And it has to be something that won't immediately give an amnesiac Eleanor away. She might visibly react to "This is really the Bad Place", where being tipped into (re)building the relationships that let her figure it out the first time keeps her below the radar.

And I didn't even consider the fact that they gave Michael a literal kick the dog moment in the second episode. Talk about hiding in plain sight!

The very first episode of the Twilight Zone I ever saw, which is also probably the earliest twist ending I remember, was "A Nice Place to Visit". Which (spoilers!) has the exact same twist ending.

Back in the day, Batman's daughter Helena Wayne was a lawyer when she wasn't out Huntressing. But since Arrow has used the Huntress, I'm guessing we won't see her here.

It was hard to forget that with my jaw on the floor— it was like watching "Watchmen Babies: V for Vacation!" come to life. Not that it was bad, but I was afraid Alan Moore would drop dead just so that he could spin in his grave.

:-) Sorry— I'd forgotten that, then. (While I'd flipped through it when I got curious and tried to find, e.g., the scenes of Vader interacting with the Imperial officers, I probably haven't read it cover to cover since it was new.)

Where is that? (It's not in this script, http://www.imsdb.com/script… , but there are a lot of other drafts and versions floating around. Not to mention the radio play, which elaborates on a lot of things the movie had to skip.)

The novelization of the original film published at the time (ghostwritten by Alan Dean Foster) does give a pocket version of the process (quoted from the "Journal of the Whills", who get namechecked in Rogue One), albeit one that differs in a number of ways from what eventually became canon:

I'd be really interested to know as well. The novelization suggests that Vader is biding his time and pretending they're his equals, while shepherding some mysterious plan of his own that will change the face of the galaxy. (Which suggests less that he's the Emperor's right-hand man and more that he's a rising force…

It's very atomic!

I thought the Republic becoming the Empire was made clear in the original "Star Wars", with the announcement that the Emperor has dissolved the Senate. Up until that point, the Republic Senate had at least nominal authority (Leia tried to use her status as a delaying tactic), which only makes sense in the context of…

Though in "Star Wars", he's not at all treated as the Empire's second-in-command. Leia mocks how Tarkin is holding his leash, and Motti feels free to throw shade at him till he's physically (well, paraphysically) assaulted.

To be fair, Wally hasn't really done much as a speedster yet. Hopefully they'll play up the difference in their approaches.

I wasn't really criticizing— speech patterns are a lot harder to research and consistently train than set elements are to make or buy. (See also the perennial science fiction situation where the main cast member portraying an alien character establishes a way of speaking, and then most of the guest actors fail to…

The crew of the Life Boat are probably immune to the grandfather paradox while they're in the past, just as they retain memories and artifacts from the timeline they left. They may come back to a world that has no idea who they are, but they and their equipment remain in place, and the changes they made to the past…

Colonials and Brits would have had different accents from one another (the colonies were more than a century and a half old), different regional accents within each, and all would have been different from what's currently spoken in the same regions. But no TV show is going to do complicated linguistic reconstruction…

While the characters don't know they're in an adventure drama, it seems clear that if you strand a smart, mechanically inclined polymath who's a would-be ubermensch and who knows about time travel in the present, then you get a rival organization messing with history starting about fifteen years from now. If you take…

I'm in a minority in really not liking "The Paper Menagerie", not least because its fantasy element is lyrical and beautiful but superfluous. (The old term is a Bat Durston story: a story from another genre— in this case a mainstream immigrant's story— with dispensable fantastic furniture.)

Though while Tolkien wasn't a fan of Shakespeare for a lot of reasons (not least diminutive fairies like Peaseblossom), Oberon and Titania are tall, royal immortals not all that unlike Tolkien's High Elves. Except more amoral (which only a minority of Tolkien's are). Quite a bit of high fantasy uses that strain…

Anderson's big, but Fritz Leiber, Jack Vance, and probably Robert E. Howard are also major influences.