YE BE WARNED: ARROW 2×20 SPOILERS AHEAD, MATEY.

I have never read any of The Flash’s comics. Frankly, the only thing I ever knew about The Flash was that he had a red costume with a lightning bolt and was part of the DC Universe. But that didn’t stop me from Googling until I could Google no more when ARROW made the announcement that they would introduce The Flash during Season 2 to promote his Fall 2014 spin-off. As expected, the comicfans already can’t stand the actor [Grant Gustin] that’s been cast, and although I think he’s the most precious of all the adorables I can totes understand why others may not be thrilled. However my big (and really my only) problem with this situation is: Is it really necessary for another superhero show?

SMALLVILLE, bless its heart, lasted for ten seasons. It was a fantastic run of a [mostly] wonderful show (seasons 6 & 7 did drag quite a bit) and when it ended you felt really good about it. Maybe a little shaky about the resistance and ultimate denial of giving the audience one look at Superman in all his spandex-glory, but confident that Clark Kent was moving on to do great things.

Now, with the emergence of superhero and comic-film branding taking over cinema, the push to bring our heroes to the small screen is growing, and fast. With ARROW debuting last year, it had a pretty slow start but thankfully has blossomed into a show that’s found its feet with a great cast of colorful characters (no thanks to the Lance Ladies), and such deliciously tormented villains that you can’t help but (SPOILERS!) mourn the murder of Mrs. Moira Queen. A believable blend of humans, science and super-powers, ARROW does not leave you wanting. Thus far we’ve had a phenomenal introduction of so many heroes and villains including Deadshot, the Black Canary, Sebastian Blood, Huntress/Helena Bertinelli and let’s never forget the terrifying Clock King (Robert Knepper is the MAN).

ARROW, in combination with AGENTS OF S.H.I.E.L.D. (as much as possible, anyway) has fulfilled my necessary addictions to superhero drama while I [im]patiently await the next big-budget-blockbuster to come smashing into theatres (I also have a tendency to re-watch films many, many times over which does wonders for the cravings). But now, with the addition of both GOTHAM and THE FLASH hitting our idiot-boxes this fall [Ed. Note: Not to mention POWERS, HEROES 2.0, Marvel’s DEFENDERS, CONSTANTINE, maybe PEGGY CARTER, PREACHER, HOURMAN], I have to wonder when enough will be enough. Now I love super-heroes as much as any nerd, but having them forced on me from every direction is going to wear out its welcome real soon.

For now folks can’t get enough of these caped crusaders, but just like the vampire obsession that’s finally coming to a close after damn near 10 years, pretty soon it’s going to start feeling like we’re beating a dead horse. We’ve got superheroes in movies, on TV, in comics and graphic novels, what’s next? Are we going to start doing radio-spots and audio productions?

Honestly, it almost feels like I’m betraying myself by saying “Enough superheroes!” but the more the studios capitalize on them, the less special they become. Fifteen years ago it was a huge, monumental moment in a geek’s life that the X-Men were getting a live-action film, and now the studios will produce anything they can get their hands on (unless it’s a super-heroine, of course.) Yes, we love the AVENGERS and X-MEN franchises, Nolan’s BATMAN was a trilogy to stop the heart, and I think that with a little (or a lot) more love Snyder’s SUPERMAN could be a fearsome thing to behold… But do we really need every hero ever to get their own show or movie? Where do we draw the line?

Of course I’m going to watch all these new hero shows and I probably couldn’t stop myself from seeing all the upcoming movies even if I tried, but my logic-brain is feeling overwhelmed, angry and disappointed that instead of picking and choosing the best of the best to breathe life into, we’re giving away studio money to characters that don’t really need it. The Flash may be an interesting, dynamic character, but I’m not convinced that he needs his own show. Would I feel differently if that spot was being given to Poison Ivy or any of the four versions of Huntress? Probably, yes. That show would be something new, exciting and courageous; something that people wouldn’t be expecting or even really know that they wanted until it happened [Ed. Note: WB’s BIRDS OF PREY did happen, unfortunately]. It wouldn’t be just another superhero television series, but an introduction to a new breed of comic adaptation that we haven’t seen standing alone in 25 years: namely, the female kind.

But really, the issue here is not about gender of character, it’s about the fact that superheroes are becoming a dime-a-dozen instead of the rare gem they should be, and it’s time to pump the brakes, hang up the cape, and get back to producing original (or just non-comic) media for a little while. It may not be a surefire money-maker, but a little deprivation will go a long way in reinvigorating that crack-cocaine, uncontrollable need for our leather-clad lovers to get back into their suits.

Toss the needle and flush the drugs, y’all. Let’s all take a deep breath (but please don’t hold it) and revisit this superfad of superheroes in a few years’ time.

The UK has been the stomping ground for some of the best science fiction the world has to offer. A CLOCKWORK ORANGE, V FOR VENDETTA, THE HITCHHIKER’S GUIDE TO THE GALAXY, RED DWARF, H.G. Wells’ TIME MACHINE, WAR OF THE WORLDS and INVISIBLE MAN, and of course DOCTOR WHO. Probably nothing in the genre is more profound or influential than Aldous Huxley’s BRAVE NEW WORLD, as every sci-fi movie features shades of that classic. The UK science fiction film THE MACHINE seeks to join the ranks.

THE MACHINE has whispers of Huxley’s influence, of course, but really, most of its inspiration comes from Ridley Scott’s BLADE RUNNER (adapted from Philip K. Dick’s landmark short story, “Do Androids Dream of Electric Sheep?”). THE MACHINE, written and directed by Caradog W. James (LITTLE WHITE LIES), posits a future where a Cold War with China has steeped western civilization into the deepest recession in history. Instead of a space race, or an arms race, the world is embroiled in a contest to create the first fully self-aware artificial intelligence. Enter brilliant computer programmer Vincent (BLACK SAILS’ Toby Stephens), under contract for the Ministry of Defence, trying to do just that.

We’ve gone down this road many times in the annals of sci-fi, but thankfully, THE MACHINE has a few new wrinkles and a slightly different take on the outcome.

Vincent is posited as a genius, and the only evidence we see of that is his frequent usage of the Turing Test, an experiment to determine whether a machine exhibits intelligent behavior. It isn’t until he stumbles upon Ava’s work, an American computer programmer whose program comes the closest to passing the Turing Test of anyone he’s administered, that they’re able to fashion a machine that (who?) is self-aware.

Before Ava comes on board to work for Vincent, we see many of the failed trials, as one android responds murderously to his line of questions, killing his poor assistant. It seems Vincent is blind to the dangers, and might be just as evil as his superiors, represented by Thomson (the excellently understated Denis Lawson, AKA WEDGE ANTILLES!!!). But really, he made a deal with the devil in order to save Mary’s life, his mentally handicapped daughter, who suffers from Red Syndrome. In artificial intelligence, he sees an avenue to repair the damage done to her brain, and allow her to outlive her frail and failing body.

Vincent has saved many lives through his experiments, repairing their war-addled brains with implants, but the survivors become mute afterwards, and merely used as guards around the base. It’s clear that these mute Implant guards have a portentous plot up their sleeves, especially when you take a peek at Thomson’s aide Suri (above, Pooneh Hajimohammadi) and the lot speak in some unique language of their own making on the sly. Plus, the bald and scarred guards look far too cool to just be set dressing.

Vincent doesn’t ask any questions of Thomson and the MoD, but Ava (ARROW’s Caity Lotz) is different/a normal inquisitive person. James (RESURRECTION’s Sam Hazeldine), a “patient,” secretly warns her that he’s being held captive, and that she must flee. Next thing you know, Thomson has orchestrated Ava’s murder. Because Vincent and Ava have “fallen in love” (?), and let’s be honest Vincent is a little creepy, when he activates Quantum, the first self-aware machine, he models her/it after Ava.

Through her work on ARROW as the Canary, Caity Lotz has quickly established herself as one of the most physical and badass young actresses in Hollywood. That reputation only grows with THE MACHINE, as she plays a wide eyed, loving and conscientious, but unsettling and dangerous machine capable of almost anything. Lotz toes the line between creepy and endearing quite well in the role, necessary because we never know what she’s truly thinking (or if she’s capable of such wide ranging thought).

In Ava, Vincent sees the future, as Thomson merely sees a weapon that can turn the tide in an all-out war that’s brewing. The two jockey for the Machine’s allegiances, each training them differently and separately, until they finally reach a crescendo of conflict by the end, as Vincent finally rages against the real Machine, the government.

I loved the idea of a Cold War with China, and a race for intelligent machines, and wished we got more of a glimpse into this dystopian future. Instead, we’re almost primarily stuck in the dark, dank confines of Vincent’s lab and the shadowy MoD station.

THE MACHINE reiterates the dangers of artificial intelligence, but mostly harps on the evils of government and control, and the potential that self-aware machines have, and what amazing things the technology could accomplish. Its message is hardly revolutionary, or new, but thanks to Caity Lotz’s convincing turn as the titular android, the Implants, and some cool visuals and flairs, THE MACHINE is a worthy sci-fi entry from Caradog W. James and company.

THE MACHINE is available on iTunes VOD now, and arrives in theatres on April 25^th.