by Graham Osborne
Things are growing dark for Constantine, both in the series and the real world. Last week saw the lowest ratings since episode two, further hinting at the show getting canned after its initial run. Fortunately for us, until then, the show will continue airing and we can watch more of our favourite magician and his cadre of friends.
Things are growing dark for Constantine, both in the series and the real world. Last week saw the lowest ratings since episode two, further hinting at the show getting canned after its initial run. Fortunately for us, until then, the show will continue airing and we can watch more of our favourite magician and his cadre of friends.
This week’s episode found “The Rising Darkness” attempting to flex their muscles by sending a number of victims in New York into a coma, although the specific reasons why are left unexplained throughout the episode. The curse eventually reaches the daughter of Chas, prompting Constantine and Co. to action.
Quid Pro Quo is a problematic episode. Aside from the reasons behind the attack remaining nothing more than vague background noise, the attempts at garnering sympathy with the characters by including Chas’ daughter within the victims feels crass and cheap. The fact that this is the first time that any meaningful reference has been made about his daughter, aside from a single throwaway line excusing Charles Halford from appearing in an episode, doesn’t help much either. The imperilment of a child is a useful plot-device if done well. However, applying this to a child that has received no screen time prior to the event, and seems unlikely to have any more before the series finishes, doesn’t really have the same impact as someone who’s had their character built up over the course of the series. Granted, Halford gets to display a wide variety of emotions, and does so with ease, but the plot point itself felt belaboured.
Quid Pro Quo is a problematic episode. Aside from the reasons behind the attack remaining nothing more than vague background noise, the attempts at garnering sympathy with the characters by including Chas’ daughter within the victims feels crass and cheap. The fact that this is the first time that any meaningful reference has been made about his daughter, aside from a single throwaway line excusing Charles Halford from appearing in an episode, doesn’t help much either. The imperilment of a child is a useful plot-device if done well. However, applying this to a child that has received no screen time prior to the event, and seems unlikely to have any more before the series finishes, doesn’t really have the same impact as someone who’s had their character built up over the course of the series. Granted, Halford gets to display a wide variety of emotions, and does so with ease, but the plot point itself felt belaboured.
The episode also explored more of Chas and Constantine’s backstory, specifically how Chas got his “survival skills.” The discovery of this trait helps to give a more noble edge to Chas as well as explaining why he is the only member of the group from Newcastle to still stay with him through everything that has happened. The final scene with him and his daughter is a very touching moment, and manages to make up some of the ground lost by using her as the plot-device.
Constantine seems to be losing heart. The show was growing in strength, but the last two episodes have waned once again. It almost seems as if the break over the Christmas period caused more harm than it should have done. Of course, if all seems lost, why not check out episode one of John Con Noir, a stop-motion animation of Constantine’s attempts to find the show’s creators.
Constantine seems to be losing heart. The show was growing in strength, but the last two episodes have waned once again. It almost seems as if the break over the Christmas period caused more harm than it should have done. Of course, if all seems lost, why not check out episode one of John Con Noir, a stop-motion animation of Constantine’s attempts to find the show’s creators.
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