The mid-season finale wave keeps rolling, this time hitting the Legends of Tomorrow, or, in this case, the “Legends of To-Meow-Meow.” As I’ve said several times before, one of the strengths of the show is that they’ve completely embraced their silliness, and this episode does that in spades. At the end of the previous episode, John Constantine changed the past, and the ripple effects are many and varied.

 

In the jump ship, Charlie has her powers back, but Zari is, for some reason, a cat. For Charlie, this is good enough, and she decides to take herself somewhere nice and set the ship to autopilot Zari-cat back home. In ’62 Vegas, Charlie gets an idea about how bad things are when the “Custodians of the Chronology” show up, like a version of the A-Team, and blow a friend of hers away. Back aboard the Waverider, there’s a joke about passing on this year’s crossover with the other shows, and a much more realistic version of the Gideon hologram. I agree with Charlie, Gideon looks great here. Charlie shifts to Sara to try and get the others to stop killing magical creatures, and gets a lesson in the revised history that doesn’t go well for her. Charlie, now as Gary, goes to the Time Bureau, where she learns that Constantine is in a cell, put there after he started acting very unstable. John, it seems, remembers both timelines, and the conflict is getting to him. Zari is briefly restored to human form, John and Charlie hatch a new plan, and Zari gets re-catted when she objects.

 

On the way out, they encounter Mona, who seems about the same, Ava, who is in deep grief, and then there’s a huge firefight where a lot of the remaining cast kill each other, which is even more incentive to fix the timeline. A quick trip back to Woodstock/the first episode of the season, save a key life, and everything’s great, right? The new memorial at the Time Bureau for the fallen Mick, Ray, and Nate suggests otherwise, and now the ladies get their turn at new silliness as the “Sirens of SpaceTime,” consisting of Sara, Ava “Roundhouse” Sharpe, and a corporeal Gideon, AKA Hard Drive. The new goal is saving the men, so now it’s back to Salem and the Fairy Godmother. Which causes new problems as most of the crew turn into Sesame Street style puppets, complete with helpful songs, much to John Constantine’s disgust.

 

After several different attempts, each of which results in new memorials in the Time Bureau as to who got killed in each new reality, Constantine is resigned to the fact he has no other choice. He has to go back and undo what he changed, condemning his lover Desmond to hell. Charlie tries to fight them on this, desperate to keep her powers, but Zari knocks her out with a well-placed wind blast. John goes back, Charlie has to hold off the homicidal Legends, and finally, everything goes back to normal. Or at least the Legends version thereof.

 

Charlie, sans powers (although they were coming back before all this), John, broken-hearted, and Zari, fur-free, all go back to the Waverider. John finally comes clean with Sara about what’s been going on, which she takes in stride. After all, it’s not the weirdest thing0 she’s seen. Ava ends up reading Mick’s novel and surprising herself by enjoying it. The episode ends with Hank Heywood playing a round of golf with one of his shady partners, who ends up being a very familiar face.

 

What I liked: Despite this being one of my shorter reviews, it was a great episode. The different versions of the team were very entertaining. It was a really rough episode on Constantine, but the way it drove home what he needed to do was well-executed. I loved the passing reference to the crossover. That final reveal was unexpected and is going to get ugly.

 

What I didn’t: They are being a bit inconsistent with Charlie’s powers. They were coming back before and now they’re making it sound like she doesn’t have them at all. I get the limits of time and budget, but it would have been nice to see some past members of the team show up in the different versions.

 

It was a very entertaining episode that managed humor, action, and drama. I’ll give it a high 3.5 out of 5.