Per Degaton has once again regained his memories in 1947, and decides this time he will not fail to conquer Earth-2 in the past by going to 1942 this time (having been defeated on Dec. 7, 1941 last time by the All-Stars and JSA). His plan: use the Crime Syndicate to steal nuclear weapons from Earth Prime circa 1962 from Cuba during the Cuban Missile Crisis (which in turn caused that world to have a nuclear war) to use for his purposes. Meanwhile, the All-Stars meet up with the JLA and JSA and learn of Earth Prime's fate in 1962 from them, and pledge to help out.

As the battle continues, Doctor Fate is taken prisoner!

The mastermind behind Akhet and the eye ship stands revealed: Dr. Anton Hastor! Now it's up to Hawkman and Hawkgirl—and the spirits of their past incarnations—to take down their old foe!

The All-Star Squadron elect their chairman! Plus, more background on Firebrand and her connection to the bombing at Pearl Harbor and Steel receives some upsetting news regarding his mentor.

Batman and Robin learn of the treachery afoot and come to assist Green Lantern and the team.

The superhero Wolverine time travels and changes storylines. On Torchwood, there's a pill popped to alter memories of the past. The narrative technique of retroactive continuity seems rife lately, given all the world-building in comics. Andrew J. Friedenthal deems retroactive continuity, or “retconning,” as a force with many implications for how Americans view history and culture. Friedenthal examines this phenomenon in a range of media, from its beginnings in comic books and now its widespread shift into television, film, and digital media. Retconning has reached its present form as a result of the complicated workings of superhero comics. In comic books and other narratives, retconning often seems utilized to literally rewrite some aspect of a character's past, either to keep that character more contemporary, to erase stories from continuity that no longer fit, or to create future story potential. From comics, retconning has spread extensively, to long-form, continuity-rich dramas on television, such as Buffy the Vampire Slayer, Lost, and beyond. Friedenthal explains that in a culture saturated by editable media, where interest groups argue over Wikipedia pages and politicians can immediately delete questionable tweets, the retcon serves as a perfect metaphor for the ways in which history, and our access to information overall, has become endlessly malleable. In the first book to focus on this subject, Friedenthal regards the editable Internet hyperlink, rather than the stable printed footnote, as the de facto source of information in America today. To embrace retroactive continuity in fictional media means accepting that the past itself is not a stable element, but rather something constantly in contentious flux. Due to retconning's ubiquity within our media, we have grown familiar with narratives as inherently unstable, a realization that deeply affects how we understand the world.