There’s something new to be thankful for this Thanksgiving — The CW has released the trailer for its upcoming four-way crossover event: “Heroes vs. Aliens.”
Characters from Arrow, Supergirl, The Flash, and Legends of Tomorrow will all work together to fight against an alien invasion in the four episodes making up the crossover. Considering that the plot seems to involve aliens — ominously called Dominators — invading Earth and causing all sorts of trouble, it may take every character in the CW’s comic-book universe to save the day.
What’s the plot of this series of episodes? Honestly, I’m not entirely sure. But who cares when all sorts of fun characters get to interact — Supergirl‘s Kara and Legends‘ Heatwave are a highlight in the trailer.
The CW crossover event starts Monday, November 28 with that week’s episode of Supergirl and continues on over the next few days.
When Kronos ambushes the time ship, Rip is forced to leave three of his team members behind — in 1958. The thing about time travel? It messes with you a little.
When Kronos breaks onto the ship and fights off the team, he manages to snag Leonard and hop off to the jump ship, leaving the legends with less than half their team. To make matters worse, he sabotages the navigation system on the Waverider, forcing Rip to reboot Gideon. Which, unfortunately, leaves the ship freefalling in time, with no way to find their team and with no measure as to how long they’ll be gone for.
Stuck in the Past
After the time ship leaves Sara, Kendra, and Ray stranded in the fifties, the three of them adapt in very different ways. Ray immediately assumes that the team will be coming back for them, whereas Sara firmly believes that they’re gone forever.
Sara calls upon her years of dating delinquents in high school to hot wire a car, and the three of them head back to the apartment Kendra and Ray shared as a pretend married couple.
10 days later
The three of them have settled slightly into this new life that was thrust upon them. The only person struggling to accept the fact that they may be stuck forever is Ray. He insists on building a machine called a Time Beacon Radio that will send a signal to the ship to notify the team of their location.
2 weeks later
Sara and Kendra have fully accepted that the team is not coming back. Sara is increasingly frustrated that Ray still continues to work on his Time Beacon Radio and refuses to accept that this is their new life. When Ray’s first prototype of the radio explodes, Sara tells the couple that she needs to move on. They have each other, and it’s time that she finds somewhere she feels like she belongs. And she leaves.
2 years later
Ray is working as a professor (notably to a certain Bill Gates’ father) in the local university, Kendra is a librarian. She visits him at the school and the two go have a picnic to celebrate their two-year-anniversary. Ray pulls out a much smaller, much more streamlined prototype of the Time Beacon Radio and asks Kendra to destroy it with him. He is finally happy here, with their life. He has finally accepted it. He’s so happy, in fact, that he reaches for a wedding ring to propose to Kendra just as the radio starts to pick up a signal.
The Waverider touches down in front of them, and Kendra and Ray return to the ship. Kendra is extremely pleased that the team came back for them. Ray, on the other hand, had gotten used to his life the past two years and is not quite as excited about the prospect of it ending.
Rip, Stein, and Jax discover that it has been two years since they left, and Kendra and Ray discover that Leonard was taken. Kendra suggests that perhaps he was taken for a reason, since it seems odd that Kronos would have chosen to take Leonard instead of Rip.
After they’ve settled, Ray realizes that he needs to go back to the apartment in 1960 to get his A.T.O.M. suit, and asks Kendra if she wants anything. When she dismisses all of their belongings that they shared for the past two years, Ray gets pretty upset.
Later, Kendra finds Ray and asks if they can talk, but he doesn’t really want to. Kendra tells him that she’s just excited to be herself again, and doesn’t want to live in the past anymore. It then dawns on her that Sara, who had left them two years ago, may be living in a part of her past. The League of Assassins.
The Future is Frosty
Leonard wakes up, handcuffed to a post on the jump ship, where he has been held captive by Kronos. He demands to know why he was taken and not the others. Kronos tells him that he really should have figured it out by now.
He takes off his mask, and low and behold, Kronos is Mick Rory. You heard me, Kronos is Mick Rory. Talk about a twist in time. How is this possible, you ask? Well, you see — Leonard never actually shot his partner out in those woods. He did, however, knock him out. He had always planned on coming back for him, but he just lost track of time.
When Mick came to, he started to go crazy. He had to scavenge for food, struggling to survive. That’s when the Timemasters found him. They took him in, and brought him to a place where the rules of time don’t really exist. He spent lifetimes training, and preparing for vengeance.
Mick has set a course for Central City, where he can go and kill Lisa Snart in front of her brother, over and over again (a perk of time travel). That plan is halted when Mick receives word that the team is headed for one Nanda Parbat, where they hope to find a feisty blonde assassin. He sets course to meet them there.
League of Legends
When Kendra and Ray stayed in Harmony Falls, Sara decided to head for the one place she always felt like she belonged — Nanda Parbat. We find her here, in 1960, training under Ra’s Al Ghul (who just happens to have a young daughter. Her name? Talia. Shout out to my comic book fans.) She has been cured of her bloodlust, and is taking to her training rather quickly (not like she hadn’t been trained before or anything.)
The team figures out where Sara headed and goes to rescue her. Because of Rip’s insistence on being stealthy, he is able to infiltrate the compound and find Sara, sleeping. He wakes her up and she instinctively holds a dagger to his throat. She recognizes him immediately, but feigns going with him before tackling him and alerting the league to his, and the rest of the team’s, presence.
See, Sara doesn’t need or want to be saved. So, the league captures the legends and shackles them, holding them prisoner. Trespassers are to be executed by league law.
Kendra tells the team that during the time they were trapped, her powers went dormant. She hasn’t been able to hawk-out in two years. Ray asks why she never said anything, and she tells him she was always concerned that he was never going to get over being stuck, so she didn’t want to worry him. She says she loved being with him, but she was losing a part of herself, and her memories of her past lives.
Rip tells them that when you’re stuck in time for so long like they were, you start to lose yourself. Struck by an idea, Rip asks to speak to Ra’s Al Ghul about a possible way to get them out of this situation.
Meanwhile, on the jump ship — Mick has gone off, so Leonard tries to break free of his handcuffs. He manages to knock over his gun in the process. He positions the gun to shoot at the handcuffs and once they’re frozen, he smashes them (and unfortunately his hand) and breaks free.
When the league grants Rip access to Ra’s, he suggests that they battle. By league law, they are entitled to a trial by combat. (Arrow fans know this pretty well.) Ra’s agrees to the battle, but nominates Sara to fight in his place. In retaliation, Rip nominates Kendra to fight (despite her dormant powers) because he believes that she can bring out Sara’s humanity.
Sara and Kendra face off. Naturally, Sara gets the jump on Kendra — though Kendra proves to be a pretty good student, seeing as she happens to be fighting her teacher. Sara’s attacks awaken Kendra’s powers and she is almost able to fight back when Sara gets her again. Kendra is able to convince Sara not to kill her, because that’s not who she is, she is the White Canary.
Sara pulls away just as Mick (as Kronos) comes in with guns blazing. Sara tells Ra’s to free the team so that they can help fight him off. Ra’s agrees that since they brought him here, it’s only right that they kill him.
Ray suits up, Firestorm merges, and everyone battles. They are able to knock Kronos down and are just about to kill him when Leonard walks in and tells them not to. He tells Jax to remove his mask, and Mick’s identity is revealed to the team. Mick threatens them and Sara kicks him to knock him out.
Sara and Rip explain the time travel situation to Ra’s. He tells Sara that he knew she had acted as if she’d already been trained, but he can tell how conflicted she is. He tells her that there is no room for someone so conflicted in the league and releases her without consequence. Sara tells him that in October of 2008, to make sure his daughter stays off the coast of the North China Sea. Ra’s questions why Talia would be there, and Sara corrects him by saying not Talia, but his future daughter who has yet to be born — Nyssa.
The team returns to the Waverider and places Mick in a holding cell. Rip suggests that they have the perfect opportunity to reform him. Whereas Leonard regrets not killing him in the first place, Sara sympathizes with him, she knows what it’s like to be taking into an organization and trained to kill. The rest of the team all begin to side in favor of helping Mick.
Rip takes Leonard to Gideon and has him sit in a chair to regenerate his hand. The future, guys. No, but Rip apparently collected stem cells from everyone before they left for this very purpose. No one can say he’s not prepared.
Kendra finds Ray and confronts him to ask if he was planning on telling her he moved into his own room. He tells her he thought she’d like some space. Kendra tells him that just because she wasn’t satisfied with the circumstances, doesn’t mean she didn’t fall in love with him. She tells him that for the first time in centuries, she was able to decide who she fell in love with. It doesn’t matter when or where, he is the person she chooses to be with. She asks him what she wants, and he kisses her.
Now that everyone is back on the ship, it’s time to move forward with the mission. They’re heading back to the future. The year? 2147. A decade before Savage destroys everything.
Watch Legends of Tomorrow on Thursdays at 8pm on The CW!
While I may have started reading Marvel comics, DC has always had my favorite superheroes. Christopher Reeve’s Superman was probably the first superhero I ever saw, and Dean Cain’s Clark Kent in Lois & Clark was probably my first crush. I’ve loved iterations of these characters in comics, animation, TV shows, and movies. I could probably watch these stories play out a thousand ways and never get tired of them. Which is why I have never understood why there seems to be an firm policy against having the same characters (even if played by different actors in different situations) on the big and small screen at the same time.
The first time I realized they had this policy when it came to characters, it was in the show Smallville. The show wanted to use Lois and it took them some time to get the green light – with a series of caveats that was simply mind-boggling. Of course, at the time, Superman Returns was hitting the theaters, and there was apparently a concern that the audience would be confused if they saw a Lois Lane and Clark Kent on the small screen at the same time they saw them on the silver one. So Smallville’s Lois couldn’t work in journalism, couldn’t be in a relationship with Clark Kent (even in a dream sequence), and so on.
Why? Why is there this idea that audiences can keep comics and movies straight, that we can differentiate between stories told on television and in animation, but if we see a movie and a television show air at approximately the same time but with a different cast and different plots, WE WILL NOT BE ABLE TO HANDLE THE CONFUSION.
It is particularly baffling given how drastically in the opposite direction Marvel has chosen to go, integrating their movies and shows into a larger cinematic universe. Of course, I’m not suggesting DC has to – or even should – do the same thing. I have no objection to Grant Gustin playing Flash on the small screen while Ezra Miller appears in the movies. I don’t object to a shared universe, but I don’t require it and I can certainly understand how it can cause its own share of headache and hassle.
But with The Flash, DC has introduced the concept of a Multiverse. And – at least as far as one can tell from Flash and reactions to Supergirl last night – the audience has embraced this idea. Even if we were completely ignorant of the idea before (and, come on, most people have consumed entirely too many movies and television shows for this to be an entirely foreign concept), for almost a full season, television audiences have understood the basic concept of multiple universes existing simultaneously but entirely independently of each other. Oliver Queen is Green Arrow on Earth 1, but his father may wear the green hood on Earth 2. Barry Allen is Flash on Earth 1, but on Earth 4, who knows? Maybe it’s Diggle. Anything can happen!
And yet there remains this insistence that a character slated to appear in the movies cannot appear on television – or, if they are currently on a show, they must be written off (with very notable exceptions, such as Barry Allen himself – however, without changing the foundation of the show entirely, they could hardly demand The Flash stop using him). Actress Willa Holland from Arrow recently discussed as much recently in an interview, speaking specifically of Harley Quinn. Arrow supposedly had plans for the character, but with Suicide Squad hitting movie screens in the relatively near future, the plug was pulled on that idea.
This frankly illogical business model undermines the integrity of their various stories. It is, after all, entirely conceivable that the writers of a television show and writers of a movie could both have incredibly awesome ideas about Harley Quinn, for example, concurrently and completely independently. In that happy event, everybody – audience and those who make money off the properties in question – is a winner! Instead, the writers of Supergirl have to do plot parkour to justify why Kara knows her cousin and speaks to him regularly, but he cannot ever, ever, EVER come to town to visit or help. Even if the safety of the entire planet is at risk. Or if she needs a hug. Or even just to talk to someone who has been there and understands what she’s going through as literally nobody else can. Holidays are completely out of the question; don’t even ask.
It also insults the intelligence of the audience themselves. This line they’ve drawn in the sand presupposes that audiences might watch Tom Welling and Brandon Routh both play a character Clark Kent – of different ages, with different levels of experience as a hero, and one without the S shield entirely – and remain completely incapable of grasping the concept that their stories are completely distinct from each other. “But they are both playing a character named Clark Kent! Only their fathers died twice? How can this possibly be reconciled? It’s so confusing!”
As a fan who has both read and watched far more than my share of stories about my favorite characters, I will never understand the illogic of this decision. The Flash has already established an incredible idea that Marvel hasn’t even hinted at in the Multiverse. That concept alone opens up an infinite number of creative story possibilities, and the sheer variety would be different from anything else in movies or on television today. I don’t know many fans (if any) who would object to the ability to enjoy both a movie and television series at the same time. Heck, I could watch three weekly shows just about Superman and never get tired of the character (but I recognize that in that respect, I may be a little unusual).
It’s time for DC and WB to let up on the reins a little, trust their audience a little more, and fully embrace the Multiverse they have already established. They may be concerned about audience confusion between movies and television, but the truth is that it would only make the stories told in both better.
You all need to be excited: Lucifer — by far the best pilot of the 2015-2016 season’s offerings — finally has a premiere date. The funny, fantasy-drama, comic book-based show will premiere Monday, January 25 at 9pm (ET/PT) on FOX.
Lucifer stars Tom Ellis (as the titular character), Lauren German, Rachael Harris, DB Woodside, Lesley-Ann Brandt, Kevin Alejandro, and Scarlett Estevez. The show focuses on the one-time King of Hell, who has left his throne and is instead hanging out in Los Angeles. He ends up working with a police detective (German), thanks to his strong desire to punish wrongdoers. Because that’s what the Devil does.
It’s an excellent premise (and, like so many popular shows these days, based on a DC comic book). And the show delivers. A lot. Be sure to watch the Lucifer premiere as soon as you can!
If you were on-the-fence about Supergirl because of its initial, The Devil Wears Prada-esque trailer, then you’re in luck. There’s plenty of action in the premiere episode — airing on CBS on October 26 — and the newest trailer gives a taste of it.
Turns out, Kara (Melissa Benoist) is pretty darn heroic. Watch the Supergirl video above to see for yourself!
The CW later confirmed the news to Green Arrow TV, with the added detail that the League of Assassins head will first appear in the show’s 50th episode, “The Magician.”
A common figure in the DC Comics universe, Ra’s has been alluded to in Arrow several times over the first two seasons. Not only did audiences meet his daughter, Nyssa (Katrina Law) in season 2, but it has been revealed that Malcolm Merlyn (John Barrowman) once trained under the legendary assassin.
Both Malcolm and Nyssa are expected to appear in season 3 (with Barrowman now listed as a series regular), although the extent of their interaction with Ra’s al Ghul is not yet known.
Arrow season 3 premieres Wednesday, Oct. 8 at 8pm on The CW.