From what I understand, the explanation they’re going with is that there were 52 “known” Earths before Earth-X came into the picture, but the actual number of Earths is infinite. Earth-90, home of the 1990s Flash and — apparently — the “Smallville” continuity, must be one of the previously unknown Earths.

I continue to resent the hell out of Brainy. It isn’t really fair to the character, or to Jesse Rath, who’s doing everything that’s asked of him.

But he was swapped in for Winn, and I just can’t help feeling like Brainy’s a poor substitute for Winn.

I get that, and I don’t necessarily think the reviewer’s criticisms are unfounded. I just think they’re more big picture criticisms, issues with the story itself more than the execution of the story, or failures of specific episodes.

“Outlander seems desperate to tell a story about race and colonialism and yet can’t quite get a strong grasp on the conflict.”

“So, explain to me how this magic-o-meter of yours works.”
“Thing goes beep, and we kick ass.”

“Everything from the music cues to the way the scenes are shot frame this narrative in very stark terms, centering Jamie and Claire’s fear and viewing the Cherokee through their white, colonialist eyes.”

It still doesn’t make sense that genetic manipulation would lead to multiple personalities, but sure, I’ll roll with it.

That’s where the Jack Pearson magic comes in, I guess.

At least in Darhk’s case, “Nora” is a hypocorism for Eleanor, though she rarely goes by it.

It still doesn’t make any sense that ice powers would lead to multiple personalities, but at least now we have an explanation for why Caitlin is different than every other meta: because her powers have a different origin.

Any episode that randomly has C. Thomas Howell appear in a bit role for a minute or so, deliver a few lines of very conciliatory dialogue with a discordantly menacing undertone, and then ride off on horseback is alright with me.

I’m thinking they gave up on the brig after every single baddie they put in there managed to escape.

She takes a lot of flack because she basically turned “Buffy” into misery porn, but I’ve enjoyed the vast majority of her stuff.

It’s pretty bleak to say, but “Legends of Tomorrow” is actually one of the few bright spots in my week amidst the unending cesspool that is 2018.

I liked it, though they better have a good reason for why the various communities have become closed off from one another.

Fair enough.

One of the most interesting things for me watching this was the strange tension between footage shot in the seventies with 21st century post production. Mostly edited digitally by an Academy Award winner who was in grade school when this started shooting, color graded via digital intermediate, several visual effects…

They’ve fixed it!

Holy shit. I’m simultaneously appalled and nostalgic for seventies SNL, when the humor had some teeth.

I agree with you 100 percent on that point.