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Constantine, Ep. 1.11 to 1.13 develops cast, but has plot hiccups

Even though it is riddled with plot inconsistencies and even some slasher film/supernatural show cliches, Constantine starts to find itself as a show in its final three episodes as it embraces being a mythology lite, episodic show with a few season finale reveals and plot threads that could expand its universe and heighten the threat level of the Rising Darkness from being a silly name that occasionally, almost does something bad every other episode. But its biggest strength going forward is its small, morally ambiguous ensemble cast that really benefited from showcase episodes like “Quid Pro Quo” (for Chas) and “Angels and Ministers of Grace (for Zed and Manny) down the stretch. If it continues (either on NBC or as SyFy’s Hellblazer), Constantine has a solid foundation with these characters and actors along with sense of atmosphere and setting in most episodes.

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Constantine, Ep. 1.05, “Danse Vaudou” spreads its plot a little thinly

At first, “Danse Vaudou” seems like a supernatural murder mystery with some added flavor from Emmett Scanlan’s Southern-fried police detective Jim Corrigan, but writer Christine Boylan’s script quickly takes a turn for the better by connecting the case of the week to the personal lives of the victims as well as of John Constantine himself, Zed, and Papa Midnite. The episode uses New Orleans’ voodoo tradition as well as jazz and reggae music to drive the plot and differentiate it from the other settings Constantine and Zed have investigated throughout the series.

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