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Little of what he does here would work for years of Batman stories, but when thrown alongside the teeming masses of the other thousand, it stands in stark enough contrast to be worth examining. You pretty much have to praise them if they can just make it to the level of being memorable. What starts off as a variation on the Western ghost story, a sort of proto Ghost Rider character who wreaks vengeance and the cowboy assualt team inspired to hunt it down eventually leads to a finale that has less to do with where one needs to go and more where one has already been--even if it wasn't really you in the first place. Sorry for the word games: but the climax of this story is one of those that's so subtle, so clever, that it's one that seems wrong to spoil. Safe words only: you'll see what's coming before it hits--but you'll never guess the direction. Hopefully we can look to a future where more comics take the tactic of dumping their titular leads into cameo appearances--how great would Hal Jordan comics be then. But rarely has John been involved in the sort of grand scheme of things machinations that spoke to a proactive desire to save the world, or at least part of it, the way that he did when Alan Moore finally dropped the penny near the close of his run. John did a lot of selfish, pricky things in Swamp Thing, the only time when Alan Moore actually wrote him, but he also did a good bit of those things in the service of manipulating the Swamp-ed One into doing some positive shit, for all the good of mankind, trees, spirits. The John that Azzarello runs with--a meaner, ruthless character who instigates the deaths of some people for no real purpose beyond satisfaction of his rage--has a larger goal in mind as well, that being the eventual crippling and destruction of a man who has pushed his way too forcefully into John's life, a man who makes his first apperance in the two Guy Davis issues presented in the Freezes Over trade, but that private war isn't the focus of Azzarello's run, really. Even when the stories touch around it--like in the one-shot also collected in Freezes Over illustrated by classic Hellblazer artist Steve Dillon--it's in a glancing way, a reminder that the writer has other goals in mind for this, his John Constantine road trip to figure out where and what a liar can do. After all, that's what Azzarello's Hellblazer run was, more so than even when Garth Ennis experimented with inserting John into New York City. (Not the first time that had happened in the series itself, it's the same place that Jamie Delano put him at first, and his Swamp Thing adventures prior were all based around American locations. It's the rest of Delano stories, as well as the time spent by Garth Ennis, that cemented London as the be-all-end-all Hellblazer setting. But no one but Azzarello was willing to push into the heart of America as far as he did, even Alan Moore kept John relegated to places that could be mixed and matched, as long as a forest was near. Freezes Over --the four part story that gives this chapter its title--is case and point. It's a thoroughly Americana story, set in the type of trucker's diner that livened up Twin Peaks, complete with Asian bride and local legend, a somewhere west of decent weather location, with a crazy ass foreigner showing up out of the frozen wastelands to be met by gun-toting criminals and icicle murders. His one six parter was. eager, at best.


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(See Ephesians 6:14-17. The first thing we must do in taking possession of God's promises is to take possession of our thoughts. This might not appear to require a great deal of skill or effort, let alone training or practice, but there is only one thing harder to master than your thoughts and that is your tongue! (See James 3:8. 8. The Law of Diligence: Winning the battle in your thought-life requires meditating daily on the truths found in Scripture, studying diligently to show yourself approved, and becoming an earnest and life-long student of the art of spiritual warfare. Throughout the New Testament we are told that our battles do not take place in the temporal realm but in the spiritual realm. Every battle is won or lost in the arena of your mind. If you do not take control of your inner thoughts you will become a slave to the outer circumstances created by the tempest raging in your mind. The divine spirit within you won't be driving your life, the storms and changing weather of your thoughts will. You must command your thoughts as Jesus commanded the sea. (See Luke 8:24. 9: The Law of Approximation or Permission: Don't Underestimate the Power of Your Thoughts. Whatever your predominant focus is, that is what you give permission to exist in your life. Jabez chose to focus on his future desires rather than his present circumstances. Many times people focus on the negative and they live in a cycle of negativity. You have to train your mind to think on whatever is honest, virtuous, and praiseworthy. (See Philippians 4:8).


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It’s not the response I would have chosen, but the collaborator shouldn’t have had to ask. For the most part, the dual role serves Counterpart’s larger goal of telling a well-paced story with just the right amount of brain-bending what-ifs. Counterpart isn’t aiming for a grandiose statement about the nature of choice and the siren song of a life that’s not inherently better or worse than your own, but simply different. Instead, the show uses those questions as accents to a central story powered by more basic problems, like who’s shooting at who and how to stop them. On the spectrum of sci-fi-adjacent dramas, Counterpart is far closer to Lost than The Leftovers—which is precisely where it should be. What makes the show work is that it invests very little in selling the science of this concept, choosing to craft a taut, suspenseful spy thriller rather than a more fantastical work of science fiction. The point of the show isn’t the portal itself; it’s the diplomatic intrigue that’s sparked by a world splintering into two very different realities. Simmons plays Howard Silk, a mild-mannered civil servant late in his career who’s completely oblivious, like most citizens of Earth, to the mind-bending secret in the basement of the organization where he’s spent 30 years as a pencil pusher. Howard clocks in early every day and visits his comatose wife, Emily (Olivia Williams), at night. Information, as any intelligence agency knows, is currency, and Counterpart is precise in what it reveals, eking out twists in each episode, but keeping the larger narrative under wraps. Simmons embodies them perfectly, playing two totally distinct characters who somehow look identical. It’s a bravura performance that throws yet another question into the mix: What on either earth happened to these two Howards to make them so different. The first episode, directed by Morten Tyldum (The Imitation Game, Passengers) establishes that this is ambitious, expensive television—Howard’s workplace has the pallid, monochrome vibe of an adults-only Ministry of Magic, and the aesthetic of Alt-Berlin, an uber-modern city with hints of dystopia, is enthralling. It’s obvious early on that the two Howards are going to upend each other’s realities while also influencing one another. In the meantime, both are charged with investigating a larger conspiracy between the two worlds, and finding a stowaway in original-Howard’s reality—an assassin (Sara Serraiocco) who’s murdering agency employees one by one. The supporting cast also includes Homeland’s Nazanin Boniadi as a mysterious wrangler, Ulrich Thomsen (Banshee) as the grizzled director of operations at Howard’s agency, and Richard Schiff (The West Wing) as a diplomat who represents his world in negotiations with its double. These are the moments when the show is at its most riveting, when the infinite questions its premise presents are answered. Why does one look like Berlin and the other like 22nd-century Shanghai.


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