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The Law Is A Ass

Bob Ingersoll: The Law Is A Ass #412

FLASH DRINKS SOME MILK OF AMNESIA

How do research labs in comic book or science fiction universes or, in this case, the TV show The Flash stay in business? Given that their experimental default setting seems to be catastrophe, how can they afford their insurance premiums?

To no one’s surprise, an experiment in the Central City branch of S.T.A.R. Labs went wrong in the Flash episode “Cause and Effect.” The result – other than one of those marking time episodes that crop up when the season has three more episodes but the season-long arc only has two episodes worth of story – Barry (The Flash) Allen got amnesia. It also resulted in the world’s most unnecessary SPOILER WARNING.

By the end of “Cause and Effect” Barry got his memory back. And if you didn’t want to know that, you should have stopped reading two sentences ago.

The A plot of “Cause and Effect” doesn’t concern us now. (It didn’t even concern me while I was watching the episode. I knew Barry’s amnesia would be more temporary than a henna tattoo in a car wash.) It was the B plot that prompted me to get anal-retentive and anal-lytical.

There was this pyromaniac named Lucius Coolidge AKA the Heat Monger, which is a silly name. Mongers sell things. Heat Monger set fires for free so he was actually giving heat away. Coolidge was caught largely because of the forensic investigation of Barry Allen. Unfortunately, some judge had a hole in his schedule and unilaterally moved Coolidge’s probable cause hearing up to that afternoon on the very day that Barry Allen, unlike Cats, had no memory.

Without his memory, Barry couldn’t testify. Well, he could testify, but he wouldn’t be able to say anything more useful than my one-year-old granddaughter could. And he wouldn’t be nearly as cute saying it. If Barry didn’t testify, the judge would find there was no probable cause to bind Coolidge over for trial and dismiss the cause. Coolidge would go free.

Team Flash gave Barry a pair of glasses equipped with a heads up display in the lenses and warned him not to let them get wet. Barry took the witness stand while his supervisor, Julian Albert, sat in the courtroom. Julian typed the answers to the DA’s questions on his laptop which were transmitted to the lenses on Barry’s glasses so Barry could read them in court.

If I said that the scene then played out exactly as anyone could have predicted, I’d be selling the word “exactly” short. Julian used emojis which Barry read out loud. Julian typed too fast so Barry had to tell him to slow down. Barry started to sweat and shorted out the glasses. Barry couldn’t continue testifying and the judge dismissed the case. Coolidge was released.

All in all, a three-minute scene played for comedy relief – it’s funny because Barry perpetrated a fraud upon the court – that ended with a dangerous sociopath being released. Don’t worry about the sociopath, he celebrated his victory by setting fire to an office building in front of eye witnesses who identified him for the police. Worry about that preliminary cause hearing. It may not have been funny like the show intended, but it was laughable.

Did the DA never consider asking the judge for a continuance, because the key prosecution witness was ill and not able to testify? After all, the judge created the problem by unilaterally rescheduling the PC hearing for later that day just because he had a hole in his schedule. (Note: judges don’t normally do things like that because it doesn’t provide the parties with adequate notice to prepare for the hearing.) Heaven forbid that the judge use his free afternoon to read the motions filed in the other cases before him or an article on how to avoid judicial intemperance.

And if the judge denied the continuance? There’s still a solution that’s a lot simpler than creating makeshift and volatile Google glasses. Have Julian Albert testify, for crying out loud!

Julian was Barry’s supervisor in the Central City CSI division. He would have overseen Barry’s work. He would have been familiar with Coolidge’s file. He could have testified with as much authority as Barry.

But if Julian was testifying based on Barry’s notes, wouldn’t Julian’s testimony have been inadmissable hearsay? No. Barry’s test results were records kept in the ordinary course of business. As such, they fell under the business records exception to the hearsay rule; one of the many hearsay exceptions. As long as Julian authenticated the notes, he could have testified about them.

But what about Coolidge’s ability to cross-examine Barry, the person who performed the tests? Wouldn’t having Julian testify instead of Barry deny Coolidge his right of confrontation?

Not according to the case law.

In Crawford v. Washington https://supreme.justia.com/cases/federal/us/541/36/, the U.S. Supreme Court held that admitting out-of-court statements that fell under one of the hearsay exceptions violated the defendant’s right to confrontation, if the statements were “testimonial” in nature. If the statements were not testimonial, then standard hearsay rules would apply. If the statements were testimonial, then the Sixth Amendment superceded the hearsay rules and precluded admission.

The Crawford case also said that business records were not testimonial. So having Julian testify wouldn’t have violated Coolidge’s Sixth Amendment rights. Moreover, Coolidge’s attorney could cross-examine Julian as to the procedures that were performed, the test results, and Julian’s expert opinion as to what the business records meant. Coolidge would have been able to exercise his right of confrontation, so no harm.

Anyway, that’s what the case law holds. See how simple it is? Julian testifies and Coolidge is bound over.

Here’s the thing about all that case law, I think it’s wrong. I think its reasoning is flawed and it’s conclusion incorrect. Doesn’t matter. No matter how much I might not like it – and I don’t like it a lot – it’s still the law. And I can’t ignore the law no matter how much it would suit my needs.

And here’s the other thing about that case law; no matter how much it might have suited the show’s needs, The Flash can’t ignore it either.

Martha Thomases: The Wonder Woman Recognition

The Wonder Woman of my youth was a fairly ridiculous character, whose adventures included less fighting and more romantic entanglements, not only with Steve Trevor but also a merman and a bird boy. She was no more a feminist icon to me than Supergirl, Betty or Veronica, but then, I was a child and there was no feminist movement at my elementary school in Ohio for me to know.

I still loved her. I wanted to be able to fly by catching a wind current. I wanted to be able to make people tell me the truth, especially if I could tie them up, too. To be honest, I probably also wanted a merman for a boyfriend.

This is a long, roundabout way of saying that while Wonder Woman influenced my feminism (breathing influenced my feminism), she didn’t create it. I did not expect a movie about her, especially one from a major studio, to make much difference to me.

I was wrong.

All over the world, women went to see Wonder Woman and cried. These were tears of relief, of gratitude, that someone had finally put their hopes and fears and experiences onscreen, without the filter of a male gaze. We saw a woman who defined herself by her goals and her purpose, not her dress size or men’s approval.

Was the movie perfect? Of course not. I can pick nits with the best of them. Still, it was the most high-profile, big budget movie to show women doing heroic things that we have not seen women do in other high-profile, big budget movies. The director, Patty Jenkins, knows how women see the world, and what women think is heroic, and filmed accordingly.

I didn’t go to a women-only screening. They sounded like a lot of fun, but they sold out quickly and were not at a convenient time or location for me. Instead, I went to one of the hundreds of other available showings, with a group of friends of differing genders.

Wow, did I have a good time! I loved watching Diana grow up, mischievous and scrappy and eager to be alive. I loved seeing her fish-out-of-water reaction to man’s world, during which we saw both curiosity and determination on her face (and also, well, wonder). Gal Gadot captured more emotion in her face than any other actor in a superhero film, except, possibly, Mark Ruffalo.

Perhaps because I’ve been reading superhero comics with an appreciation for their socio-political subtexts, I did not cry when I saw Diana go into battle. I cheered. The only time I came close to tears was at the end, when a wall of photos of fallen soldiers reminded me of so many similar walls in New York after September 11.

However, as a straight cis white woman, I see more examples of people like myself in popular culture than anyone else besides straight cis white men. I appreciate how people who don’t fit the default assumptions could find themselves overcome by the recognition this film provides.

One way to tell how effective the movie was at reaching its target audience is by the reaction of those who felt threatened by the content. The Alamo Drafthouse, a small theater chain headquartered in Austin, Texas, decided to hold a few women-only screenings, one in each of their six theaters. They had done similar promotions in the past, such as veterans-only screenings and senior-only screenings.

For some reason, no one had any problems with those. But for Wonder Woman, the crybabies came out en masse. The whining from their butthurt was deafening. In my favorite example, one wrote to the mayor of Austin to protest this heinous discrimination. His reply is not only spot-on, but hilarious.

I hope Patty Jenkins and Gal Gadot return for the sequel. I hope they find a way to bring back Etta Candy and Antiope. I hope they all go shopping together again. I would watch that movie.

Tweeks Discuss Wonder Woman

Warning Spoilers! It’s more than a review this week because we just have so much to say about Wonder Woman. Not only is it Tweeks Approved, but we had to reorder our Chrises.

Dennis O’Neil: The Sensation and Me

As I sit here, Wonder Woman is wowing ‘em about a mile away to the north, at the Palisades 21-Plex where you can see a movie (or 21 movies?) and then visit the

lots and lots of stores nearby in the five-floor mall and shop until your brain congeals. I guess that if I were a real comics geek I’d be there too because here we are, five days after the flick opened and I have not as yet seen it. Haven’t even seen a preview.

Shame?

Well, shame is too strong, especially since we plan to see it, and soon, especially if the guy who’s coming to fix the microwave arrives early enough for us to catch a showing. (“Our service provider will call at your home sometime between noon and infinity.”) We won’t have to grit our teeth and force ourselves into the theater, either. We want to see the movie.

A few reasons: We thought the WW sections of Superman vs Batman were much the best things about it (and if you want to say that I’m damning with faint praise I can’t stop you). Then there’s this: WW and I go way back. I can’t say that I was an avid WW fan when I was taking my first timid steps into comics at about age six, give or take. It’s possible, maybe even probable, that I saw one or two or a few because if it was a comic book, I wanted to read it. But WW didn’t have the staying power in my psyche of… oh, say Batman and Robin. She came and she went.

And I didn’t really meet her again until I was an editor at DC Comics and she was part of my work package. By then I knew that I didn’t much care for her, though I might not have been able to say why. And I fancied myself a feminist. So, weren’t the planets aligning? Wasn’t our girl due for a makeover? Off with the costume and the lasso and the bracelets and especially, ye gods, the invisible plane. Give her a chic jumpsuit. Have her learn martial arts. Make her hip and contemporary.

Ugh. What I didn’t realize, what I didn’t understand, in my male-who-thinks-he’s-a-feminist myopia, was that WW was a symbol of feminine empowerment, the only female character in comics who was the equal, in strength and prowess, of the numerous male heroes. To her female readers, she was unique and, arguably, important and I had dumped qualities that had shaped her identity and, while I was at it, a costume that served as an instantly recognizable icon. Mea culpa.

But my changes didn’t last long. WW reverted to her old self, survived and, if what I read is true, stars in the superhero movie we’ve all been waiting for.

Warner Opens Online Wonder Woman Store

With Warner’s Wonder Woman movie garnering excellent reviews, earning big box office, and resetting expectations for female-led features,  everyone wants to be an Amazon princess. In celebration of the most empowered and unstoppable heroine of the DC Universe, Warner has opened up an online store, packed with a treasure trove of Wonder Woman gear, stocked with collectibles, clothing and accessories for every hero in your life. The store includes iPhone covers, blankets, drinkware, jackets, and handbags.

Box Office Democracy: Baywatch

The best part of Baywatch was that everyone on screen seemed completely invested in making it a good movie.  It isn’t a good movie— it isn’t even particularly close to being a good movie— but the cast is willing to push as hard as they can to make it better.  Baywatch is elevated from the train wreck I’m sure it is on the page in to a simply bland, kind of mediocre, film.  Baywatch is a reasonably charming medley of punchless comedy, unintelligible story, and a generous amount of scantily clad pretty people.  It’s the kind of movie to see on an exceptionally hot day, or if your first choice movie is sold out and you’ve already put in so much effort to park at the mall.

I paid careful attention to the story in Baywatch and I’m still not entirely sure what was going on.  There’s Victoria Leeds (Priyanka Chopra), a new-in-town rich person who has some kind of scheme to buy up a bunch of property and create some sort of massive private beach club.  She’s also a drug kingpin, but no one for the entire movie seems to care about the drugs at all so they end up being white crystalline breadcrumbs that just serve to tie things together.  Because of civic corruption/incompetence, the only people who can stop this nefarious scheme are the local lifeguards led by Mitch Buchannon (Dwayne Johnson) and joined by pretty boy newcomer Matt Brody (Zac Efron), attractive newbie Summer Quinn (Alexandra D’addario), attractive veteran CJ Parker (Kelly Rohrbach), attractive veteran with fewer lines Stephanie Holden (Ilfenesh Hadera), and not-so-attractive local wannabe Ronnie (Jon Bass).  They are an elite cadre of small town lifeguards who also excel in detective work and infiltration techniques.  They do an awful lot of meta-commentary on how insane it is that they all wear so many hats but it is never quite a substitute for having actual narrative justification.

I could forgive the flimsy plot if Baywatch was outrageously funny, but it just isn’t.  Most of the humor is Johnson dunking on Efron in some capacity or another and you’ve seen that relationship a million times, probably half a dozen times where the dunker was The Rock, and most of those times it was being done better.  There’s a fantastic sequence about someone getting their penis stuck in a wooden chair but you can probably get to most of that joke just from reading this sentence.  It’s not that I never laughed or that the charm of the cast was never strong enough to deliver some average material— but the stakes are higher now.  21 Jump Street was a legitimately hilarious movie adapted from a reasonably irrelevant old TV show and it came out five years ago.  You can’t do this much worse this much later and expect to get a pass.

One of the more fun moments in the 21 Jump Street movie is when Johnny Depp and Peter DeLuise make cameos as their characters from the original series.  It’s a cute nod and a bit surprising, especially considering Depp’s latter-day star power, and then they move on to finishing up their movie.  They try to recreate this in Baywatch with David Hasselhoff and Pamela Anderson and fail on just about every level.  To start with, both characters have identically named analogues in the movie and they bring this up so the Mitch Buchannon has a mentor who is also named Mitch Buchannon, and our Mitch works with a CJ Parker and then at the end we’re introduced to former employee Casey Jean Parker.  I know we’re not supposed to be thinking too much about this movie but that’s bizarre enough to leap off the screen and smack you in the face.  They also take all of the surprise out of the cameos (including one that’s the closing joke of the movie) by giving both Hasselhoff and Anderson prominent billing in the opening credits.  Instead of being a cute surprise, it’s something you’re waiting for and trying to figure out during the slower moments.  If Johnny Depp can set aside his ego to do something cute, you would think Hasselhoff and Anderson could too.

Baywatch the movie ends up feeling an awful lot like Baywatch the TV show.  It’s a movie that doesn’t feel the need to hold itself to the same standard of production and narrative nuance because they have a bit of tawdry sex appeal and the charisma of The Rock.  There’s enough charm here to pull through the stuff that doesn’t work, but not quite enough to feel like a movie worth the price of a ticket.  Much like the original show, Baywatch is the perfect movie for a gap in a TV schedule or to randomly catch on a plane… but it isn’t quite ready for prime time.

Apes honored as Chimps are aided by Jane Goodall Institute

Jane Goodall with Motambo, an orphan at the JGI Tchimpounga Chimpanzee Rehabilitation Center.

In honor of the upcoming release of War for the Planet of the Apes, 20th Century Fox has partnered with the Jane Goodall Institute to provide care for rescued chimpanzees, many of whom are victims of the illegal commercial bushmeat and pet trades. Housed and cared for on three forested island sanctuary sites and a mainland sanctuary site at the Institute’s Tchimpounga Chimpanzee Rehabilitation Center in Republic of Congo, nearly 150 chimpanzees will benefit from this partnership.

“I think that the Planet of the Apes series makes people think about the apes and perhaps our relationship to them,” says Dr. Jane Goodall. “And anything that makes us think about our own humanity in relation to the rest of the animal kingdom is important.  So I think the series has helped”.

“It is an honor and a privilege to partner with the Jane Goodall Institute in providing needed care for our closest living animal relatives,” said the film’s director Matt Reeves. “Over the course of filming Caesar’s cinematic journey, it’s fascinated me to learn so much about apes and chimpanzees, these amazing sentient animals who organize, strategize and even socialize in much the same way as humans.  Our hope is this reimagined Apes franchise will spark a fresh awareness, compassion and respect for these majestic species for generations to come.”

The island sites where many of these chimpanzees now live, not only provide a partial return to the kind of habitat from which they were stolen, but also the opportunity to build strong, dynamic social communities together in the wild – a true second chance. Just as the apes in the film franchise work together to establish their own community, the chimpanzees who live at Tchimpounga are building their own communities. Many of them are not family members, and so through observation and rigorous personality research the Institute’s staff pairs chimpanzees they believe will thrive together in their new communities within the sanctuary.

“One of the main threats to great apes is hunting and wildlife trafficking. Many of the chimpanzees rescued by JGI were orphaned to be taken as pets or for “roadside attractions,” said Dr. Carlos Drews, the Institute’s executive director. “While use of great apes in entertainment may be diminishing in some regions, it is increasing in others. Not only is there no need to use chimpanzees and other great apes in entertainment, but it is a moral imperative to find alternatives. With films like War for the Planet of the Apes using effective and magnificent human actor performance capture and computer generated imagery, it demonstrates to the world a better way forward for chimps and all animals.”

As a token of gratitude for this partnership, the Institute has named the housing on Tchindzoulou island, the largest of the three island sanctuary sites, after War for the Planet of the Apes’ hero chimpanzee, Caesar.

To learn more about this partnership visit news.janegoodall.org/planetoftheapes and to learn more about War for the Planet of the Apes visit warfortheplanet.com.

Mike Gold: Wonder Woman – Fox News Loses Its Shit!

Extra! Extra! Read all about it!

Our planet is being strangled to death by morons, at least one-quarter of all Americans think Vlad Putin’s interference with our elections and our economy is absolutely swell, comedians are being persecuted for making errors in judgment, people can’t afford even basic health care, an increasing percentage of our citizens depend upon neighborhood gas stations and “convenience” stores for their food supplies… and what is Fox News screaming about?

Last Friday, the official opening date of a movie called Wonder Woman, Fox News puppet Neil Cavuto got into a serious hissy-fit about the eponymous character’s wardrobe. Evidently, he thinks moving past the vague red, white and blue of her original comic book costume, designed back when this nation was just about to append the word “World” onto World War II, has been abandoned for colors he considered to be somehow unpatriotic.

Right. In other words, Fox News is pissed because a Greek goddess, the princess of Themyscira, an Amazon warrior trained to defend her homeland and not Cavuto’s, declined to envelope herself in colors that he could run up a flagpole in his own American front yard.

Please, do not tell Neil that our American warriors do not wear red, white and blue costumes in combat either. If they did, that would be a mistake. The last thing a soldier without superpowers would do is wrap himself up in an outfit of bright colors. That really doesn’t go along with the whole trench warfare thing.

According to Media Matters For America, the dialog went something like this:

Gal Gadot, from a Russian fashion shoot.

NEIL CAVUTO: Wonder Woman is out in theaters right now. Some are calling it less American, Dion, because her outfit isn’t red, white, and blue, and, in order to appeal for foreign audiences, very little reference to America at all.

DION BAIA (guest): I think, nowadays, sadly, money trumps patriotism. Especially, recently, I personally feel like we’re not really very patriotic, the country, in a certain sense.

MIKE GUNZELMAN (guest): I think the Hollywood aspect, we see this time and time again, it’s cool to hit America these days.

It’s a shame neither Baia nor Gunzelman were aware that, by definition, the United States was not the only nation fighting the bad guys in World War I. You know, the war to end all wars that didn’t end all wars. Or any. Perhaps they didn’t notice that (very minor spoiler alert) the villain of the piece was a lot more British than Princess Diana was American.

Cavuto and company ascribe the motivation for the costume change to the desire for greater international sales. In a free market economy, one might think your basic rabid capitalist would consider that to be admirable. But, according to that same “logic”, the bad guys would not have been German. There are a lot of movie theaters in Germany. I suspect Wonder Woman will do as well there as just about anyplace else.

Come to think of it, Princess Diana hadn’t been to America before or during World War I. Prior to leaving Themyscira to risk her life in order to aid American Steve Trevor in his battle to save us all, it wasn’t established that she had even heard of the United States of America. Or Great Britain, for that matter. Hell, she had just heard about Germany. I guess they don’t get Fox News in Themyscira.

Or, more likely, Amazons are too heavily vested in that “truth” thing.

Box Office Democracy: Wonder Woman

It seems like incredibly faint praise but I should get it out at the beginning: Wonder Woman is the best film of the DC Extended Universe era.  That only means that it’s a coherent film with proper pacing and character work that doesn’t feel completely at odds with 80 years of published material.  It’s honestly hard to believe that the same studio was working on this gem at the same time they were shoveling Suicide Squad and Batman v Superman out the door. Wonder Woman is a triumph for DC and the kind of shining beacon for the future that I’m sure they will ignore for a grey and smokey Justice League later in the year.

The action beats in Wonder Woman are stellar. The sequence where she ditches her outerwear and uses her sword and shield to come over the top of a bunker and traverse the no man’s land is maybe the best action beat I’ve seen all year.  I’ll even give them bonus points for not underlining the potential word play.  The training montages on Themyscira are crowded without being cluttered.  They gesture to a frenetic martial lifestyle that I would love to see more of in a sequel. The mass action sequences are done so well that it’s a little disappointing to have the final battle be a kind of inscrutable one-on-one fight but that’s how these movies end. I would be in to the superhero movie where things are solved in an institutional manner or with one hero fighting an entire army, but it’s seemingly never been done and this was probably not the time to start.

Gal Gadot is perfect in the role of Diana Prince. She’s so good that it’s easy to forget all the times another actress seemed perfect for the part and DC squandered the opportunity by not making a movie out of this property in the last 25 years.  Her facial expressions are on point and she deftly handles the switch from a steely warriors gaze to befuddlement at the world outside her island.  I think “oh, I don’t understand this modern thing” might be a little overused here but it’s one of their only avenues for comedy and you wouldn’t want it to be just a movie about how terrible World War One is, we’ve had those movies and I personally don’t find them very interesting.  The rest of the cast is fine, I suppose. Chris Pine is punching a little above his weight here, or he’s criminally underused in the Star Trek movies.  Robin Wright and Connie Nielsen are great as Antiope and Hippolyta respectively, but with such vanishingly small amounts of screen time.

I struggled a bit with World War I as a setting.  In the comics Wonder Woman has all the Hitler-punching bonafides as Captain America does, and moving to a war with a less certain, less reviled, adversary takes some of that oomph out of things.  It’s easy for Diana to hate Nazis and slightly harder for her to hate too many convoluted political alliances.  It serves the story (the suspicion of Ares’ involvement might seem too overt in WWII) but I spent a lot of time wondering when things might get turned up a little.  I’m here to see Diana smash tanks and fight against unstoppable odds (present in this film for sure) and less here for her infiltrating a ball or shopping in a very standard version of London (also unfortunately present).

I enjoyed Wonder Woman a great deal, but that’s not really what’s most important here.  I have watched my Facebook feed fill up all weekend with raves from women I know thrilled to see a superhero movie that speaks to them.  I have to believe them that this movie is something special above and beyond my appreciation of it on a surface level.  That people feel heard and represented by a movie is more important than any quibbles I might have over the depth of the supporting cast or how uninteresting I find World War I as a setting.  I thought Wonder Woman was good, all these people thought it was real, and given the circumstances I’m going to go with them on this one.

If it’s Tuesday, it must be time for Green Arrow Season 5 on DVD

BURBANK, CA (June 06, 2017) – Just in time for Arrow’s sixth season on The CW, viewers can catch up with the thrilling series as Warner Bros. Home Entertainment releases Arrow: The Complete Fifth Season on Blu-rayTM and DVD on September 19, 2017. Averaging 3 million viewers weekly for each original episode, Arrow is the #2 series on The CW season to-date amongst Adults 18-34, behind only The Flash.* The release contains all 23 exhilarating episodes from the fifth season, the show’s 2016 Comic-Con Panel, never-before-seen featurettes, and much more. Arrow: The Complete Fifth Season is priced to own at $49.99 SRP for the DVD and $54.97 SRP for the Blu-ray which includes a Digital Copy. Arrow: The Complete Fifth Season is also available to own on Digital HD via purchase from digital retailers.

*Source: Nielsen National TV View Live + 7 Day Ratings, excluding repeats, specials, and <5 telecasts; 16-17 Season To-Date = 9/19/16-1/22/17

In Season Five, newly appointed Mayor Oliver Queen finds himself challenged as he fights on two fronts for the future of Star City. With his right hand, John Diggle, back in the military and his sister Thea adamant about hanging up her vigilante hood as Speedy, Team Green Arrow is down to just Oliver and Felicity – but they’re no longer the only vigilantes in town. Green Arrow’s public defeat of Damien Darhk at the end of Season Four has inspired a new crop of masked heroes to step up and defend the city, though their painful inexperience makes them obstacles rather than allies in the field. The arrival of a deadly new adversary will force Oliver to confront questions about his own legacy, both as mayor and as the Green Arrow.

“After five strong seasons, Arrow remains one of the most talked-about shows on the air,” said Rosemary Markson, WBHE Senior Vice President, Television Marketing. “The loyal fan base will enjoy the special features, in addition to the 23 gripping episodes following new challenges and new characters.”

With Blu-ray’s unsurpassed picture and sound, Arrow: The Complete Fifth Season Blu-ray release will include 1080p Full HD Video with DTS-HD Master Audio for English 5.1. The 4-disc Blu-ray will feature a high-definition Blu-ray and a Digital Copy of all 23 episodes from Season Five.

Arrow stars Stephen Amell (Private Practice), David Ramsey (Blue Bloods, Dexter), Willa Holland (The O.C.), Emily Bett Rickards (Brooklyn), Echo Kellum (Sean Saves The World), with Josh Segarra (Sirens, Chicago P.D.) and Paul Blackthorne (The River).  Based on the characters from DC, Arrow is produced by Bonanza Productions Inc. in association with Berlanti Productions and Warner Bros. Television, with executive producers Greg Berlanti (The Flash, Supergirl, Blindspot), Marc Guggenheim (DC’s Legends of Tomorrow), Andrew Kreisberg (The Flash, Supergirl), Wendy Mericle (Desperate Housewives) and Sarah Schechter (The Flash, Supergirl,Blindspot).

BLU-RAY & DVD FEATURES

·         Arrow: 2016 Comic-Con Panel
·         The New Team Arrow
·         Allied: The Invasion Complex (Arrow)

  • Returning to the Roots of Arrow: Prometheus

·         Deleted Scenes
·         Gag Reel

23 ONE-HOUR EPISODES

  1. Legacy
  2. The Recruits
  3. A Matter of Trust
  4. Penance
  5. Human Target
  6. So It Begins
  7. Vigilante
  8. Invasion!
  9. What We Leave Behind
  10. Who Are You?
  11. Second Chances
  12. Bratva
  13. Spectre of the Gun
  14. The Sin-Eater
  15. Fighting Fire With Fire
  16. Checkmate
  17. Kapiushon
  18. Disbanded
  19. Dangerous Liaisons
  20. Underneath
  21. Honor Thy Fathers
  22. Missing
  23. Lian Yu

DIGITAL HD

The fifth season of Arrow is also currently available to own on Digital HD. Digital HD allows consumers to instantly stream and download all episodes to watch anywhere and anytime on their favorite devices.  Digital HD is available from various digital retailers including Amazon Video, CinemaNow, iTunes, PlayStation, Vudu, Xbox and others. A Digital Copy is also included with the purchase of specially marked Blu-ray discs for redemption and cloud storage through participating UltraViolet retail services including CinemaNow, Vudu and Flixster Video.

BASICS

Street Date: September 19, 2017
BD and DVD Presented in 16×9 widescreen format
Running Time: Feature: Approx 1012min
Enhanced Content: Approx 78 min

DVD

Price: $49.99 SRP
5 DVD-9s
Audio – English (5.1)
Subtitles – ESDH, Spanish, French

BLU-RAY

Price: $54.97 SRP
4-Disc Elite
BD Audio –DTS-HD Master Audio 5.1 – English
BD Subtitles – ESDH, Spanish, French

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