This actually makes me irrationally happy.

Possibly! I actually love that the show had ALREADY delved into some timey-wimeiness with that whole episode about Derek's girlfriend catching the man who tortured him for Skynet… except none of those events had actually happened to THIS Derek, suggesting that he and his girlfriend (I can't remember her name) were…

Derek Reese's death on that show caught me so off-guard. It just happens in a split second in the middle of an action sequence, and you barely have time to process it— it was like a punch in the gut.

They were also pushing for Felicia Hardy to be a character called the Vulturess, because they initially felt the Black Cat identity was too similar to Catwoman for Raimi to use it.

A few notes:

Uh, well, that IS kind of the Deadpool/Cable dynamic. Cable is dead serious all the time, and Deadpool constantly pokes at him.

I would give my eye-teeth to see Fillion ACTUALLY play Wonder Man, and not just pop up as Simon Williams on a bunch of movie posters.

Well, Ultimate Cable DID turn out to be Wolverine from the far future, sooo…

That blew my f#*%ing MIND the first time I saw Groundhog Day after Man of Steel had come out. It was kinda like noticing that Alfred Molina was in the opening scene of Raiders of the Lost Ark. I love moments like that.

Well, that's totally understandable. But the thing is, from a dramatic standpoint, fatalism is pretty much inert. The concept of "Fate" creates a cheap shortcut for screenwriters to push characters or plot in directions that they have no reason to go in; using "fate" as a justification is basically the same as saying…

I call bullsh*t on the villain sticking with the name "Music Meister". NOTHING about his powers or M.O. have anything to do with music; hell, HE wasn't even the one who chose to strand the heroes in a musical! Barry and Kara did that themselves!

Kinda like Barry and Felicity, but at least they had the excuse of appearing in different TV shows.

And to think, all they had to do to make another great episode was ditch the stagnant, repetative, formulaic storytelling troupes and do something shamelessly fun!

Honestly, I feel like Clarke was pretty good, too— they just didn't give her much of an arc in the film. But I kind of dug the weird cross she did between the hardened Sarah from Terminator 2 and, like, a typical rebellious teenage girl.

He wrote that right at the precipice of losing his goddamned mind, so I consider RoboCop vs. Terminator the last great Frank Miller book. SOOOO good, and so much fun!

No. No it wasn't. It was a tonally inconsistent grab at last-second poignancy that only succeeded in being pretentious, illogical bullsh*t (if Skynet had become "software in cyberspace", then wouldn't nuking all of the major cities on Earth— along with all the computer servers that it had just spread itself into— be…

I will never get over how amazing the cliffhanger in the season two finale is… nor my sheer sorrow over the fact that it will never, ever be resolved.

Nothing wrong with that, IMO… I mean, who would want to settle for appreciating a Mona Lisa with 25% of the bottom cut off and a smiley sticker pasted on her face?

Well……………

No more speedster big bads?! Thank God!