were sure they weren’t capable of buying anytime soon. That lust, that hunger for consumerism. That occupied a dark place in their hearts that they were only truly able to act upon until the reins were taken off.
After the craziness of juggling multiple fiends Gordon has went through, there was a break (presumably for filming) after which three episodes (12 through 14) were aired. It can be called the “Joker arc”, where our buddy Jerome from the second season, portrayed by an excellent actor just laid down the best performance of a live-action Joker. One that closed the wound after the terrible “Suicide Squad” movie portrayal. Right around the end, approaching the climax, you hear for the first time, composed by David E. Russo, the theme of Batman playing after the Joker tries to beat Bruce mentally by saying the city has no Heroes. You could only imagine how fanboyish that scene was for me. It is at that moment that I became convinced we aren’t far off from the Batman origin story kicking into full gear. Sure thing, after meddling from the Court of Owls and a little introduction from the Demon’s Head, it happened.
As a closing statement on this, I fully applaud the VFX work on this series. It’s by far the most solid. The lead Ben McKenzie directed his first episode (16th for reference) and problematic issues with the plot were phased out. Giving us what is essentially a clean slate for what I consider to be a successful tonal shift of the franchise from this point onwards.
Lucifer is a different beast. It’s a modern staple in superb writing so much that if I teached film, I would ask my students to catch every episode if they possibly can. The running theme of Lucifer from the beginning was the fact that all odds were stacked against him revealing his “Celestial Being” identity to his -for all intents and purposes- buddy cop. The series started it out with this poster:
Very evocative of a traditional procedural, only in the case of Lucifer, it was accompanied by supernatural occurrences that would spice things up a little bit. The first season while completely watchable dropped the ball on a lot of story beats. Mainly the fact that Chloe was the focal point of the story. When you have a Vertigo adaptation licensed, and fully read to go, you don’t squander that opportunity on retelling a love story trope of “Not getting along at the beginning, but at some point they’ll start fucking.” Lucifer fortunately ended up ditching that, and focused more on how celestial beings from angels, demons, to later on a Goddess would cope with the plight of human life. That’s what Lucifer needed to be from day 1.
What most struck me about Lucifer as I was watching is how humane everything is. On top of the show having a psychiatrist (further giving a positive nod to the mentally ill) explaining the human experience to Lucifer through what she thought is a metaphorical ploy of playing the Devil’s character. Every aspect of Lucifer’s psyche is explored via clever metaphors, and symbolism that relates divine issues with mundane problems your average Joe or Linda has on a regular basis. The perfect way to describe it, is that it’s very relatable.
Now this is the poster for Season 2 of Lucifer. It’s symbolic of a complete shift in the writing process. All revolves around the incredible Welsh actor Tom Ellis, who does an incredible job portraying the character by pulling multiple Emmy-worthy performances. I mean… Lucifer isn’t exactly a Westworld, Crown, Game of Thrones, or your stereotypical awards sweeping show, but if we were to judge actors on their individual skills alone, he would be right there on top without a question. It is this, with a hefty presence from renowned guest appearances that elevates it to a higher status. To this day, Lucifer is the highest rated DC show on IMDB, and it’s for all the right reasons. Not much to discuss there.
The season focuses on Lucifer’s relationship with his “Mum”, who escaped Hell by the end of season 1 after Amenadiel let his get guard down. It all dissolved into a quest to get revenge against Dad, all carried by the very persuasive and outright sexy Tricia Helfer performance. A lot of people criticized the casting at beginning, but she proved her chops quite superbly; all atoning for the writers’ capacity to cast roles that fully correspond to their character. Something DC has been known for ever since Arrow. While Marvel shapes the actor around their character (You’re likely to refer to Wilson Fisk by his fictional denomination as opposed to the actor’s real name), DC with their limited means and greater supply allow the actors much more freedom, through which they can shape the character to their own liking. Mike Colter for instance IS Luke Cage to a very large extent, while Grant Gustin, is not Barry Allen. It’s his own portrayal of said character.
The events are way too interesting to spoil here, and I would rather have you just follow the adventure of heartbreak, solace, joy and anguish as the writers intended it to be experienced, but I’ll spill the beans on the last moments since they are very defining.
The 1st season had a very strong moment where Lucifer died, and had to plead before God to come back to life. In the way it played out, it was very powerful. Season 2 is no exception, with Lucifer cutting through reality with the Flaming Sword into “nothingness”, allowing his Mum to be her own God. Gave her the control and power she always wanted. As well as a tear-jerker of a goodbye scene. All that, with everything done in very extreme slo-mo, all accommodated with some VFX magic to make the whole lot convincing, and boy does it hurt to say goodbye to any character on the show. Every actor that has regularly appeared has left their mark. When good writing meets actors willing to challenge their own limitations, Lucifer is born.
Pair a property renowned for its great writing, intrigue, and mystery, give that to AMC, and Preacher is what happens.
From showrunner, Seth Rogen, comes this masterpiece of an origin tale about the Preacher. A lil’ old man from conservative ass Texas getting his hand on the most powerful object in the universe. From angels wearing fedoras, to Irish Vampires breaking all rules of conventional storytelling about said creatures it just… Preacher hits the perfect balance between seriousness, and absolute absurdity. And that makes the show so strong. While Lucifer takes its issues very much seriously, Preacher goes the opposite way and pads the themes with a lot of Christian-derived, and self-deprecating humour. Perhaps most surprising is the lack of protests against this show when Lucifer was heavily frowned upon by Christians because THIS is a critique of the Christian doctrine. From start to finish.
Within the confines of the Preacher universe, which in and of itself is an exaggeration of what some of the most extremely conservative south goes through, it isn’t exactly vapid to question whether God has abandoned the universe. Quickly throughout the series, we discover that it is indeed the case, but by simple implication, “God” in that universe isn’t omnipotent as would Biblical tales would like us to believe. In a way, Preacher is a fictional rebuttal against the idea that the divine is always keeping an eye on the universe when so much plight has happened, and so that solidifies later on in a scene where everyone starts sinning once they’ve discovered that God is no longer keeping an eye on them. It shows from an angle how believers can sometimes be hypocrites about their faith, and how if and when their fears are proven to be futile, they’d be the first to go against their moral “high-ground”.
There’s not much to talk about as the bulk of the show happens in the abstract and is to be interpreted by each individual. The viewer in me saw criticism of religious practice, and a jab at conservative culture, which often praises rites, over actions. If you like the Vertigo sheen, and aren’t so much of the mindset of watching series with iffy production, Preacher by AMC is your best bet at a well-produced, high budget comic book adaptation. Now it’s likely to be lonely in that category since Watchmen has been dropped from HBO and is now an animated series.
I’ll take now this opportunity and pay homage to Steve Dillon, the co-creator of Preacher who died last year and got to see his baby in live-action form. Truly and quite literally the achievement of a lifetime.
What a show… what a spectacle. More so, what a relief to neuroatypical folks all around the globe.
This series portrays suicidal, mentally ill (it isn’t exactly made clear what he’s diagnosed with) David Haller, in his journey to escape an organization hell-bent on chasing down the X-Men, and specifically looking to kill him for the very fact that his own powers are too powerful to be allowed free. The production on this series is absolutely mind-boggling. There is a mixture of practical and digital effects all-throughout, and it’s completely indistinguishable from a high budget movie. It’s just insane how much work has been put into this and how far TV production has progressed in these recent years. I can remember not even ten years ago something like this being completely unfeasible.
The pilot episode sets the tone for the rest while portraying the universe from the character’s perspective in a very sporadic way, it takes inspiration from many genres and just smashes everything together to produce what is objectively the most visually striking show of the 2016/2017 season. I wondered since the airing of Westworld whether any other show would even come close to the high-praise it got, and while Taboo came really close but was way too compartmentalized to fully realize this potential, FX’s Legion blows everything out of the water visuals-wise. It’s just beautiful.
Perhaps more interesting is the hero’s journey, and how the show plays around with stereotypes of superhero storytelling by completely flipping the script and giving us what is essentially a full season of the hero being beaten down at his own game. His anguish, fear, dissociation from the world around him being personified into an ugly monster beneath the layers of denial that he has to fight, and that he ends up winning against in the course of the last episode. This show has enough twists and turns to blow your mind. And every other actor besides the lead Dan Stevens is doing a bang up job at portraying their character, all with the respect that the X-Men lore deserves. There is now a new show in the vein of X-Men Evolution called “Gifted” that will air next year on FOX, and while it may explore the roster as a whole, it will never even come close to the ingenuity of writing, and cinematic language mastery that Legion boasts. If you weren’t already sold on the concept, the show is ran by the creators of Fargo, an excellent show I already recommend that everyone watches. Through my conversations with others, including people usually allergic to the superhero genre, it proved to be an excellent entry point to dive deep into the genre and what it all entails without being drowned out by stereotypes or Deus Ex Machina type situations where sloppy writing saves the day instead of the protagonist’s wit and intelligence.
The pilot is 2.99 on iTunes. Watch it. See if it’s worth your while.
Luke Cage is a hard one to tackle since it is the first problematic entry into the Marvel/Netflix universe. From the title alone, it was already safe to assume that this series, as it takes place in Harlem, was going to focus on black issues, struggles, police brutality, and a plethora of contemporary, and centuries old complications that still plague the people of color’s lives until this very day, except that Luke Cage does it with a huge reliance on its SJW theme, and ends up delivering a tame story at very end, with very little making sense within the context of the story.
While Marvel’s Netflix shows are usually known to set the pace after six to seven episodes, Luke somehow managed to flip the rules in regards to how the story took a straight nose dive right after Cornell Cottonmouth died. It looked at first like we were finally getting a villain of Wilson Fisk’s caliber, while some might call it trope-y at this point, it is a dope ass trope.
The main problem I personally had with this series, is how heavy-handed everyone’s inability to pierce through Luke’s skin was. It seemed like everyone but the most stupid of all would’ve figured out that unloading clips at Luke wasn’t going to work, and this is a problem that will crop up in later seasons as the story progresses after the Defenders crossover. Luke Cage is powerful enough for a movie, but yet his enemies are “TV dumb”. There is an inherent necessity to drag out the conflict the runtime of a whole season to justify the sit-through, however there’s an aspect to it that just makes it boring after a while. And with the Judas bullets introduced, it seems now impossible that Luke will be benefiting from his tactical advantage anymore without a major retcon. You don’t exactly want to nullify your superhero’s most precious asset from the very first season, that should’ve came by the time the protagonist is more mature and/or more experienced.
Also, can we take a little moment and call complete bullshit on the twist at the very middle when Cottonmouth died? There is nothing that warrants any positive reaction beyond the fact you happened to like Diamondback, because he, while having the Judas bullets, could not be arsed to bring his gun back, fire another one, and be done with it. Instead he builds a suit, and puts himself at a huge disadvantage against a metahuman. All I’m saying is the huge fight at the end could’ve been better handled.
Themes of social inequality however balance this shit out pretty well. If you care enough about Black Lives Matter, and what they represent, this is the perfect show for you. The show is unapologetically about Luke fighting for the livelihood of his fellow black brothers and sisters, and for all intents and purposes, it ends up being the most interesting aspect of the series, which is why the further we got away from it as the season progressed, the lesser interesting, and the more generic Luke Cage became.
Cottonmouth’s sudden, unwarranted death was the difference for me between recommending the series to everyone, and keeping it to the superhero, Marvel niche. The conflict was revealing itself to be extremely satisfying, but unfortunately, Mahershala Ali apparently had other more urgent commitments, which is all the more understandable for an actor who wants to win awards and not act for a superhero show as a full-time job. The reality of the matter is that acting in the comic book adaptation genre isn’t very award-friendly, and renowned Hollywood actors will understandably choose the accolades over the Netflix gig.
Iron Fist has already gotten its own dedicated article due to the controversy. What I will stand by is that it despite its flaws, it flows better than Luke Cage and manages to be more entertaining as a whole. I’d suggest you give the two-episode pilot a shot before you judge it indefinitely.
The CW is somewhat of a complicated situation at the moment. And Arrow seems to have been the only series to leave that shitshow alive, and dignified.
So much of Arrow’s legacy has been tainted with two of its most unfortunate moments, those being the 3rd and the abysmally bad Season 4, but now that has all changed thanks to a direction switch courtesy of “Executive Producer” Marc Guggenheim, who emphasized from interview to interview that the writers, producers, directors, stunt coordinators, Zoic… everyone was hell-bent on making it the best Arrow season to date. They did not disappoint.
What was criticized at the beginning of this season is the number of side characters taking the limelight away from Oliver Queen, that seems to have been phased out after numerous episodes developing each character’s individual set of traits in relation to vigilantism and their various approaches in dealing with crime. Artemis turned out later to be a traitor in the most surprising of ways (since she wanted to be Black Canary in Season 4, if any of you still remember that shitfest), Wild Dog is a very tame, indifferent character, which in the Gun Control episode, we get a lot of insight as to why he’s in the position that he’s in right now. Rag-man was cool as fuck the minute he dropped, although he sacrificed his powers for the sake of the time right at the middle. Curtis now becomes Mr. Terrific with the full costume, and we’ve got Dinah Drake, from Hub City. (what DC continuity associates Victor Sage “The Question” most with) The flashback format now instead of focusing only on what happened before Oliver came back from the island, now it took a lot more liberty by exploring other characters’ backgrounds, in-between past seasons moments, and just by filling these holes, it propulses the storytelling quality to a whole new level. We get three main villains spanning the course of the season, the first being Tobias Church who’s an absolute beast. Somehow it feels like he’s the first gangster to ever be legitimately threatening; played by Chad Coleman, he does an amazing job exacting control of Central City drug and gun traffic with an iron fist.
Then later on comes what could be described as Green Arrow’s Red Hood, without the tragic backstory: Vigilante. As much as he was a recurring antihero, he served as a red herring to deter from the incredibly hard to defeat foe’s identity: Prometheus aka Adrian Chase.
Prometheus, is, in many ways the best villain Arrow has ever had (I might expand on that in a different entry), while Deathstroke was ruthless in his methods and caused city-wide destruction through the use of “Mirakuru” (much like the superhuman serum that Captain America took but psyche-altering) turning plenty of people into rampaging killing machines. He didn’t have much incentive to ruin Oliver’s life beyond “You stole my gurl.” which is unfortunate for a villain of his stature. Thankfully, Prometheus built his own. He has nothing to lose in his crusade against the Green Arrow, and he will do anything to get in his way; reminiscent of last season’s Flash villain “Zoom”. There’s an episode approaching the end where Oliver is taken to a secret location with the help of Talia Al-Ghul (amazingly portrayed by Lexa Doig) and there, we see a clip show of Oliver from his “killing” spree, and Prometheus making him go through the pain of each individual killing, until he admits that he did it for blood lust, not through an authentic quest for justice. It was packed with Emmy-worthy, physically and mentally draining performances of Oliver just being beaten to death, from every angle imaginable. With great cinematography and outstanding performance by Josh Segarra, lighting the whole place on fire whenever the two are in it together. Seeing Josh and Stephen Amell in one room is like watching the Joker and Batman together. Just a plentiful of acting oomph in one shot setting the bar so high up that no other CW show except for maybe Legends’ “Legion of Doom” was able to to topple. It’s no wonder that after the reveal, the choice of the actor became wholefully justified. He pulled Arrow from shit status to being the best comic book material CW has ever produced since 2012.
The choreography is fantastic, the visual effects are nigh on perfect (perhaps due to getting the Iron Fist gig and shuffling some of that money back into Arrow), the actors brought their A+++ game, and that elevates the superhero genre above and beyond what we traditionally know. Coming from the CW, it’s quite spectacularly the surprise of this season.
For US residents, Arrow is available at no extra charge on Netflix, and it should be on most on-demand services. Since Wonder Woman came out, all comic book shows are on sale, so better take advantage of that.
Flash doesn’t deserve its own section just for the fact it dared to insult the audience’s intelligence for three seasons in a row. By establishing rules they constantly break, the writers of this show are by far the biggest dickheads on the CW ever. It feels like you’re watching a festival of nonsensical events, bad CGI and a final confrontation that makes no sense, coupled with the formulaic approach they’ve taken since Season 1, and while Wells worked as Eobard Thawne; Savitar is just a pathetic piece of shit. And however they try to explain it, the decision to make him Barry Allen happened mid-production. No way it was the initial plan from how bad it turned out to be.
Now let’s move into what has been the most batshit crazy show in this bunch. Yes, I’m talking about DC’s Legends of Tomorrow.
Despite what could be said about the silliness of this season, this by far and away my 3rd favorite superhero TV show right after Arrow and Lucifer. Simply for the fact that it embraces its comic book roots with no shame.
That’s perhaps the most impactful aspect of comic book storytelling, something we’ve been made aware of ever since the success of Guardians of the Galaxy. While it may service the story to have great stakes at hand, sometimes it’s just fun to watch people throw balls of fire, cold and knock down individuals for the most asinine reasons. Couple that with the fact it’s the worst performing CW DC show on top of being the most expensive (the epitome of irony right there), it manages to bring forth something to the screen that we rarely see. Concepts that have been overlooked when anyone mentions “comic books” or “superheroes”. They’re more like misfits, outcasts, they are Legends. *plays the theme song*
People often boast about the merits of Doctor Who, and while I applaud the BBC for their efforts in trying to still make that show relevant, my definitive statement is that they’ve already lost the battle to Legends of Tomorrow, and alternatively “Timeless”. Two shows comprising of time travel, but way more introspective in the way they deal with the themes and topics introduced at hand.
Something LoT really succeeded at is the exploration of political themes with proper historical context. The fact of the matter is that clocking Richard Spencer in the head will always stir controversy solely for the fact that none of his apologists can atone for the crimes of their ideological ancestors. “Legends” takes advantage of time travel, and depicts eras from the American Civil War, Nazi Germany, post-prohibition Chicago, the Great War, all to make a point about how preserving history is integral to the present being what it is. And it really is a case study for people who claim that extreme calamities of the past would have no impact on the present, they would absolutely have to. Such is the course of history, and if people weren’t so concerned about the visual conflict and were rather keen on reading the subtext of the show, it would’ve been made clear that while it takes most of its time exploring historical figures, making fun of comic books, moustache-twirling villains, the concept of time travel itself; it serves as a commentary for the broader picture. In that every action has an overarching consequence that could stretch on for decades, centuries, and possibly millenias.
Eobard Thawne, played by Matt Letscher is looking to destroy Flash from existence by changing the course of history. And at the same time, escape from the Black Flash, who’s the speedforce’s Angel of Death, specifically for speedsters. Iconic villains from Malcolm Merlyn, Damian Dhark and even evil Rip Hunter make appearances throughout the show and it is simply beautiful to witness.
It’s funny, it’s witty, it has heart, and most importantly, it isn’t written by the creative forces (or rather weaknesses) behind Flash and Supergirl, but rather is ran and created by Arrow showrunner Marc Guggenheim. And on top of that, you get to see space! The moon! Netflix’s Marvel shows aren’t likely going to make that leap anytime soon. So your best bet for some sci-fi saucy action is DC’s Legends of Tomorrow. Doctor Who, mashed with the greatest and most obscure of the DC universe.
I haven’t had much of a chance to talk about Supergirl separately, so let this be my opportunity: It’s thematically interesting, but executed so poorly that it doesn’t warrant its feminist reputation.
Supergirl did start very strongly being a CBS show, although not as daring, the show had a real budget behind it. A focus. Direction, and there was a vision that the producers were going for that ultimately wasn’t hindered by budget limitations. In many ways, throughout me watching the first season, I couldn’t stop half-thinking that they took Superman, and swapped everything with Kara Danvers and other women, literally even keeping James Olsen into the fold. No creative thought put behind it whatsoever. It’s tired, uninspired and absolutely ridiculous to think that all storytelling elements that work for a man would transition smoothly into an experience supposed to cater to women. Empower girls from everywhere, telling them that… they have to walk in the footsteps of men to be successful?
Where Kara falls short in terms of character development is that she always seems to have a fixation on her kryptonian cousin, Clark Kent. The Superman himself. It is no wonder that the show suddenly becomes more interesting when Superman steps on screen, it isn’t because Melissa Benoist is a terrible actress, or because men are inherently better. It’s not, never was, and never will be any of these things. It’s for the simple fact that Melissa has been provided a garbage script by showrunner Ali Adler and that a show centered around Supergirl, somehow has her doubting herself every other moment despite defeating powerful fiends, the strongest from Fort Rozz without a single problem. Apparently what feminism is thought of in this series is Melissa Benoist, a demigod, putting up with the abusive emotional bullshit that Mon-El gives her all the time. Treading short on what would have been an interesting relationship with Lena Luthor.
The saving grace of this season is LGBT+ representation, in the form of Alex and Maggie romance. It is no wonder that I have been able to put up with boring episodes for so long. Has it not been for the positive portrayal of lesbian struggle, this season of Supergirl would have gotten a zero from me.
Tyler Hoechlin’s Superman remains the best in live action, and while he does fall short in terms of pure, raw acting compared to Henry Cavill, he manages to bring the best of Superman in his role. Hope, and self-realization. And that’s something that has me wondering if FOX, or NBC (likely candidates) are willing to pick up the show as a standalone. Now that Powerless has cleared its spot.
So yeah… Supergirl so far is a perfect case study of when superhero writing goes haywire. Melodramatic tensions between characters because of non-mutual emotions of love, abusive relationships, dynamics between alpha males and their enslaved women and… Ugh. Just about everything in this kid-friendly show is poisonous. If you are looking for well-written show with LGBT+ representation and ass kicking women, feel free to check out iZombie, and Wynonna Earp. They are much better at doing what Supergirl is so desperately trying to achieve.
The only episodes from this season worth checking out are the finale, the first two episodes, and the musical crossover that aired on the Flash. Other that, everything else is absolute shite.
While it has been a relatively good year, Flash and Supergirl completely dropped the ball on good writing and are instead fully relying on yesmen to carry on. It won’t be long before their laziness catches up to them, much to their chagrin.