Peacemaker: Season 2 has concluded. It was decent on the whole, with a cool glimpse into a zombie sector, a confirmation that Helloween is as big (or possibly bigger) than the Beatles (with Mick Jagger standing in lieu of John Lennon, no less), and the door being wide open for Season 3 (though only if James Gunn wants it). It even presented a path for the next Superman flick, among other Metahuman tangents, thanks in no small part to Frank Grillo's Rick Flagg Sr. and the Quantum's sardonic Planet Salvation, except that, within the season, a few things did come to vex me.
Regarding the season's more-or-less middle portion, the Nazi world, as it was revealed, upset the hell out of me, and its finer-detail rundown by Nhut Le's Judomaster didn't jive at all, or did it? We're talking an alternate reality, after all, where the variables are meant to be juggled and crossed, much like in the derisive (and divisive) The Boys and Gen V.
However, it's peculiar that a devotion in Christ would have prevailed in the Nazi-controlled realm, considering that many Nazis wanted Germany to return to its pagan-cultural roots. And yes, the idea of a Christmas tree emanated in Germany, but there came a point in the Third Reich (under the propagandized Julfest) when the ornamentation (along with pulp-hero magazines) was no longer respected (a lot like certain factions tend to besmirch Christmas traditions and two-fisted tales in current, western society). And why the hell was the Nazis' antisemitic vehemence not explored? There's something fishy (if not just plain neglectful) about that.
Despite this, I was glad to see Christopher Smith tap more of his inner hero, but I believe he could have done so without the dark, parallel world pressing him to do so. Seeing that he might be needed more in a dimension that didn't appreciate him would have been beyond profound, constituting a sacrifice that only a true, red-white-and-blue hero would make.
Anyway, at least Peacemaker did good where he could and made personal affairs count. His relationship with his parallel father, Auggie/Blue Dragon (Robert Patrick), and his all grown-up (and quite alive) brother, Keith/Captain Triumph (David Denman), was the most fascinating (and touching) part of the stretch, especially in the former's case. To see Auggie in a humanitarian mode was unexpected and nice, but cut way too short.
In the end, I suppose Season 2's Guardians of the Galaxy-type humor is what really saved the day (that assault of the "candy cane" creatures was a sidesplitter for sure), and yet because of its wee anomalies, I can't say I was always comfortable with the setup. I think there was a sneaky agenda at play there, and the more I consider it, the more it troubles me. Oh, well, maybe I can revisit and reconsider the situation later down the line. As with so many of these multilayered, superhero, alternate-reality sagas, re-analysis is mandatory.
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