Birds of Prey
Sometimes, when it comes to adapting graphic literature for television, you have to get it horribly wrong in order to learn how to get it incredibly right.
When this column goes "live", the Legion of Super Heroes will be making a guest appearance on Smallville. Although there have been a lot of cameos by DC characters, there has been one character who has remained notably absent - Batman. Of course, given that attempts to create a series based on The Graysons have been scuttled, you would think that part of the issue might be the success of the recent Dark Knight movie...but it's probably a little more complicated than that. Mike Tollin, Brian Robbins (yes, the Head of the Class guy) and Joe Davola had attempted a Batman series earlier...or at least, a Batman like series.
It's name was Birds of Prey, and was televised during the 2002 television season. It has just been released on DVD. It was based somewhat on the comic book series, somewhat on the Batman mythos...and therein lies its problem, because although it's not a particularly bad series, it isn't a particularly good one. It's worth a glance on Netflix, but ultimately...it's a show that could (more than likely) easily be passed over. It's not as if they didn't have talent - the executive producer of the piece was Ron Koslow, probably best known for one of the first "cult" fantasy series of the 1980s (and one more recent cult series). But Birds of Prey, in many ways, is a show that never quite decides what it wants to be, or the tone it wants to take, and watching it can be simultaneously exciting and frustrating.
Part of it is the way they handle comic continuity - there are some nice fanboyish touches (like the Huntress being the daughter of Batman and Catwoman ), but it tends to waver dramatically. Instead of being a group of international troubleshooters, the BOP...fight crime in Gotham City (or "New Gotham", suggesting an earlier disaster reminiscent of No Man's Land). Rather than focus on being the more obsessive about comic continuity (some things actually work - like Dinah Lance being a teenager in the show, since it provides some necessary drama), I would rather focus on the tone - the show has a hard time deciding what kind of drama it wants to be. At times, it's a female-led metahuman action piece; at others, a straightforward crime drama...and then, there are moments when the Sarah McLachlan -esque acoustic balled is cued and the characters engage in a Dawson's Creek -style exploration of female relationships. It would be easy to lay blame at the feet of Laeta Kalogridis (who was responsible for another recent female-led action series), but that really would not be fair....
....because in much of the execution, there are some things that have to be seen to be believed. For example, the show takes Matrix-esque wire work to absurd new heights, becoming almost campy in tone. (Almost as if a studio executive insisted that a now dated Matrix reference would seem cool) The scripts range from often solid writing to...well, very much every cliche in the book. (Several books, if you take every genre that the show is attempting to reach). In addition, it seems as if it refuses to allow its female leads some degree of happiness; throughout the series is a tone that one cannot "lead the life" of a crimefighter without sacrificing something. (Perhaps it's because I'm a male, but sending a message that women not only can't have it all - but that they have to sacrifice - seems rather patronizing to me). The acting ranges from pretty good, actually (the main female leads and male lead) to slightly campy (you know, I know hanging with Ferris and Cameron would eventually break Mia Sara, but there's a difference between acting crazy and "acting" crazy....)
But the series is not all bad - there are some really cool moments throughout the series, and to be honest....the eye candy appeal isn't bad, either. I can see why Ashley Scott was chosen for Huntress - she has a very slight facial resemblance to a former Catwoman (although the design of characters harkens back to Batman Returns), and she plays the prodigal daughter rather well. Dina Meyer does a great job as Barbara Gordon/Oracle (although, admittedly, I think she's better in civilian clothes than in a Batgirl outfit...and she is my current crush du jour). For those who appreciate male eye candy, Shemar Moore does a pretty good job as Jesse Reese, the Gotham police detective who finds himself in an awkward partnership (which eventually blossoms and develops) with Huntress.
However, one can easily see why Alfred Millar and Miles Gough decided, with Smallville, to adopt a "no tights, no flights" policy, and created a series that was a teen angst version of Superman with a slight mix of X-Files. Much of Birds of Prey seems to arise out of an ambiguity - it can't decide how realistic - or comic book-esque - it wants to be. Smallville, despite its flaws, at least attempts an honest mixture of both, discaring some things and creating others. (Although, I'll be honest - my earlier opinions of Smallville still stand). But Birds of Prey is worth a view, if only to see how sometimes comic properties can be mangled in translation. (The pilot and premiere episode are definitely worth watching). So try renting it through Netflix...but it's the kind of show that you can pass on owning.
But I would love to hear your opinion - please join us in the TV Party forums. You're also more than welcome to come visit my blog for other comic, television, and related writings.
Until next month....let's keep watching!
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