Spoiler warning for season 4 of The 100.
From The 100 and The Handmaid’s Tale to Wynonna Earp and Orphan Black, many of the science fiction genre’s more successful television shows of late feature female protagonists and a litany of badass female characters. Many also employ female writers and directors, infusing a woman’s worldview into our media narratives. Though we are definitely making strides in queer female representation in the genre as well, I am disappointed there are no shows to list featuring female protagonists of color. But it is worth celebrating the victories we have achieved, and here at The Fandomentals we are starting a Ladies of Sci-Fi interview series to pay homage to womankind’s triumphs.
This month’s guest is actor Tasya Teles, who plays the fierce but aloof Echo kom Azgeda on apocalyptic drama The 100. There could not be a more perfect choice for the first instalment of this interview series. Teles was recently promoted to a series regular for season 5, which begins 6 years after a second nuclear apocalypse forces the characters underground or (in Echo’s case) into space.
It’s no secret that Echo is a favorite of mine and a character I enjoy analyzing, and I took this opportunity to dig into Echo’s psyche. Teles was kind enough to provide thoughtful answers that allow us some rare and valuable access into the taciturn warrior’s head. Read on to hear her dish on Echo’s backstory and her mindset during some big moments in season 4, as well as tease at what we may see from Echo next season.
The following interview was conducted via email;* it has been lightly edited for clarity, but any redundancy in questions is due to that format.
Lisa P: First of all, congrats on your promotion to the main cast! You said in another interview that you were jumping up and down when you got the news, a perfectly rational response in my opinion. What is your favourite part of being involved with this show?
Tasya Teles: Aww, thank you so much! I couldn’t be happier. I really fell in love with Echo, and I’m thrilled to have an opportunity to develop her story further. There’s so much I love about the show, where do I begin? The writing is surprising and ruthless, the characters are strong and complex, and I adore the cast and crew. Everyone is challenged to the highest degree, and this shared dedication to storytelling makes every day rewarding, crazy, and fun. Another thing I love about being involved with the show is getting to meet all the fans. Sachin Sahel and I were just talking about how much we love going to conventions. It allows us to get to know the fans, and hear from them face-to-face. The show means so much to many people, so it’s truly an honor to be a part of The 100 family.
LP: I know that fan reactions to Echo have not always been overwhelmingly positive. How much do you feel that’s changed this past year, now that fans have gotten to see more of both you and your character?
TT: I felt that people started seeing her differently this past year. Some saw beyond the warrior mask right away, and others are still warming up to her. Throughout season four, her armor starts to break, and beneath it is this vulnerable child who’s lost everything. She has to rebuild her world all over again, and deal with the trauma of the past.
At the end of the day, Echo isn’t inherently evil, she was trained to do one thing: protect Azgeda. Azgeda is a pretty brutal clan, so to survive, Echo cuts emotion out and focuses solely on strategy and execution (no pun intended). Part of humanizing Echo, as villainous as she was at the top of the season, was trying to figure out who she would be in today’s society. Along with my coach, we began looking at child soldiers and young terrorists. The stories of these kids really break my heart. Many were stolen from their families, and conditioned to behave a certain way. Finding Echo’s broken heart, and understanding that she must have been brutalized as a child, helped me bring her adult story to life.
Hopefully season five invites the audience to get to know a different side of Echo. But like they say, you can take the girl outta Azgeda, but you can’t take the Azgeda out of the girl. She’ll definitely retain her badass side that makes me love her so much.
LP: You’ve mostly worked with Bob Morley, Marie Avgeropoulos, and Zach McGowan in the previous three seasons. Heading into filming this season, who are you most excited to work with more?
TT: Bob, Marie, and Zach. Just kidding. But it would be amazing to work with Zach again! Maybe we can figure out another way to bring him back from the dead (hint hint writers)! I would love to work more with Adina Porter. She has a coolness and strength to her that is so mesmerizing. I think an Echo/Indra face off would be brilliant. But I love everybody on the team, I’m happy any way you slice it.
LP: Right now Echo’s backstory is a pretty blank slate. Do you have any theories or headcanons about her history that you use to help develop or understand her more fully?
TT: One thing I do think about a lot is where she came from. As I mentioned earlier, I’ve looked at child soldiers, modern day pirates, spies, and secret agents. Like child soldiers, spies are often people with no family, and nothing to lose, which is what makes them great spies. Using the idea of Echo as an orphan, or being kidnapped from her family, is where I started to build her backstory.
Growing up without a family in a ruthless environment, Echo was put into training almost immediately. She lost her childhood to combat training, which hardened her, but it also cultivated this cool, capable badass we met in season four, and saw a glimpse of in season two. Azgeda would be a scary place for any orphan, even those who were training as assassins. Little Echo was conditioned to be ruthless. She had to protect herself from a variety of threats at every corner, never having a safe haven to call home. So it follows that she latched on to Queen Nia pretty tightly when Nia noticed her. By promoting Echo into the royal guard, Echo suddenly had status, protection, and a purpose. That was the closest thing to a family she ever knew. How sad is that? But her fear of abandonment, and her incapacity to trust others easily, are scars from her childhood that never leave her, which we see her struggle with in season four. She’s terrified of losing her “family,” and will go to great lengths to protect her kin.
LP: You said at SDCC that what you most like about Echo is her strength and loyalty and how she always protects her clan first. That draws some interesting comparisons to Clarke, given the respective massacres they were involved in at Mount Weather and the underhanded things they both did in 4×10.
In 4×12 they have that moment where Echo asks if her actions were so wrong and Clarke seems to empathize and reflect on herself. She then gives up her own helmet to save Echo, which suggests she thinks Echo is no worse than her, or at the very least is worth saving. Do you think that’s a fair comparison, that Echo and Clarke are actually quite similar but Clarke just so happens to be our protagonist and belong to a (slightly) less brutal clan?
TT: I think that’s a fair comparison. There are parallels between Clarke and Echo, and maybe if the story was told from an Azgeda perspective, then Clarke may be seen as an antagonist to the main plotline. But yes, I think they do share similarities. Leading up to that moment, we saw them both cheating in the final conclave, and we’ve seen that they both won’t hesitate to put their own lives at risk for the safety of their clans.
LP: Bellamy and Echo’s relationship has been quite rocky so far because they have both done some awful things for their clans, clans that were often at war with each other. It has been teased that alliances will have shifted in the six years since the second Praimfaya. Is it safe to assume that those characters’ fierce loyalty will now be working for rather than against that relationship?
TT: I think that time is a great healer. I also think that in times of survival, with only a few people on the ship, there isn’t much room for lingering grudges or hatred. Both characters have lost so much including their best friends, and families. At a certain point you have to ask yourself, is it really worth it? So yes, it’s likely that some new loyalties have been formed among them. Whether these loyalties work for or against them sets up a really interesting problem in season five if everyone reunites. Seeing these new relationships under intense pressure will definitely make for some great drama.
LP: Trust has been a major theme for Becho in the past three seasons. After all that’s happened between them, how do you think Echo will have gone about trying to regain Bellamy’s trust?
TT: Echo has never known a life where she isn’t constantly faced with the threat of war and all the dangers associated with it. I would say that for the first time, Echo is in a place where she can be herself. Part of her transformation is learning how to trust others, and Bellamy and her have a lot of ground to cover. I do think she will eventually try to regain Bellamy’s trust, but how does she do it? I don’t know. Maybe she makes him a giant ‘I’m Sorry’ paper maché two headed teddy bear. Six years is a long time to be stuck in space, I’m sure they’ll get sick of board games pretty quickly.
LP: Octavia and Echo have had a pretty tumultuous relationship too. Last time they saw each other, Octavia kicked Echo out of the bunker and left her to die. What will happen if Echo ever sees Octavia again, now that she will be closely allied with Bellamy? That sounds like the most awkward family reunion ever. Does Octavia even know Echo is alive and was on that ship?
TT: If your assumption is that Echo and Bellamy become close allies, then yeah, that’s a Thanksgiving dinner I would skip. I don’t think Octavia knows that Echo is alive, and certainly not that she’s in space with her brother. Even Echo didn’t know that she was headed for space. Reuniting with the ground is troubling for Echo. Octavia greatly threatens Echo’s assumed trust in her new ‘space family’. Loyalties will be tested once again at this terrifyingly awkward family reunion. How much Bellamy decides to trust or defend Echo is up to the writers. My hope is that Echo has finally found a home, and some friends. Otherwise she might regress into being a lone soldier once again, which is a scary, but interesting, idea. If Echo goes rogue, nobody is safe. She’s definitely a warrior you want to have on your side.
LP: You’ve said previously that Echo was devastated when Octavia fell off the cliff and she thought she’d killed her, because she had both failed Roan and hurt Bellamy. But she looked downright miserable in that scene where she had to tell Bellamy his sister was dead and then watch him mourn. What was going through her head in that moment?
TT: Echo was miserable. Confronted with the repercussions of what happened on that cliff was the beginning of Echo’s unraveling. It was also a really emotional day on set for me. It was such a shameful moment for Echo, I think her head was spinning. Whether she wanted to admit it to herself or not, Echo respected Bellamy enough to not want to hurt him. She was ashamed, devastated, and remorseful, leading to another tiny crack in her foundation. For me, that’s the first time she ever questioned her Azgeda principles and belief system, “Why am I affected by this? This is war. People die all the time. It wasn’t my fault. It was Octavia who wouldn’t come. Why am I so tormented by this?!” She didn’t want to be there. She wanted to just disappear altogether, and she almost got away leaving the prison cell without having to confront her mistake, until Bellamy called out, “My sister will stop you. She’ll warn the others.” It was difficult for Echo, and there was lots happening in her head at the time, but she pushed all the emotion down so she could do her job.
LP: She really meant it when she said she was glad Bellamy would get a chance to see Octavia again, didn’t she? That was one of the few moments before her banishment where she seemed to drop her walls.
TT: Absolutely. That came straight from the soul. Echo isn’t someone who holds grudges, or politics around too much, and she rarely drops her walls. The nature of her job forces Echo to remove herself emotionally from much of what she does. The audience only gets these little peaks of who she really is behind the mask, so I loved that she snuck that in there, and she meant it.
LP: Personally, I’m totally Team Becho. But if Echo was to get involved with any other character on The 100, who do you think it would be and why?
TT: That’s a wonderful question, and I love your enthusiasm (laughs)! I think that there’s an endless world of shipping possibilities. For the group that’s stuck in space, it’s highly possible that they all dated each other at one point or another. Maybe all at the same time! No, that would be weird. But it would be really hilarious if out of nowhere Octavia and Echo became a thing. Talk about a plot twist.
LP: Echo’s clan was obviously very important to her, and after she was banished we saw her fall apart over the course of a few episodes, culminating in the ritual suicide scene where she lamented, “I belong nowhere.” How much of a treat was it to finally peel back the layers of this strong badass and show her vulnerability, now that she was in the midst of both an identity crisis and the apocalypse?
TT: Oh my gosh, such a treat! When I read that I thought, “FINALLY!” I had been playing her as a very controlled, and very disciplined warrior, and I really wanted to see Echo lose her mind. In the Seppuku scene, she finally broke. Her world was turned completely upside-down. The obscure idea of living in space, with no family, no Roan, no Azgeda, no purpose, and surrounded by this weird techno-world, reminiscent of Mount Weather, was too much for her to handle. Everything came tumbling down on her, and for the first time we saw this staggeringly deep emotional body that she had been hiding for who knows how long. Playing this stoic badass was incredible, but the release was even better.
LP: I must say, I loved how Echo just ripped that panel off the wall and was so willing to help Harper once they were on the Ark, and how desperately she crawled over to Bellamy to pull his helmet off and give him some air. Do you see her easily integrating into the group who went to space now that they are relying on each other, or do you think that old Azgeda loyalty will make it take a little longer for her to trust them? Or for them to trust her, for that matter?
TT: Yes! I absolutely love the moment when she scrambles to Bellamy. It actually wasn’t in the script. Bob and I brought the idea to our director, and he loved it. It made perfect sense that Echo would be the one to rip off Bellamy’s helmet at the last second, as Bellamy had just saved her life moments before, an exchange they’ve made a few times now. But Spacekru should be more nervous about Echo pressing a wrong button, than worrying about Echo’s previous loyalties. At this stage, survival becomes the immediate daily focus. Loyalties will be tested if they make it back to the ground, and that’s where things can become dangerous for her.
LP: What role do you see Echo playing for Spacekru? She’s a natural leader, but she’s the outsider on the Ark and Bellamy is already the de facto leader. Other than that, her talents are mostly combative, so how will she find a way to contribute during those six years in space?
TT: Décor. The space station is definitely in need of some new curtains and complimentary pillow cushions. She also makes a killer flambé! No, I don’t see her being good with décor, or cuisine, but who knows maybe there’s an underlying passion just waiting to be unleashed. She’s so mysterious, that Echo, you just never know.
Echo is a natural leader, when necessary, but she’s a better accomplice, strategist, and spy. I don’t think there will be any sort of power struggle. Echo is pragmatic, economical, and gets straight to the point. She doesn’t sugarcoat, or waste time tiptoeing around an issue. So she definitely became the space therapist. Richard Harmon and I have this long running joke about what therapy sessions with Echo would look like. She’s also an amazing PE teacher. I would say her specialty is mainly sword fighting, but perhaps a bit of bo staff lessons too, just to spice things up.
Thanks so much to Tasya Teles for taking the time to answer all my burning questions about Echo during this busy filming season. Follow her on Instagram and Twitter to stay connected, until we meet again. The 100 season 5 is due to premiere in early 2018 on The CW. January can’t come soon enough!
*Editors note: clarification regarding the method of the interview was added on 10/01/17.
Images Courtesy of The CW (unless otherwise specified)
Away In A Manger: Black Lightning 2×09, “Gift of Magi”
Well, my friends, we’re nearing the end of Black Lightning S2, and I think it’s time to declare a sophomore slump. Anyone here with me? Let’s get into this week’s episode and discuss.
Jen and Kahlil are still on the run, but Kahlil was cut with one of Cutter’s Special aka Poison knives, so he’s quickly succumbing. The pair find a barn, where there’s a lot of soft lantern light and Kahlil can curl up in the hay. At first they swap cute-funny stories about when they first met, but soon Kahlil can’t manage talking let alone breathing well, so Jen goes out to steal some antibiotics from a hospital. (They don’t yet know that it’s poison, they assume his wound is infected). Jen is getting really good not only at controlling her powers, but using them for specific tasks, and I’m here for it although I really wish it wasn’t in the context of this storyline.
She manages to get the antibiotics and injects Kahlil with it, but it doesn’t work. She grows increasingly desperate, and as Kahlil’s death seems imminent, she goes outside for some air and a good cry. That’s when she goes back to her brain-salon, where she sees Perenna (her brain-version of Perenna, not the real one) and a twin version of herself. Mind-Perenna tells Jen that she already has everything she needs inside of her; it’s very Inside Out. Together with her brain creations she figures out that Cutter is actually *right there* watching them through binoculars. She manages to capture her and tie her up, tasering her with her hands as a form of torture in order to get her to tell her what she did to Kahlil. It’s not long before she figures out it was a poison knife, and cuts Cutter with it so that she’ll be forced to show Jen where on her person the antidote is. Turns out, it’s in that very obvious vial on her necklace!
Jen goes to a dark place when she’s torturing Cutter, which is kind of hard to watch. Again, I’d be more interested if this whole thing didn’t revolve around Kahlil. Anyway, Jen gives both Kahlil and Cutter the antidote and they’re on their way again. But only after they declare their undying love for each other.
I’m happy to report that no one left Kahlil’s aunt for dead in her house, as Black Lightning, Thunder, and Gambi have set up camp there to help her recover from what turned out to be one of Kahlil’s pain pills and try to figure out how to find Jen. They know Kahlil is hurt so they check hospitals, and end up being in the same hospital as Jen at the same time!
Jefferson and Anissa figure out Jen was there because she left a trail aka scorch mark in her path, but the fact that she keep eluding them is driving Jefferson to be irrational and reckless. Gambi and Anissa manage to keep him under control, but Lynn is losing it too. When she’s not crying in the wreckage of Jen’s room that she destroyed, she’s trying to get Kahlil’s mom, and then his dad, to give her clues as to where they might be.
Of course neither of them can help, but along the way she grabs a gun from the Inner Sanctum aka Gambi’s basement so that’s concerning, considering her emotional state.
In a parallel storyline, Tobias has set his sights on a kid named Todd, an academic prodigy who has just been rejected for a research grant in favor of the white kid whose rich dad just funded a new wing of the university. It’s unclear what Tobias wants Todd to do, and Todd seems dubious at best until Tobias deposits $100,000 into his bank account. Money is the root of all evil, amirite? I mean, capitalism is. But that’s a discussion for another place.
Lastly, this episode ends with a scene in which a mysterious someone murders everyone in a bar in Texas before getting a phone call from his boss telling him that his next job is in Freeland. I feel like we’re about to meet a bigger bad than Tobias, but time will tell! Just someone end this Kahlil-Jen nonsense and give us our family back kthanks.
What do you think is in store for the final episodes? Are you happy with this season so far? Black Lightning is going on hiatus until the end of January, so I’ll be back then to see where we’re at. Enjoy what’s left of the year, friends!
Images courtesy of The CW
Winter Hiatus Blues
Even in December with the broadcast networks hiatus for scripted series starting, and pilot season underway, there’s so much to discuss!
The continuing behind the scenes drama of Les Moonves’ ouster from CBS, ABC’s entertainment president Channing Dungey stepping down, NBC’s Greenblatt moving on, and FOX setting up for its new leadership once the merger goes through…every big 4 network has a lot to deal with between now and the TCAs in early February. The exec panels will sure be a time… Especially if ratings come up at all.
As of this Tuesday, and as always, I’m talking about scripted ratings: FOX is number 1 with a 1.13 average followed by NBC, ABC, and CBS. CW of course is last with .35. Last month, four of the five networks had six shows at or above their overall average.
Now, ABC has eight shows, the CW has five, and the rest have six.
Across the five networks, only a third of new shows are performing above the average on their network. The Connors (considered a new show), FBI, The Neighborhood, Last Man Standing, New Amsterdam, and Manifest. The highest rated new show on The CW, Legacies hovers right below the network’s average.
Interestingly, across the board, long running shows are still high rating performers (or what’s high now) for the networks. The exception to this is SVU at a tenth below the average.
Their “success” indicates that we probably won’t lose any of the longest running shows anytime soon. Still, the network with the largest average season length (including shows yet to premiere) is FOX at 5.3 followed by CBS at 4.5. Removing the shows already cancelled and predicted as canceled doesn’t make an impact because of The Simpsons‘ whopping thirty seasons! (Unrelated but with the announcement for Crisis on Infinite Earths, DCTV isn’t going anywhere either.)
Of course some of this will shift when the rest of the new slate premieres begin in January. I do not envy the folks in charge of scheduling spring shows, especially as more time slots are lost to winter reality or competition shows.
You can put whatever new show after strong shows and still have a dud in the ratings race.
On The CW, ableist In The Dark has had zero promotion beyond the scheduling announcement that it starts after Supernatural. Their other new show Roswell: New Mexico or Roswell: TVD received the coveted post Flash slot plus actual promo. Except for The 100, their other spring shows already received cancellations, so ratings definitely don’t matter.
FOX only has two newbies to premiere, with The Passage starting after The Resident and Proven Innocent taking the 9PM slot after Cool Kids. I don’t know that people watching an hour of comedy will stick around for a procedural, but anything can happen these days.
ABC on Wednesday revealed that in a vote of confidence (or in hopes to increase viewers or to get Whiskey Cavalier onto the schedule earlier) is moving the last bit of A Million Little Things behind Grey’s leaving current slot holder Station 19 off the schedule until March. Considering AMLT hit a .7 last week… The Fix is the only other newbie to get a spring slot, starting in March in The Good Doctor‘s place. Grand Hotel is now a summer show. ABC what are you doing?!
NBC and CBS have yet to fully unveil their new schedules so more on that in January! However, pilot development is in full swing and reboots (and spin-offs) continue to rule the pack.
Predicting what pilots will make it to series this early is silly, but I do think that a chunk of the reboots in development will definitely make it to air. If they’ll get renewed is another question. Even though this year, only Charmed received a back 9 order (Last Man Standing was ordered with 22 episodes). Last year, all the shows that received fewer than 9 episodes in the fall except for Good Doctor were cancelled. So now in May, that trend continues, or the new trend is that any back order indicates a renewal.
Which is why even though I think it’s silly to bank on so many reboots in development, I know that networks are still going to do it. I won’t list all of the shows in development because there are a lot and many will die by January. The CW has three alone! And NBC already has a series order for Law and Order: Hate Crimes or as my friend calls it, “SVU but grittier” making it the seventh L&O series.
By late January, early February, the big entertainment sites will have lists of all the pilots in contention and then we can really get into the details. Until then, what shows are y’all waiting to see for the first time (or again)?
‘Legends of To-Meow-Meow’ Cranks the Insanity up to Eleven
It’s that time year of again. The Arrowverse crossover, but the Legends misplaced their invites. While Kara, Barry, and Oliver were getting acquainted with Batwoman and dealing with body switching, the Legends were dealing with their own alternate reality issues. Or should I say the Custodians were dealing with their own issues. Or, should that be the Sirens? Or the Puppets?
Yep, this was one of those kinds of episodes. ‘Legends of To-Meow-Meow’ didn’t just surpass the insanity of every other episode this season. It multiplied it, as Charlie and Constantine broke the timeline more with each attempt to fix it.
At first, Charlie hits the town on her own, going to Las Vegas to stretch her newly returned powers. Going out as Marilyn Monroe, she runs into a prison buddy, a leprechaun. She barely has the chance to warn him about faulting his powers when Mick, Nate, and Ray strut in dressed like they just walked out of an 80’s action show. Which they did, apparently, as they introduce themselves as the Custodians of the Chronology and we get ‘A-Team’ style opening credits. They kill the leprechaun without hesitation, which is a big clue for Charlie that not everything is right.
She returns to the Waverider with cat-Zari to figure out why the team is suddenly so murder-happy. She transforms into Sara, planning on just ordering them to stop. But it doesn’t work because in this timeline, without help from Constantine, Sara was killed by the unicorn at Woodstock. The team attacks her, recognizing her as a shapeshifter. Charlie makes a quick retreat from the ship, taking cat-Zari along to find John.
He’s being kept imprisoned at the Time Bureau. Because he was the epicentre of the timeline shift, he has memories from both timelines and his brain isn’t keeping up very well. When they find him, John turns Zari back into a human. Only to turn her right back when she’s against his and Charlie’s idea to save Sara instead of fixing their alteration. Charlie breaks John out, with some help from Mona and a very emo Ava. Some of the Lege- Custodians die in their fight out, but everything will be fine once they save Sara. At least that’s what Charlie and John tell themselves.
They travel to Woodstock, blasting the unicorn into rainbow gloop before it can gore anyone. But this time, when they return to their time Nate, Ray, and Mick are the ones with the memorial plaques. Plus, without the guys around, Sara, Ava, and an android?Gideon have formed a Charlie’s Angels style team that assassinates fugitives. Charlie attempts to infiltrate the team as Amaya, but her cover is blown almost instantly. She does learn the boys were killed by the Fairy Godmother. The fairy is also the reason Zari’s a cat.
John and Charlie go to Salem for their next patch job. Charlie transforms into the Fairy Godmother to trick Prudence into releasing the fairy before she can kill the boys. It seems to go off without a hitch until she returns to the jumpship. Good news, Zari is no longer a cat. Bad news, she’s now a puppet.
So is the entire team, as John learns when he boards the Waverider. They aren’t just puppets. They’re puppets that sing their own intro and have a historical figure of the day. Since the Fairy Godmother didn’t kill Mick, he became her new charge. She turned the team into puppets before Mick took her along on a crime spree.
Charlie and John keep trying to Band-Aid the timeline, but each fix ends with someone else dead in the new timeline. Yet, even when they get to a point where no one has died, John’s mind has so many timelines clashing in his mind he collapses from the strain.
He finally agrees with Zari that they need to fix the timeline properly and stop Dez from leaving. When Charlie refuses to help they leave her behind, but she’s not giving up without a fight. She transforms into Ava, heading to the Waverider to clue the team in on the magical ongoings in New Orleans. But there’s something still wrong with this timeline. All the Legends are alive. No one is made of cloth. But they still have a ‘shoot first ask questions never’ policy when it comes the fugitives. Gideon picks up on the three Constantines at that point in time. The team assumes the extras are shapeshifters, sending Mick and Ray to blast them.
Charlie finally realizes it wasn’t just John’s absence from the team that caused the changes. It was her absence. Without her, the Legends don’t learn fugitives aren’t all unicorns with a taste for hearts or Fairy Godmothers that sing about murder.
In New Orleans, this-episode’s-John stops Desmond after last-episode’s-Constantine broke up with him. He tells him he’s sorry for all the pain he’s going to cause him and wipes his memory just before still-in-a-relationship John can return. As Mick and Ray fire on this-episode-John, past-John and Desmond share a kiss which becomes the point from which the timeline fixes itself. Reality is right once again, where the only puppet person is the possessed Professor Stein and the Legends aren’t mythical creature murders. Ava and Mick even heal their rift from the last episode, finding some common ground.
John comes clean to Sara about their misadventure. He even tells her about Neron. Sara promises to help him take down his demon. So all’s well that ends well. Except, there’s no word on what happens to Mona after she met the business of the Kaupe’s claws. Nor is Hank happy the Kaupe escaped, which he learns about in the middle of a golf game with someone… something wearing Desmond’s face.
Was this the strongest’s episode of Legends? Probably not. It sacrificed some substance for the sake of 80’s spoofs and sing-alongs. But that’s not to say this episode wasn’t good. Far from it. The alternate timelines were laugh out loud funny and the Puppets of Tomorrow song is going to be stuck in my head. They were so good I’m willing to overlook characters like Ray, Nate, Sara, and Ava feeling so drastically different in their respective spoof realities. I’ll chalk up to the discrepancies in their characterizations to time being so broken.
It could have easily become frustrating watching John and Charlie patch broke timeline after broken timeline while they ignored the obvious answer. But it never got to that point because every step of the way you knew John was doing this to keep Desmond alive. John Constantine, always the tortured soul, willing to let his mind be torn apart by multiple timelines before he gives up on his love again. It’s a tragedy the timeline being fixed has to come at the cost of Dez’s soul. But maybe it isn’t lost forever.
The scene between John and Desmond pulled at the heartstrings. As did the moment when Charlie finally realized she was the missing the link for the Legends. It’s always a good moment when a Legend finds their place on this mismatched, rag-tag team. It’s hard not to compare this episode to ‘Here I Go Again’, when Zari found her place on the team. Which is a glowing compliment when that episode is one of the best of Legends entire run.
The brief callbacks to the earlier episodes was a nice way to tie off the first half of the season as well. The Unicorn was only eight episodes ago. Yet, monsters, magic, and pure insanity feel like they’re always been a part of Legends of Tomorrow. Well, pure insanity has been a fundamental part of Legends since season two.
It just shows how this series isn’t afraid to shake up its own formula. Thus far it’s worked every time, with each season being better than the last. It’s still early to call season’s four place for certain. Season’s three back half had some heavy ringers, but so far this season is on the right tracks to be the most memorable one yet. They’re sure to come back strong when they return in April.
Only Legends Could
- “You missed calls from Barry Allen, Oliver Queen, and Kara Zor-El,”
“Sounds like the annual crossover,”
“Yeah, that’s going to be a hard pass,”
This whole exchange is amazing. Easily wins favorite lines of the episode.
- You can tick off Sara Lance’s annual dalliance with death. Sara dying, almost dying, or faking dying should be a running gag at this point, but for some reason, I can never find it funny.
- Everyone just understands cat-Zari. No explanation needed. Much like when Nate understood pig-Ray.
- The CW tradition of bad wigs continues with emo Ava. (Kate Kane, by some miracle, avoided the curse.)
- In the Siren’s reality, Sara’s wielding Mick’s gun and Gideon has Rip’s.
- I want more of DC’s Puppets of Tomorrow.
- There’s a timeline where Nate and Hank die from a Garden Gnome.
- Why yes, Legends did give us the true love’s kiss fixes everything. And yes, it was a kiss for a mlm couple. Legends never ceases to amaze.
- I got a flirty vibe from Charlie and Zari at the end. Time will tell where that goes.