Arrow: Season 4, Episode 6 - "Lost Souls"

Richard Giraldi

Ray Palmer is alive and in trouble, but does Oliver even care?


Airtime: Wednesdays, 7pm
Cast: Stephen Amell, Katie Cassidy
Subtitle: Season 4, Episode 6 - "Lost Souls"
Network: CW
Air date: 2015-11-11

“Lost Souls” is primarily about Felicity Smoak (Emily Bett Rickards), and her relationship with Oliver Queen (Stephen Amell). So far in season four, it’s been quite peachy between the two, known to many as “Olicity”, but in this episode they hit their first real rocky patch.

After deciphering a coded message in her phone, Felicity, with help from Curtis Holt (Echo Kellum), finds out that not only is her former love interest Ray Palmer (Brandon Routh), a.k.a. The Atom, alive, but he’s also in trouble. When Felicity tells Oliver, he’s pretty nonchalant about the news. Oliver pretty much tells Felicity that he’ll handle it later.

Felicity doesn’t take Oliver’s rebuffing well. She let’s him know that his apathy towards finding and helping Ray is wrong, especially since Ray has been alive and in trouble for months when Olicity were off traveling the world. Felicity begins to think that maybe she’s "lost" herself by being with Oliver.

But Oliver’s lackadaisical attitude towards the situation changes when he discovers that Damien Darhk (Neal McDonough) is holding Ray prisoner. Plus, the explosion at Palmer Technologies at the end of last season was Ray messing with his A.T.O.M. exosuit’s shrinking functionality, which results in him now being only a few inches tall.

Oliver and the rest of Team Arrow, including Sara Lance (Caity Lotz) fresh off her soul restoration, infiltrate Darhk’s hideout. The action sequence that follows is fun to watch thanks to some nifty choreography and clever camerawork. Meanwhile, Oliver allows himself to get captured by Darhk as a diversion while the rest of Team Arrow take out the Ghost soldiers.

While Darhk thinks he has Green Arrow right where he wants him, he soon realizes his error and flees. A short time later, Team Arrow reach Ray and, after some quick troubleshooting, enlarge and rescue him. Later, following a heart-to-heart with her mother, Felicity smoothes things out with Oliver, and Olicity lives on for another day.


Ray Palmer is back, and that’s exciting. He adds a certain boyish charm to the show that’s absent from the other characters. It’s intriguing how much of Arrow and The Flash this season are essentially working to set up the upcoming Legends Of Tomorrow series.


Speaking of Legends Of Tomorrow, another member of that show’s team, Sara Lance, a.k.a. White Canary, is done with Star City. After the team spent the last few episodes bringing her back to life, Sara seems to be suffering from the same murderous bloodlust that infected Thea. This causes Sara to violently break the neck of a Ghost during Team Arrow’s mission to rescue Ray. She tells the team that she needs some time to herself and has decided to leave Star City. It leaves an empty feeling knowing how much time and energy this season has spent dealing with her character’s resurrection, and she ends up leaving before this "new" Sara really has time to develop into anything interesting.

Felicity was completely right to be upset at Oliver for brushing off the news of Ray’s fate. It’s odd considering that, if Felicity told the same thing to, I don’t know, Batman, I’m sure the caped crusader would have leapt into action. Ray is an ally in their quest to save Star City, and Oliver’s "we’ll handle this later" reaction seemed very un-superhero-like.


Felicity’s mom, Donna Smoak (Charlotte Ross), shows up this episode for some reason. The cameo isn’t too painful as she’s primarily involved in the Olicity storyline, but Donna ends up flirting with Captain Lance (Paul Blackthorne) in a bar at the end. If this leads to a romance between the two, that would be very weird and unnecessary.

Speaking of unnecessary romances, Thea’s bloodlust storyline seems to have faded into memory. In this episode, she pretty much spends her brief screen time flirting with Oliver’s new political advisor. But is this new political advisor to be trusted? I have my doubts.

The flashbacks were actually entertaining in this episode. It seems that those drug lords might be after something other than drugs, perhaps something supernatural. Oliver kills a worker, who was likely ordered to attack Oliver, and is caught literally red-handed. With no ally left on the island after John Constantine’s (Matt Ryan) departure, it's going to be tough for Oliver to get out of this predicament.


The year in song reflected the state of the world around us. Here are the 70 songs that spoke to us this year.

70. The Horrors - "Machine"

On their fifth album V, the Horrors expand on the bright, psychedelic territory they explored with Luminous, anchoring the ten new tracks with retro synths and guitar fuzz freakouts. "Machine" is the delicious outlier and the most vitriolic cut on the record, with Faris Badwan belting out accusations to the song's subject, who may even be us. The concept of alienation is nothing new, but here the Brits incorporate a beautiful metaphor of an insect trapped in amber as an illustration of the human caught within modernity. Whether our trappings are technological, psychological, or something else entirely makes the statement all the more chilling. - Tristan Kneschke

Keep reading... Show less

Electronic music is one of the broadest-reaching genres by design, and 2017 highlights that as well as any other year on record. These are the 20 best albums.

20. Vitalic - Voyager (Citizen)

Pascal Arbez-Nicolas (a.k.a. Vitalic) made waves in the French Touch electro-house scene with his 2005 debut, OK Cowboy, which had a hard-hitting maximalist sound, but several albums later, Voyager finds him launching into realms beyond at his own speed. The quirky, wallflower vocals and guitar snippets employed throughout Voyager drop a funk that brings to mind WhoMadeWho or Matthew Dear if they had disco-pop injected between their toes. "Levitation" is as pure a slice of dance floor motivation as theoretically possible, a sci-fi gunfight with a cracking house beat sure to please his oldest fans, yet the album-as-form is equally effective in its more contemplative moments, like when Miss Kitten's vocals bring an ethereal dispassion to "Hans Is Driving" to balance out its somber vocoder or the heartfelt cover of "Don't Leave Me Now" by Supertramp. Voyager may infect you with a futuristic form of Saturday Night Fever, but afterwards, it gives you a hearty dose of aural acetaminophen to break it. - Alan Ranta

19. Antwood: Sponsored Content (Planet Mu)

Sponsored Content is a noisy, chaotic, occasionally beautiful work with a dark sense of humor that's frequently deployed to get Antwood's point across. For instance, throughout the aforementioned "Disable Ad Blocker", which sounds mostly like the creepy side of Tangerine Dream's early '80s experimental output, distorted slogans and recognizable themes worm their way into the mix. "I'm Loving It", we hear at one point, the Sony PlayStation startup music at another. And then there's a ten-second clip of what sounds like someone getting killed in a horror movie. What is there to make of the coexistence of those sorts of samples? Probably nothing explicit, just the uneasiness of benign and instantly-recognizable brand content in the midst of harsh, difficult art. Perhaps quality must to some extent be tied to sponsorship. That Antwood can make this point amidst blasts and washes of experimental electronic mayhem is quite the achievement. - Mike Schiller

18. Bonobo - Migration (Ninja Tune)

Although Bonobo, a.k.a. Simon Green, has been vocal in the past about not making personality driven music, Migration is, in many respects, a classic sounding Bonobo record. Green continues to build sonic collages out of chirping synths, jazz-influenced drums, sweeping strings and light touches of piano but on Migration sounds more confident than ever. He has an ability to tap into the emotions like few others such as on the gorgeous "Break Apart" and the more percussive "Surface". However, Bonobo also works to broaden his sound. The electro-classical instrumental "Second Sun" floats along wistfully, sounding like it could have fit snugly onto a Erased Tapes compilation, while the precise and intricate "Grains" shows the more intimate and reflective side of his work. On the flipside, the higher tempo, beat driven tracks such as "Outlier" and "Kerala" perfectly exhibit his understanding of what works on the dance floor while on "Bambro Koyo Ganda" he even weaves North African rhythms into the fabric. Migration is a multifaceted album full of personality and all the better for it. - Paul Carr

17. Kiasmos - Blurred EP (Erased Tapes)

The Icelandic duo of Olafur Arnalds and Janus Rasmussen, aka Kiasmos, is a perfect example of a pair of artists coming from two very different musical backgrounds, finding an unmistakable common ground to create something genuinely distinctive. Arnalds, more known for his minimal piano and string work, and Rasmussen, approaching from a more electropop direction, have successfully explored the middle ground between their different musical approaches and in doing so crafted affecting minimalist electronic music. Blurred is one of the most emotionally engaging electronic releases of the year. The duo is working from a refined and bright sonic palette as they consummately layer fine, measured sounds together. It is an intricate yet unforced and natural sounding set of songs with every song allowed room to bloom gradually. - Paul Carr

16. Ellen Allien - Nost (BPitch Control)

BPitch boss and longtime lynchpin of the DJ scene in Berlin, Ellen Allien's seven full-length releases show an artist constantly reinventing herself. Case in point, her 2013 offering, LISm, was a largely beat-less ambient work designed to accompany an artsy dance piece, while its follow-up, 2017's Nost, is a hardcore techno journey, spiritually born in the nightclubs and warehouses of the early '90s. It boasts nine straight techno bangers, beautifully minimalist arrangements with haunting vocals snippets and ever propulsive beats, all of which harken back to a hallowed, golden, mostly-imagined age when electronic music was still very much underground, and seemingly anything was possible. - Alan Ranta

It's just past noon on a Tuesday, somewhere in Massachusetts and Eric Earley sounds tired.

Since 2003, Earley's band, Blitzen Trapper, have combined folk, rock and whatever else is lying around to create music that manages to be both enigmatic and accessible. Since their breakthrough album Furr released in 2008 on Sub Pop, the band has achieved critical acclaim and moderate success, but they're still some distance away from enjoying the champagne lifestyle.

Keep reading... Show less

Aaron Sorkin's real-life twister about Molly Bloom, an Olympic skier turned high-stakes poker wrangler, is scorchingly fun but never takes its heroine as seriously as the men.

Chances are, we will never see a heartwarming Aaron Sorkin movie about somebody with a learning disability or severe handicap they had to overcome. This is for the best. The most caffeinated major American screenwriter, Sorkin only seems to find his voice when inhabiting a frantically energetic persona whose thoughts outrun their ability to verbalize and emote them. The start of his latest movie, Molly's Game, is so resolutely Sorkin-esque that it's almost a self-parody. Only this time, like most of his better work, it's based on a true story.

Keep reading... Show less

There's something characteristically English about the Royal Society, whereby strangers gather under the aegis of some shared interest to read, study, and form friendships and in which they are implicitly agreed to exist insulated and apart from political differences.

There is an amusing detail in The Curious World of Samuel Pepys and John Evelyn that is emblematic of the kind of intellectual passions that animated the educated elite of late 17th-century England. We learn that Henry Oldenburg, the first secretary of the Royal Society, had for many years carried on a bitter dispute with Robert Hooke, one of the great polymaths of the era whose name still appears to students of physics and biology. Was the root of their quarrel a personality clash, was it over money or property, over love, ego, values? Something simple and recognizable? The precise source of their conflict was none of the above exactly but is nevertheless revealing of a specific early modern English context: They were in dispute, Margaret Willes writes, "over the development of the balance-spring regulator watch mechanism."

Keep reading... Show less
Pop Ten
Mixed Media
PM Picks

© 1999-2017 All rights reserved.
Popmatters is wholly independently owned and operated.