The Husband:

I came into Smallville relatively late, and much like The Shield and Scrubs (which both started during the 2001-2002 television season), it was less due to lack of interest than it was that I didn’t actually have a TV that year. (I know, how horrible. But it was my freshman year, and the decision was made in order to help lessen my entertainment distractions so I could focus on my studies.) But also like those shows, I took the time during my first post-university year to Netflix the bejesus out of every one of their available seasons on DVD, and it was Smallville that I watched the quickest. I think I sped through the first four seasons in about a month, which my calculator tells me is 2.83 episodes a day. (I remember the month being March, so that was over 31 days.) While it took me well into the first season, maybe even the second, to really love the show, I figured out fairly quickly that it had a great deal of potential and ambition to rise above my initial reaction, which was to describe it as “basically just The O.C. with superpowers.”

By the time the fourth season rolled around (I had hated much of the beginning of the third season, what with Jonathan temporarily gaining superpowers to save Clark from wasting his life in Metropolis), I was absolutely hooked. I’m aware that this is not an opinion everyone shares, but s4 of Smallville is without question my favorite season of the show, where we not only are introduced to The Flash and Krypto the dog, but Lana gets possessed by her witch ancestor, Lois finally shows up in town (bye Pete), and Clark searches for those crazy-ass knowledge stones that finally allow him access to the Fortress of Solitude. As a matter of fact, the s4 finale, “Commencement,” is still one of my favorite television episodes of all time, what with its epic scope and probably Smallville’s best ever attempt at juggling multiple plots.

Where did this shows quality go?

Where did this show's quality go?

But let’s be honest – season seven sucked. It sucked hard. Everything that was bright and fresh and nostalgic about the show was lost to navel-gazing both figurative (Lex’s final fall into evil as he murdered his innocent child self in a vision) and literal (Laura Vandervoort as Kara/Supergirl, who I will agree is hot but also useless). It went far too deep into its soapy aspects and tried to sustain the Clark-Lana-Lex love triangle, one that had fizzed out seasons earlier, as well as made very awkward Chloe’s transition into a “meteor freak” and Lionel’s final stand before being murdered by Lex. Even James Marsters was wasted as Brainiac, one of the show’s best villains on previous seasons.

But what may have seemed catastrophic to some fans – Lex and Lana both leaving the show right after s7, as well as show creators Miles Millar and Alfred Gough – turned out to be what has saved the show from complete boredom and its fall from grace. Now primarily set in Metropolis, the show’s title has unintentionally taken on a new meaning as Clark’s nickname, and somehow losing the show’s creators has revitalized the characters and their personalities. (Besides, Millar and Gough seemed to be barely paying attention, what with their screenwriting career finally taking off.) The show decided to bring back Oliver Queen a.k.a. The Green Arrow, one of the best supporting characters, as well as introduces us to a very strange version of the villain Doomsday, now a paramedic with a blackout problem, a mysterious past and parents of the Zod variety. (While knowing a great deal about comic lore, I am not an avid reader, but I do own The Death Of Superman, which is where Doomsday figures in most heavily in the Superman arc, and I know he is not Zod’s son.)

And god, Lana’s ouster helped the most. I was actually done with Lana right around the middle of s5, and felt that Kristen Kruek’s continued existence on the show was only dragging out every single lame plot bit that didn’t involve her being a French witch. And with Lex gone, we can stop freaking out about the Luthors, as they are all but dead and the crux of the first several seasons – how Clark and Lex went from friends to mortal enemies – had resolved. Now Michael Rosenbaum is free to make Sorority Boys 2: Search For Barry Watson.

This season has finally answered many viewers’ prayers that the show would finally ease its way back into Superman lore, as now Clark and Lois are both working at the Daily Planet and are finally getting us up to speed to the real Supes stories. (Oh, and Chloe’s there too, but she’s too busy getting married to Jimmy Olsen to realize the intense sexual chemistry between Lois and Clark, which is far more potent than it was for several seasons between Dean Cain and Teri Hatcher.) Their cases are more or less interesting, and watching Clark having to struggle more and more with his two personalities is getting to be a real hoot.

Yes, the series has lost much of its seriousness that got me hooked in the first place, its real interest in its own storylines, but I appreciate the goofy quality of this season as opposed to the murky despair of the last 1.5 seasons. My third favorite episode (“Instinct”) of the season so far has also been its silliest, where an outer space queen named Maxima follows the crystal’s beacon to Earth in order to mate with Clark and his superpenis, but ends up kissing many a wrong man and either putting them into comas or killing them outright.

Likewise, my second favorite episode was “Identity,” where Clark and Oliver flip the script from a previous episode where Lois seems to be sure of Green Arrow’s identity only to be tricked when Clark pretends to be the Robin Hood-inspired hero, this time having Oliver pose as Superman so Jimmy, who got a flash of a picture of Superman (or he calls him, the Good Samaritan), doesn’t discover that Clark and Supes are the same person. That episode also had the first instance I can remember of Chloe using her Rogue-like powers (taking/giving health) for somewhat nefarious purposes, as she puts a meddling reporter into a coma.

On the flipside, I really did not like the final fall episode, “Bride,” a Cloverfield-inspired episode where we jump into the past to see how the strengthened Doomsday wreaks major havoc at the Chloe/Jimmy wedding and kidnaps dear Chloe.

But the best episode of the season has without question been “Abyss,” one of the show’s best ones in a very long time, where it gets all Eternal Sunshine as we jump inside Chloe’s brain and watch her memories quickly fade away (Brainiac has taken control of her mind, but not if Jor-El has anything to say about it). That episode is re-airing this Thursday, and it’s the first episode of this season that I will actually consider rewatching.

I hope that the show can continue down this more varied path, as it has recaptured my faith in its continued presence. (This is season 8, don’t forget. One further than Buffy.) The program has definitely had its ups and downs, but we’re on a pretty formidable upswing and I’m excited for the first time in a couple years for the next new episode midway through next month.

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