Sometimes it’s Wednesday, and you have a sore throat, so you decide to work from home—and turns out one of your best friends lives five blocks away and is also at home for the day. So what do you do? You turn your Netflix-enabled TV to The CW’s Arrow—and promptly get hooked for the next coughcough episodes. For those of you who, like me, don’t know much about the comic-book universe, the show is based on the Green Arrow, a DC Comics superhero who was born in the 1940s as a Robin Hood riff on Batman: billionaire, troubled past, but sick archery skills and a hood instead of the cape.
Arrow has all the CW hallmarks—mediocre acting, overly dramatic entrances and exits, mind-bogglingly pretty people (seriously, Google “Stephen Amell shirtless” and just try to disagree)—but it’s extra interesting for a few reasons. For one, the production value is impressively high: Every episode packs in several hyper-speed fight sequences and at least one flashback to a Lost-esque desert island. But what I find most intriguing is the presence of several seemingly well-rounded, independently motivated female characters. There’s Moira, the mother, a stiff-upper-lip businesswoman with a complicated love life and a shady past re: her son and first husband. There’s the wannabe-rebel sister Thea, and maybe it’s just my soft spot for Willa Holland from her O.C. days, but I find she brings an appealing level of prickly vulnerability to what could be a cookie-cutter bratty teen character. There’s the tech wiz Felicity, who’s as ramblingly chatty as she is fast with a computer (and gray with her morals). And there’s Helena/the Huntress, equally complicated as Oliver but even more driven, and somehow not completely blinded by his astoundingly chiseled jaw. And there’s the dud of a character Laurel, a holier-than-thou attorney (“attorney” is shorthand here for “crusader for the disadvantaged”) who is basically the even-drippier version of Katie Holmes’s character in Batman Begins: insufferable yet still total billionaire catnip (Laurel has not one but three vying for her affections so far).
It’s refreshing because so often in comic book works, women are relegated to the sidelines, to being sidekicks, to being the ones who henpeck their mysterious men for the mundane lies they use to excuse a higher purpose. There’s plenty of that in Arrow, to be sure, a kink I hope gets ironed out further in—but it also presents what, at first glance, are women outside the usual tropes. Still, when I think about it, it becomes glaringly apparent that seven and a half episodes in, not one scene has passed the Bechdel test. Luckily the show has several more seasons to redeem itself in that regard.