Lorenzo has issues with the Vatican and the evil Pope Sixtus IV who arranged the assassination of the Duke of Milan. Sixtus IV is philandering personified and there are mutterings about the Vatican spy in Florence, the mysterious Turk and The Book of Leaves. No ambiguities here, Sixtus IV is evil.
Leonardo cavorts, has utter self-determination and acts like he was stricken with something. He has too much exhilaration, dreams of caves and screams about how his mind is driving him mad. His exuberance does not make him likeable. He is the bastard son of Lorenzo’s notary, Lorenzo looks like Wayne Rooney after a bender. Leonardo wants Lorenzo’s mistress who is glamorised and does not look like a walking STD. Will she be the subject for the Mona Lisa?
Nobody talks normally on this show. The Bonfire of the Vanities has not yet happened. Leonardo has an ego and talks with lots of capital letters. His father is an ignorant hillbilly. There is a lot of conspicuous CGI to recreate the Renaissance cities but it works. Leonardo meets the Turk (Alexander Siddig of 'Star Trek: Deep Space Nine'’ and ‘Kingdom of Heaven’) and does drugs with him. Leonardo is no shirker, the Turk goes on and on about the Sons of Mithras, suppressed knowledge in the Book of Leaves, the Vatican Secret Archives and time travel.
There is a mystery about Leonardo’s mother and a cave. Leonardo thinks about finding the Book of Leaves in between designing a tank for Lorenzo, watching his clockwork dove fly around at carnival and bedding Lorenzo’s mistress. This was okay with loads and loads of characters. Leonardo really should be warier about who he associates with. This was unrealistic and I’m not overwhelmed but I’ve the impetus to watch more of the danger and turmoil of Florence.
“History is a life.”
“Some doorways lead into darkness.”
“What day is it today?”
“At ease people, I’ve arrived.”
“Anywhere else, we’d just be burnt at the stake for our efforts. Here I’m just another free thinking heretic.”
“Desperate is a strong word.”
“Just pay the degenerate.”
“Move along vermin.”
“Go peddle your wares with Botticelli.”
“Bring your fruit and small stones.”
Sara is not poised as she is jealous of the combative and pugnacious Helena. A trap fails to spring, Helena takes hostages and it is a tumultuous night in Starling City. Oliver is an unapologetic throwback. It is improbable that Quentin does not know. The other cops aren’t too fond of freaks with masks.
Roy is not composed; Thea gives him uncritical support until he fakes cheating. Laurel does not recognise Sara because of a tiny domino mask and ratty wig. Laurel makes it all about her, its ceaseless isn’t it? Oliver is unimaginably grievously unpragmatic. Helena has fabulous hair even during her fight scenes with the Canary. Laurel tries to reach Helena, it almost works.
There are unexpected plot developments. Can Helena reform? Laurel blackmails. Roy is cracking. Thea will break at some point and Slade proves to be smarter than anyone else. This was good; apart from uninteresting flashbacks that show Slade putting Oliver through the wringer. Why does Oliver hope to achieve by keeping Thea cloistered? What will become of the disposed and rattled Helena?
“I loved drinking more.”
“Don’t call me Speedy.”
“His completely psychotic daughter.”
“Feel free to swim back.”
“He’s in pain, yes.”
“I created the Huntress.”
“Are you one of the good guys?”
“Oliver sure does like to dress up his girls.”
“If they’re wearing a mask, they get a bullet.”
“I caught him with some slut.”