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Legends Of Tomorrow stalls, but on the upside: it s got a French lawyer/vampire now!

Legends Of Tomorrow stalls, but on the upside: it s got a French lawyer/vampire now!
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DC s Legends Of Tomorrow gets its own Baby Yoda, and that s not even the second-biggest surprise

DC’s Legends Of Tomorrow gets its own Baby Yoda, and that’s not even the second-biggest surprise Beneath several flashy surprises lies an episode of tremendous subtlety, if you re not too busy watching the adorable infant alien Photo: The CW I feel I owe Legends Of Tomorrow an apology. That apology is not for telling people to skip season one. It’s not because I occasionally still dunk on season one. It’s not even because I’ve been pining for Beebo merch even though capitalism is a scourge. No, it’s because I’ve been watching (and reviewing)

The buddy system pays off again as the Legends Of Tomorrow have an old-timey airing of grievances

DC’s Legends Of Tomorrow Photo: The CW The folks behind Legends Of Tomorrow have never been shy about unabashedly returning to stuff that works, confident that familiarity is trumped by, well, general awesomeness. Why shouldn’t they be? As long as nothing gets stale, there’s no reason not to revisit successful formulas. And yes, I am of course referring to the show’s habit of putting Sara Lance in a cowboy hat, but not only to that. Some of the show’s best episodes are of the “Stressed Western” sort efficient, thoughtful, fun, and the best kind of stupid, without much of the audacity (that characterizes its showier hours. It’s a business-as-usual episode, which for

The Legends Of Tomorrow skip some good stuff en route to a shocking reveal

If only we'd spent more time in Constantine's house, or with Amelia Earhart, or with Mick and Kayla, or in the sewers with Gary (maybe not that last one)

Astra tries to escape her Legends Of Tomorrow montage with body-swapping and, inevitably, song

“The Satanist’s Apprentice” feels very much like an episode of TV written by a bunch of people who just lived through 2020 and needed to work some things out. While not a ‘Covid episode’ in a conventional sense, the threads tying Astra and Sara’s adventures to this particular era don’t stop at the creative means by which director Caity Lotz and writers Keto Shimizu and Ray Utarnachitt limit the number of actors physically present for any given scene. This is an episode shaped by, ah, topical questions. What happens when we feel, or actually are, helpless? What’s the cost of isolation? When we feel a lack of agency, how do we compensate? And of course, the big question: Which season of Wynonna Earp is the best?

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