First of all, let’s get one thing straight: no tigers were juiced in the making of this DOTW post. Moreover, I’m pretty sure, the makers of Tiger’s Milk bars don’t actually have the courage to milk actual members of the feline genus panthera to make their product.

Now that we’ve got that straightened out, it’s my sad duty to report that I have no actual information about the provenance of this week’s drink or its rather silly name. It doesn’t appear to have been in any of the more famous classic cocktail books, though it’s certainly simple and straightforward enough that somebody must have made this drink back in the day. Who created it or where it came from before it lived in various places on the Internet is a mystery to me.

The real mystery, though, is why it’s not better known. I think Tiger Juice is another example of a cocktail alchemy at it’s best. Three simple ingredients that definitely add up to something greater than the sum of their parts. It’s juicy, refreshing, a bit alcoholic, and 100% tiger-cruelty free.

Tiger Juice

1 1/2 ounce Canadian whiskey
1 ounce fresh orange juice
1/2 ounce fresh lemon juice

Combine the ingredients in a cocktail shaker with lots of ice. Shake vigorously and strain into a chilled cocktail glass. Sip and appreciate the fact that you are both adjusting your attitude and getting a good chunk of your daily requirement of vitamin C, without any added sugar.

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The benefits of red wine notwithstanding, I’m willing to bet that Tiger Juice just might the be the healthiest alcoholic beverage yet developed. The relatively high amount of sugars present in the otherwise very healthy OJ are balanced out by lemon juice, which I’m guessing has at least many goodies for your body with less than half the sugar calories.

Of course, the downside of all that would be an overly tart flavor profile. Regular readers might remember that I’m a bit of a baby about that. To my utter surprise, however, I found that simply wasn’t the case. Combining the juices with Canadian Club — still my choice for the best bargain in booze at about $15-$18.00 for 1.75 ml bottle — yielded a drink that was neither particularly sweet nor noticeably tart. Instead, it was tasty, refreshing and just boozy enough to be interesting. For low calorie tipples, I’d place this next to something like a vodka martini among sophisticated drinks that go down very easy.

That did change, though, when I tried other types of whiskey. Noticing that some online recipes called for bourbon, I found the sweetness of Maker’s Mark acted like salt on a melon in reverse, emphasizing the tart flavors in a way I didn’t particularly love.

While most recipes wisely called strictly for Canadian booze, I figured that rye, Canadian whiskey’s close cousin, might be a worthy substitution. The usually outstanding Alberta Dark Rye, which is actually from Canada, was actually too flavorful and overpowered the drink. Old Overholt, on the other hand, proved its versatility as the craft bar’s default rye and worked reasonably well…but I still preferred the gentle simplicity of the Canadian Club.

And that’s the thing. Ordinary Canadian whiskey gets a bad rap among the cocktail cognoscenti because it admittedly doesn’t boast the complex flavor profile of a really good bourbon or rye. The thing is, sometimes you want a little flavor, not a lot. And, yeah, I don’t drink them as often as I used to, but there are times when a vodka martini is just the thing. Now, maybe there are going to be times when Tiger Juice is  just the thing.

Robert De Niro, Anne Hathaway, Anders Holm, Rene Russo, Adam DeVine, Andrew Rannells, Christina Scherer

Nancy Meyers

It’s a good thing that Nancy Meyers has so many friends in Hollywood, because if anyone else made a film as terrible as “It’s Complicated,” it likely would have ended their careers. The 2009 romantic comedy took Meyers’ brand of wish-fulfillment fantasy to gag-inducing levels, and Meyers addresses some of those criticisms with “The Intern,” a welcome departure from her typical fluff that forgoes the romance between its two leads in favor of something more genuine. Granted, the movie still looks like it came out of a Pottery Barn catalog, but thanks to some good performances from Robert De Niro and Anne Hathaway, it’s a relatively enjoyable workplace comedy that’s marred only by its bipolar script.

De Niro stars as Ben Whittaker, a 70-year-old widower who’s quickly grown bored of retirement and is searching for something to help fill the void. When he applies for a senior internship program at a flourishing online fashion site, he’s assigned to be the personal intern to founder Jules Ostin (Hathaway), who in just 18 months has transformed a simple idea into a successful business, despite having no experience. Though her hands-on approach is admirable, the job has begun to consume her life, leaving little time to spend with her husband (Anders Holm) and daughter (JoJo Kushner). Jules is burnt out and clearly in over her head, but when the company’s investors suggest hiring a seasoned CEO to help steady the ship, she’s hesitant about handing over the keys to an outsider. Ben enters Jules’ life just when she needs it most, gradually breaking down her hard shell to become a mentor figure as she faces life-changing decisions in the office and at home.

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Ben Mendelsohn, Ryan Reynolds, Sienna Miller, Analeigh Tipton

Anna Boden & Ryan Fleck

Gambling addiction has been explored to terrific results on film, with two of the finest examples being Robert Altman’s “California Split” and “The Gambler,” both the original film starring James Caan as well as the overlooked Mark Wahlberg-led remake. The tropes of gambling films are well-established, and writing/directing duo Anna Boden and Ryan Fleck (“Half Nelson”) aren’t afraid to acknowledge those conventions in their newest and deeply human film, “Mississippi Grind.”

At the start of the story, Gerry (Ben Mendlsohn) has already hit rock bottom. The gambling addict has a rightfully bitter ex-wife, a job as a real estate agent that he’s no good at, and he owes money to everybody. His luck quickly changes when he meets Curtis (Ryan Reynolds), a younger, more charming and luckier fellow. Curtis is a people person, and he wants to help Gerry out, so the two gamblers decide to team up and go on a road trip through the South, hitting up all the big games and casinos together, with Curtis bankrolling Gerry.

This might be Boden and Fleck’s best collaboration to date. Their script is dense yet loose, hugely influenced by Altman’s approach to “California Split.” In fact, the first half of “Mississippi Grind” almost plays out as an unofficial remake of the 1974 film, sharing more than a few character traits and story beats in common. But what could’ve been a recycled, pale imitation of Altman’s film ends up standing on its own. “Mississippi Grind” features fully realized characters, from the film’s stars to the small supporting roles. We get snippets of other gamblers’ lives, whether at the poker table, or in a friendly and seemingly random exchange with Gerry and Curtis, and these discussions create a lived-in, believable atmosphere – one filled with highs and lows, desperation and joy.

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The last three years have been a product blitz from the evolutionary norm of Harley-Davidson. The new RUSHMORE line of touring motorcycles, the Livewire electric motorcycle and the Street 500/750 have barnstormed the industry. However, 2016 sees a return to evolving key models of the product line to keep existing customers happy with some simple but significant improvements.

For 2016, every step of the Harley line, from entry-level to the highest end, received tweaks. We went to Portland to experience all the changes made throughout the line.

Entry-Level Excess

The Sportster and Street 500/750 are absolutely critical to Harley-Davidson’s success. Both are entries into the brand, expanding the brand in overseas markets and responsible for bringing new customers into the fold. Key changes were made to improve refinement and riding quality, but very little revolutionary changes were implemented.

The Sportster Forty-Eight, a stalwart of their Dark Custom Line, and Iron 883 both received new, more comfortable seats, revised paint and cast wheels. The Forty-Eight also received 49mm front forks.

These changes made them markedly more friendly to ride on the pockmarked roads of Portlandia. When the going gets twisty, the lowered rotating mass of the wheels has a minimal but appreciated improvement in turn-in, and the seat makes bouncing around a bit more comfortable. Still the same Sportster, now with a bit more comfort and value added.

The Street 500 and 750 have crushed it in international markets and had reasonable success in the States, but to fire it up, Harley instituted changes heard from both existing and prospective customers, namely aesthetic changes to bring it more in line with the rest of the family. This means more metal trim, rerouted wires and an overall cleaner routing scheme to decrease the frump. We didn’t have a chance to ride this one, so a verdict will have to wait.

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Every Tuesday, I review the newest Blu-ray releases and let you know whether they’re worth buying, renting or skipping, along with a breakdown of the included extras. If you see something you like, click on the cover art to purchase the Blu-ray from Amazon, and be sure to share each week’s column on Facebook and Twitter with your friends.

WHAT: When Central City forensic investigator Barry Allen (Grant Gustin) gains super-human speed after he’s struck by electricity during a failed science experiment, he teams up with Dr. Harrison Wells (Tom Cavanagh) and his two assistants – Dr. Caitlin Snow (Danielle Panabaker) and Cisco Ramon (Carlos Valdes) – to stop criminals and other “metahumans” created from the explosion who don’t use their powers for good.

WHY: The idea of a “Flash” TV series didn’t sound very promising when the Barry Allen character was initially introduced in the second season of “Arrow,” but co-creator Greg Bertlanti quickly proved me wrong by delivering an immensely enjoyable (and much lighter) superhero drama that only got better as the season progressed. Much like its sister show, “The Flash” thrives primarily due to its awesome ensemble; everyone has a purpose, and they all bounce off one another incredibly well. Grant Gustin is perfectly cast as the titular hero, Tom Cavanagh handles the dual role of mentor and villain with ease, and Carlos Valdes provides great comic relief as the Q-like inventor/superhero expert of the group. Even the villains aren’t nearly as cheesy as they could have been, with Cavanagh’s Reverse-Flash, Wentworth Miller’s Captain Cold and Mark Hamill’s return as the Trickster among the standouts. The romantic subplot between Barry and childhood friend Iris West (Candice Patton) suffers from the same problems that plagued the first season of “Arrow” (namely, it’s just not as interesting as the superhero stuff), but “Flash” makes up for it with some sci-fi heavy mythology that isn’t afraid of alienating viewers by leaning on its comic book roots.

EXTRAS: The Blu-ray release includes an audio commentary by executive producers Greg Berlanti and Andrew Kreisberg on the pilot episode, four production featurettes, footage from DC Comics Night at Comic-Con 2014, deleted scenes and a gag reel.

FINAL VERDICT: RENT

WHAT: After defeating Slade Wilson and being accepted as a hero by the citizens of Starling City, Oliver Queen/The Arrow (Stephen Amell) struggles to keep his family together while facing off against a terrible new threat in the form of Ra’s al Ghul (Matthew Nable). Meanwhile, Laurel (Katie Cassidy) assumes the mantle of Black Canary after Sara is brutally murdered, Thea (Willa Holland) begins her training under Malcolm Merlyn (John Barrowman), and Queen Consolidated is taken over by wealthy businessman/aspiring hero Ray Palmer (Brandon Routh).

WHY: Despite making some huge strides in its sophomore year, “Arrow” suffered a bit of a slump during Season Three due to a number of factors. Though the superhero drama has had a problem maintaining the same level of energy and quality over the course of each 22-episode season, it’s especially noticeable here, in large part because the accompanying flashback storyline (which trades the deserted island setting for Hong Kong) isn’t very compelling. Additionally, the show’s insistence on making nearly everyone in Oliver’s life a crime-fighting member of Team Arrow not only defies logic (there’s no way Laurel, Roy and Thea got that good in such a short amount of time), but gives Oliver less to do as a result. Laurel, in particular, is so lame as the new Black Canary that it’s almost as if the writers were trying to find ways to make her character even more annoying. Thankfully, Season Three isn’t a complete disaster. The group dynamic remains one of its best assets, the crossover episodes with the Flash are a lot of fun, and both Brandon Routh and Matthew Nable prove strong additions to the cast. “Arrow” doesn’t play to its strengths as often as it should, but when it does, you’d be hard-pressed to find a better comic book show on TV, other than “The Flash,” of course.

EXTRAS: The four-disc set includes a pair of audio commentaries by executive producers Marc Guggenheim and Wendy Mericle, featurettes on costume and production design, a behind-the-scenes look at the Atom’s first fight, deleted scenes and a gag reel.

FINAL VERDICT: RENT

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